#this is terrible but i've already spent too long trying to make this sound coherent

[fictionadventurer]

Chesterton would, for the most part, approve of the larger-than-life good vs. evil storylines of Marvel movies, because they're drawn from the same types of mythological archetypes that he praises penny dreadfuls from drawing from. What he wouldn't approve of is the rampant capitalism that fuels the storytelling ethos behind the MCU.

This part of "A Utopia of Usurers" comes to mind:

I should say the first effect of the triumph of the capitalist (if we allow him to triumph) will be that that line of demarcation will entirely disappear. There will be no art that might not just as well be advertisement. I do not necessarily mean that there will be no good art; much of it might be, much of it already is, very good art. You may put it, if you please, in the form that there has been a vast improvement in advertisements. [...] But the improvement of advertisements is the degradation of artists. It is their degradation for this clear and vital reason: that the artist will work, not only to please the rich, but only to increase their riches; which is a considerable step lower.

A Marvel movie may be a decent story. It may even be art. But it's first and foremost an advertisement, meant to entice the audience to watch all the other movies and TV shows in the universe so they can get the full story. Even penny dreadfuls didn't sink so low--if you bought a book, you'd get a full story in each volume. You could read as many of the books as you desired, but you didn't have to read all of them. The MCU is increasingly requiring its viewers to watch more and more shows just to get the answers from this one. Art, perhaps, but a type meant to increase their riches.

To pull another quote, this part of "A Defense of Penny Dreadfuls" struck me:

A work of art can hardly be too short, for its climax is its merit. A story can never be too long, for its conclusion is merely to be deplored, like the last halfpenny or the last pipelight. And so, while the increase of the artistic conscience tends in more ambitious works to brevity and impressionism, voluminous industry still marks the producer of the true romantic trash. There was no end to the ballads of Robin Hood; there is no end to the volumes about Dick Deadshot and the Avenging Nine. These two heroes are deliberately conceived as immortal.

The MCU characters are drawn from immortal archetypes: the Noble Soldier, the Atoning Knight, the Warrior Prince. You could tell tons of stories with these types of characters. Robin Hood is immortal because he's the same in all his legends, no matter who's telling the story. The MCU's characters change from film to film, based on the director's whims. The characters don't stay the same like they do in penny dreadfuls, but they also don't develop the way they do in more literary works. The structure is too haphazard. You just get individual directors giving us unfamiliar characters in each installment.

@thatscarletflycatcher hits the nail on the head by saying that Marvel's problem is when it pretends to be high art. There's nothing wrong with a fun little story. But they try to pretend there's something noble and artistic about their storytelling model, as if increasing length makes it more complex, when really, a long series works best when it's less complex. Claiming to be something they're not, trying to create High Art on a penny dreadful philosophy, gives us something that doesn't quite work on either level.

Ok Jellicoe Lodgers…trying to decide how Chesterton would have us view Marvel in light of “In Defense of Penny Dreadfuls”

[trickfootpike]

OKAYOKAYOKAY now that i've had a few nights to Ruminate here are way too many thoughts from 9/16's show -- fair warning that they aren't *super* coherent as a lot of this i just tried to loosely organize from dms i threw at folks night-of, but it is most of what i remember sticking out to me!

GENERAL THOUGHTS --

last saw the show in august of 2019 - back then i saw it up in the mezzanine, this time i was 7 rows back dead center in the middle of the orchestra. watching the show from the mezzanine feels like a god's eye view of the show while sitting up close in the orchestra is much more like being in the world of men, and how it hits in hadestown particularly is just nuts bc you really do feel like you're on the factory floor.

back in the London production i remember eva playing eurydice with more youth and hope to her, and when the show came to Broadway eurydice hardened. in a world with a pandemic eva seems to have actually shifted this back! Eurydice is still holding tightly onto Orpheus Knowing that the world is unlikely to be kind enough to let them have each other for long but she starts off less faithless than she used to, I suppose I would describe it? she's definitely played more open with others from the beginning rather than having it be something she has to really work towards!

