#to have issues with addiction. like specifically with johnny's alcoholism because i just think there's so much untapped potential

[macchiatosdumptruck]

the way that terry sounds like an addict getting his first hit in years with the way he says "danny boy"

[this-is-for-the-record-blog]

Pearl Jam - Pearl Jam - Album Review

Pearl Jam is the Seattle alternative rock band’s eighth studio album released in 2006 and the first and last with Sony owned J Records. The band came into the studio with no pre written songs, but rather just ideas that were hashed out into songs once the band jammed in the studio together, similar to Vitalogy, completing ten songs in just one week. Something the band hadnt attempted or accomplished since Vs. or even Ten. The record was described by the band as very Democratic with its collaborative contribution and its fair communication with all members of the band contributing lyrics and music, the way the band has been since Yield. The record contains a formula similar to the bands older material, some may consider it a return to form and is the reason the band went with the self titled rout and while a lot of the songs have an angsty, up tempo, hard rock energy, I feel the bands sound is more inspired by classic rock influences especially looking to The Who, Thin