WAIT FOR ME IS A TOTALLY DIFFERENT FEELING FROM THE ORCHESTRA THAN THE MEZZANINE AND NOT JUST THE LAMPS. the lamps really only swing out to over the first 2 rows, speaking very generously, anyway. what i remember being most impactful from last time was how the whole theater rumbled as the walls of the set split to reveal hadestown. what i couldn't see and afaik no boot's been able to pick up is the the set ALSO SPLITS AND STRETCHES OPEN AT THE TOP. that awning that covers the balcony lifts and the wall of hadestown is revealed to stretch floor to ceiling and it is just so much, so fucking much oh my god i could not stop hysterically blubbering to myself watching hadestown stretch open like it is absolutely here to devour you whole. it makes you feel the immensity of The Wall. I've linked ig videos of the set pre act 1 and post intermission to give like the best perspective on it i can and tried to film them so they were zoomed as closely as to what my eyes were seeing as I could, but here are also some pictures!

PRE ACT ONE

INTERMISSION

after our lady of the underground when eurydice comes back from hades' office and Persephone is finishing with her show, me being closer this time i was actually able to see amber's face during way down hadestown ii and flowers. and how she portrays seph's feelings re eurydice, it's like : genuine concern and watching over her when she first starts on the line, Quiet Seething and Jealous Rage as the fates' tattle "Hades put his hands on ya" that sticks for a While including the first half of flowers, but as soon as eurydice remembers the meadow her and Orpheus visited her heart just b r e a k s and you can see her wiping away tears. seph's just so caught in her own feelings of helplessness in hadestown. when hades tells her to stay out of him dealing with Orpheus all the fight just deflates out of her and the direct accusing look Orpheus gives her at the end of if it's true mixed with seeing his effect on the workers makes her physically rear back like she's gotten the fight slapped back into her

even with this audience who almost for sure has all seen ht before, there was still the loudest heartbroken gasp when orpheus turned. i know everyone calls this out but it still hit me hard that with a greater percentage of previous viewers in the audience it still hit us all like a fucking brick

and ofc. road to hell ii. it's a millions times more impactful than it already was what with the pandemic, making it through hard times and how they could be hard again but making the best of them even if it doesn't turn out well this time either. i was crying so hard last time but this time i was crying harder but also feeling like a huge weight was being like, very softly cradled in my chest to take some of the burden away

TOM'S HADES/HADES AND PERSEPHONE SPECIFIC THOUGHTS --

Tom's Hades whole tl;dr could be that Hades is a Performance. all those descriptions of him beign "jazzy" and "egodriven" are correct, but there is also this massive vibe he gives off that all his showmanship is there as a cover up for the very pessimistic man at the core of him. when him and persephone are getting along the jazziness is there for genuine playfulness with her, but apart from seph it is a purposeful exaggeration on hades' part to get Whatever it is that he wants. he is playing up aggression as king (see papers) and what he thinks as being suave (see hey little songbird) to maintain his throne and his marriage, and Epic III is the Destruction of that performance. Tom's Hades at the end of Epic III isn't trying to sell anyone anything, you just get to see the suddenly very scared and unsure heart of the man behind the performance of foreman and king. And oh boy is Tom's Hades at his heart unsure. He is so fucking pessimistic; back in Act 1 when Orpheus starts to sing Epic I he turns from Persephone even before she gets reminded of the world above and starts longing for it, because he already expects to see it coming and he doesn't turn back to her Ever Again, literally until he comes to get her in Way Down Hadestown. Not even when she gives him a kiss on the cheek goodbye. His Kiss, The Riot is him trying to figure out how the hell he's gonna be able to rebuild his performance after his whole kingdom saw through it, but he also ends it being so very certain that the deal he figures out for Orpheus Will end with Orpheus failing somehow. There is no doubt in this very pessimistic Hades that doubt will come in, whereas Patrick used the end of His Kiss The Riot almost like he was desperately trying to justify that his doubt came to him only in Persephone's absence

road to hell i: tom's hades loves cheering on the band so much he is Part Of The Problem that Hermes has to get to chill out and it makes so much sense for this jazzy dramatic motherfucker

balcony time (road to hell i until livin' it up on top): when they were upstairs playing dominoes they kept laying their tiles with these overexaggerated movements.. Like when they actually getting along they are so damn flirty and trying so hard to make each other smile and laugh and it is TOO CUTE

way down hadestown: Once Again "I missed ya" gives me no rest, mostly because Tom delivered it with this super coy and cocky grin and Amber immediately smiled back at him like Persephone couldn't help herself

chant i: is spent with him looking up proud into his creation while persephone is looking down with heartbreak and disgust seeing the workers as people in suffering and the ugliness of hadestown. as the song goes on he gets increasingly frustrated like a child who's super proud of the drawing he brought home from school that Persephone has nothing but terrible things to say about. when eurydice starts singing about her suffering seph throws out her arm and points to her like "see! See what you're doing!!" while hades is more in himself processing his disappointment, frustration, heartbreak, but over the next minute you start to see him Formulating A Plan as he watches eurydice. but he doesn't look entirely sold on going through with it until seph throws out her last verse in disgust. it was absolutely the straw that broke the camel's back.

hey little songbird: THO IT SOUNDS SO SEDUCTIVE ON AUDIO. OML DOES IT LEAN INTO EURYDICE'S "STRANGE MAN" DESCRIPTOR. HADES IS LIKE THE CREEPY SALESMAN ON THE CORNER WITH WATCHES AND A TRENCHCOAT. BUT HE'S SELLING HIS SHIT WELL, HE'S JUST ALSO A WEIRDO

Why We Build The Wall/"Behind Closed Doors": That followup on hades' threat when eurydice arrives in hadestown. as hades goes to the stairs he like not whacks, but definitely nudges seph's arm harder than Patrick does to get her attention. when he did she Startled and laid her hand over her arm where he'd tapped her like she was overwhelmed by just that touch........ but then she turns around and watches him take Eurydice up and when he opens his coat and she Realizes you see her whole body go slack. once eurydice goes past the office doors hades turns and lingers staring pointedly down at seph, for *seconds* whereas with patrick i remember it being more of a pointed glance. it drills home that hades is doing this specifically to spite seph and he wants her to know it. and you can see amber discreetly wipe her face before she turns back to "does anybody want a DRINK." there's less direct seduction between hades and eurydice but more explicit threat between hades and seph about eurydice

papers: actually isn't too much Bastärde as it is his Performance. HOWEVER, the way he directs the workers to beat Orpheus is chilling. Like patrick he hangs around, but he's watching until the last 10 seconds so it's way longer. And he makes like the smallest gestures with his hand to direct the workers to the different stages of beating Orpheus, fuck it was twisted

how long: how long actually starts with seph and hades seemingly coming to each other on a similar page - hades came out pensively fiddling with his wedding ring and Amber delivered "I know" like seph was already past the eurydice situation. this also could have been a product of time and seeing how actually little he did "seducing" eurydice lmao

chant ii: very much Hades Sees Orpheus As A Threat™️ (more on this further below) , also dare i say it but tom kills I CONDUCT THE ELECTRIC CITY

epic iii: oh man oh man. he looks so untouched until Orpheus starts the lalas and he goes from completely passive unimpressed face to like. his body unfolds on his stool and his hands go slack and he looked between Orpheus and Persephone when he asked where Orpheus had gotten his melody. he asked it a lot softer than I expected him too as well. a big part of the audience actually laughed when Hades sang his lala because Tom cracks his voice during it but it petered off into sniffling when they realized why and then we were all just crying together as persephone placed the flower in his vest.

lovers desire: SOME VERY CUTE STUFF. hades' performance is broken but tom's hades is still a Jazzy Jazzy Man at heart and they're like 100 times more playful with each other - they're both giggling and grinning their asses off while they dance together and give each other these like nudges to the next series of steps and it was adorable and I was discretely sobbing. they both played it like they knew how to do this dance with each other better than they knew anything, the little nudges were like..... them playing inside this dance they already knew so well? Like more overexaggeration to make each other laugh and just revel in this wonderful thing they've rediscovered- specifically I remember that Amber raised her skirt soooooo high when she was doing the curtsey and Tom was like waggling his eyebrows at her and adding extra flourishes with his hands and widening his eyes super big everytime he pulled off a move (the funniest ones were when they do like the two-step where they move one after another in sequence and he's copying her moves in reverse and oml it was just adorable). When Seph had the move where she pulls their linked arms over his head to tuck him into her I remember that was the one part where he wasn't doing this goofy act but his expression straight up melted and he looked so smitten. and when it's the last bit of the dance and he spins her across the stage, seph's face breaks open with tears his expression responds with like this mix of heartbreak and "ohhhhh no baby please don't cry" as he moved across the stage to quickly take her into his arms for the dip at the end

AFTER this when orphydice has finished promises and right before Orpheus turns to ask Hades if they can go, they come out of slow dancing to the side but are still super wrapped up in each other - seph wraps herself around one of his arms and presses herself super close and Tom leaned down with this little smile like Hades was gonna try and steal a quick kiss, but then he hears/sees out of the corner of his eye/senses or something Orpheus approaching and pulls himself up and formal to be the king. When he says I don't know and seph wrenches herself away from him to the other side of the stage to firmly stand behind Orphydice he gets this look of Extreme Frustration on that she's still not standing with him and these damn kids are still more important, bc even with character growth he still is a petty selfish bitch who does not like to share lmao, he's just getting that he Has To now

wait for me ii: Hades stays onstage by the microphone stand to the left to watch Hermes deliver his judgement to orphydice/seph/the workers and watching Tom during this was a Treat. this is the first time he's seeing how orphydice and esp Orpheus function when he's not involved to terrify them. they're so sweet and so good, and they have what looks like so much unwavering faith in each other unlike him and seph, maybe they really could... so when he delivers "i let them try" that last word is stretched with so much wonder. he's getting this first glimpse into feeling how everyone else felt when orpheus sang of how the world could be that isn't just focused in about how he feels about persephone, which always drives him - now he's having to deal with the Greater Implications and orpheus' seemingly unbreakable faith in a better world rocks him to his core. that certainty that orpheus would fail gets shaken as he watches them and when Seph asks him if he thinks they'll make it, his I Don't Know is 1/2 defensive and 1/2 actual uncertainty. he still hates to be wrong but he's wondering if his beliefs about doubt will turn out differently this time. he isn't optimistic about it by any means but orpheus, eurydice, and the workers' response to them both does give him pause

meanwhile in hades and persephone's section, on a personal level they deliver their lines to each other like they're a great deal more nervous about what next fall will bring than i've seen and heard before - something I'm thinking stems from hades' worldview being so suddenly shaken and seph too being a little more vulnerable?

MISC THOUGHTS

Tom seems to be leaning into Hades not having done anything with Eurydice other than tempt her down - once she's in Hadestown even during Why We Build The Wall he drops the salesman croon entirely and when he does rarely speak to her/about her it's commanding as a king who sees her just as another object under his possession, with very little interest in her for anything at all beyond that. he was just going after the goal of making sure Seph knew he had Options whether or not he actually pursued them

tom is super dedicated to how power-hungry hades is. I remember when I saw Patrick during chant ii he was playing hades as more affected by how much seph seemed to care about the workers now and desperately trying to get her attention back (even negatively), Tom was more consumed in seeing Orpheus as a threat because of how effectively he had turned his "children" on him. He knocks Seph down in those "shackle her from wrist to wrist" less as a personal petty attack to her like Patrick does and more like to try and destabilize her as someone backing Orpheus up. Tom's Hades perceives Orpheus as a Threat no matter how much he plays up his Performance as Nonchalant Jazzy King. he really emphasizes Hades' relationship to Orpheus whereas Patrick played more into his relationship with Eurydice, which makes so much sense what with Tom's Hades being a pettier more egotistical messy bitch obsessed with his kingdom and Patrick's Hades' obsession being his wife and Hadestown being like, this side-effect of being a god that he just couldn't help, he Had to build and strive for power whereas Tom's Hades reveled in it and wanted it. Instinct versus drive I guess. one of my buds put it super well as: "Patrick!Hades sees everything as a threat to his power Tom!Hades is so certain of his power that he can afford to be somewhat nonchalant but the fact that Orpheus alone is his main genuine threat is fucking brilliant"

and ok for now, that's what I've got! if anyone wants any clarification or wants to ask details about specific moments I didn't put in here feel free to shoot me an ask!

[mooniefics]

— a life in your shape

pairing : jean kirschtein / reader

word count : 2.5k

tags : unrequited love, pining, near death experience, confession of love, hurt no comfort lol

warnings : canon-typical violence, descriptions of injury to the reader

summary : you've always wanted it, always pictured it, always ached for it. you loved when jean looked you way. all you'd ever wanted was a life with him, not just a life in his shape.

— originally posted 1 / 22 / 21 on ao3 —

the mess hall was buzzing with life, rowdy with the chatter of dozens of cadets seated at long tables and speaking through swallows of their food. glasses were lifted and set down, bowls and plates clinking, utensils scraping sharply over various surfaces, nearly so loud that you could barely hear yourself think. but it all seemed to come to an abrupt silence when you settled your eyes back on him, taking in his formerly pale complexion now bronzy and sun-kissed from your hours of training, the annoyed yet playful glances he shot to connie and sasha as he worked through his soup and bread, full lips forming words that you couldn’t quite focus.

you were almost embarrassed of how smitten you were with jean, but in your mind, you couldn't understand how anyone wouldn't be taken with him. his thin frame had filled out with lean muscle in the year and a half that you'd been training together in the 104th corp, somehow managing to grow even taller than he already was on that first day, still so spirited with his persistence to be among the best of this class, a lively spark that never seemed to dampen gleaming behind his eyes.

"oh god, this again, jean?" you heard connie bemoan exaggeratedly, pulling you from the trance that you were surprised the other three at the table hadn't taken notice of.

jean was almost pouting now, and you would've found it so endearing had it not been the next words to spill from his mouth, indignant and full of tenacity. "don't be an ass, i've been trying to figure out a good excuse to sit with her for days now."

you followed his gaze despite knowing exactly who you'd find his eyes locked on, and forced yourself not to frown when you were met with the sight of mikasa just a few tables away.

"she's out of your league, man. not to mention having a thing for jaeger already, and not to mention that jaeger wouldn't hesitate to hand your ass to you again if you pissed him off like you always do. cut it out."

"connie, that's mean!" sasha feigned offense on jean's behalf, most likely for the sake of goading the reply that came as a distraction to snatch the remainder of bread from his plate.

"i'm just being honest with him here. he's asking for advice, so i gave him some. jean always talks about being realist and yet he— hey is that my food?!"

you turned away just as connie was lunging himself across the table, hearing the sounds of his fruitless efforts to tear the loaf from the girl's mouth, propping yourself up on your elbows and allowing your head to fall into your hands with a heavy sigh.

"what do you think?" in an instant, jean's eyes were on you, amber irises looking so intently at you that you could already feel a bothersome heat flushing your face. but registering his question sobered you, and stealing a glance at the beautiful dark-haired girl seated somewhere to your left was all in took to snuff out the light flutter in your chest.

"i don't know, jean. i think connie's kind of right about the whole eren thing." you were honest with him on a surface level, but it still didn't feel good to see him frown when you told him something he obviously didn't want to hear. you tried to remedy it by offering something more introspective—something a bit more true to your heart. "what i mean is that.. i think you're selling yourself short. mikasa obviously has her sights set elsewhere at the moment, and i just think you deserve someone who can bring the same sort of.." you struggled with your words for a moment, how could you not when he was leaning forward like that, listening so intently to you and you alone. "the same sort of passion. someone who can reciprocate." someone like me. but you bit those foolish words back.

"you understand, don't you?" he implored, looking past the bickering mess that sasha and connie had devolved to and gazing with such longing in the other girl's direction, "i mean.. i've never seen anyone like her, no one as beautiful.." each word gouged at your heart, a cold, empty sensation that left your chest feeling painfully hollow. "i know you're a girl, but you can see it too, right?"

you could see it, you were painfully aware of how you could never match up to her unfamiliar yet alluring features, that graceful, slender frame that could somehow soar through the air with ease and still thrown you down onto your back so hard it would knock the wind out of you, introversion that gave off such a charming air of mystery to her admirers.

"yeah," you mumbled back, ignoring how a huffing connie fell heavily back into his seat beside jean, defeated, sasha happily gulping down her unfairly earned chunk of bread, only taking notice of how jean was too fixated on mikasa to pay your dismay any mind, "i see it alright."

─── · 。ﾟ☆: *.☽ .* :☆ﾟ. ───

the air was thick with an unrelenting heat, stinking of steam and coppery with fresh blood, your vision fading in and out. your head was ringing with a deafening, high pitched peal and such an unbearable, crippling pain. you could feel your boots dragging across the hot dry dirt as something tugged you back by the collar of your shirt, and the terror of a titan with its misshaped limbs and mouth hauling you to your demise made you thrash aimlessly, screams for help spilling out as a disjointed groan of pain. and though it almost sounded as if you were underwater, sinking further and further beneath the lapping waves of your impending unconscious, you heard it, muffled, desperate, thick with tears, your name spilling from his lips.

and suddenly you remembered, you remembered the kidnapping and the unfaithful comrades and the mission to save humanity's last hope, your former friend now an almost unrecognizable abomination with ymir, bertholdt, and eren sitting atop his shoulders, clasped in his monstrous hands, that had now resorted to flinging titans in his primal desperation for escape. and as you blinked away the spots blacking out your vision, head lolling uselessly to the side, you could see your horse, half crushed in a puddle of red on the yellow grass, and realized that the warmth streaming down the side of your face is your own blood.

"jean..?" you mumbled, uselessly, barely coherent, but the near sob of relief from behind you is like an anchor back to reality.

you could see his calves on either side of you, feet kicking up clouds of dust as he pushed you both back, further from the fray and carnage, as far as he could muster. one of your blade scabbards was missing, you could feel that the clip on your gas tank had snapped off in your spectacular fall caused by the titan that was flung down in your path, irreparable damage most likely made to the fine mechanisms within the housing of your gear. you felt utterly hopeless, watching as the shade of a tree just barely shielded you from the blazing light of the sinking sun, hearing jean's gasping pants from behind you, feeling how rapidly his chest was rising and falling against the back of your head as you slumped into his body, leaden limbs weighing you down uselessly.

"jean." you wheezed, trying desperately to crane your heavy head back to meet his eyes one last time, eyes that no longer harbored the naive passion of youth but still gleamed so radiantly, "leave me.. here. you're g'nna— gonna die.. if you stay..."

you could feel his violent trembles now, feel him rip his green cloak from his shoulder to press against the throbbing wound on your head. "no. i-i'm staying. i n-n-need," he was scared, you knew he was terrified of allowing what happened to marco to happen to you, or sasha, or connie, or anybody, even if the boy's death was nowhere near his fault, "i need to s-save you."

but you could also feel something else—feel it coming—the terrible, earth trembling footfalls of a titan making a shambling, uncoordinated advance to you and the scent of your blood. and suddenly jean was screaming, a sound so raw and petrified that you couldn't help but cry yourself at the sound of it. he laid you down on the ground, bunched cloak pillowing your bleeding skull, unable to push himself to his feet but still drawing his last blade to swing at the thing coming to kill you both, covering your battered body with his own.

and in that moment, you hated yourself. though your head was swimming and your lucidity was waning, you knew that you would both die there, under the baking sun and in the jaws of a titan, and it would be your fault. every regret that you'd ever harbored flooded your mind: not hugging your mother long enough when you still had the chance, not drinking that liquor when squad leader hange had offered it to you, and, most of all, never having the bravery to be honest with jean.

and you mourned all that lost time in those final moments, every late night you'd spent as trainees under the stars when you and your friends would sneak out of the dormitories to talk at some ungodly hour, every shared meal where you didn't speak nearly enough to him, every second of the crushing embraces you'd offered each other when the thought of your fallen friends caught up to you and proved to be far too much to handle on your own. how could you have done so much yet so little with your life?

and just as the titan was stumbling upon you, jean's scream of terror dampening out into a faithless cry, the thing was gone, galloping away to join a newly assembled horde descending upon one single point on the plain. but somehow, you felt no relief, not as you reached out a weak, trembled hand to grasp the blood and dirt streaked fabric of his shirt.

and as he turned to you, eyes still wide and body shaking with horror, thrumming with the adrenaline of near-death, you whispered, hoarse and tired as your grasp on the world slipped away. "i love you, jean. i love you."

your eyes fell shut, the involuntary spiral down further and further into the deep waters of unconsciousness pulling you in deeper and deeper by the second. you were grateful that you at least got to say something meaningful as your last words.

─── · 。ﾟ☆: *.☽ .* :☆ﾟ. ───

there was a bright light, delicate, billowing fabric flouncing about in your bleary gaze as your eyes barely opened, something wrapped tight around your head, not making the pressure of the pounding headache any better. you couldn't fight the groan that even the small movement of turning onto your back caused, but you tried to force your lids open just an inch more at the sound of a gasp coming from somewhere in the room.

there were fast footsteps, a few shouts of "sasha, no!" and then a crushing weight on your chest, squeezing around you, pulling you up in bed as a tearful sob of your name came from a comfortingly familiar voice.

"sasha. please. h-hurts." you barely managed to croak out, feeling yourself been torn free—or rather, her  torn away—as connie yelled.

"get off them, you moron, they're fucking injured!!"

"i'm s-s-sorry!" she wailed, allowing herself to be dragged to the door by the disgruntled boy, "i'm j-just so happy you're s-s-still alive!!!"

"and i am too, but that doesn't mean i'm gonna go throw myself on top of them while they're in the hospital!"

their bickering was almost comforting in a way, allowing the strain in your chest from sasha's hug to ease as you watched them elbow each other in the sides on their way out of the room to take their loudness out into the hall, blowing raspberries and struggling to not laugh through their feigned anger. and finally your gaze was allowed to wander over to the furthest wall from your bed, and you saw jean, staring down at his shoes, brow furrowed and lip bitten. and he seemed almost startled to find yourself in his gaze, feet slowly taking him to your side.

"i owe you my life, you know?" you said as he settled himself on the edge of the mattress, still not meeting your gaze.

"you don't owe me anything. you shouldn't feel in debt to me."

"but i do," you risked to settle your hand over his, finally drawing his worried, amber eyes onto yours, and you could feel your heart beginning to pick up, the butterflies that you had always forced to settle with a pessimistic thought to squash your optimism light in your chest, "i meant what i said before i passed out in the field. i always have."

and for just a moment, you thought that this was finally it, that you would no longer have to languish over wasted time and wasted words, fingers just barely curling around his warm palm. then, a knock at the door, light and delicate before the handle turned, pushing open to reveal mikasa.

and you caught every small movement of jean's features, the way his eyes sparked with a familiar light, the sudden, faint flush of color across his slender face, lips parting and just barely perking up at the ends. an endless, unwavering adoration.

"eren is awake, if you'd like to talk to him." that was all she had peeked in to say, but jean was still gazing at the door for a moment too long after she'd left.

"u-um.. if you don't mind—"

"go ahead." you told him, gently, pulling your hand away, retreating as far as your body could into the mattress, under the covers, turning your gaze away.

and though he'd slowly, almost nervously exited your room, you could hear the clear pick-up in his pace as soon as he'd shut the door behind him and exited into the hall, probably rushing to try and catch mikasa for a moment alone in the hallway before he had to share her attention with everyone else.

and it hurt, like a blade buried between your ribs, being jerked and twisted with every memory of his affinity, the one that was never directed at you despite how you craved it. and you'd realized that you had melded a life in his shape, a life where you were always just a few steps too far behind, hand outstretched, reaching for him as you hurried to grasp at any minuscule opportunity to be with him, speak to him, hear his laugh and see his near blinding smiles that never seemed to last long enough to you.

but, perhaps one day, someday farther into the future. and if not then, maybe in another life.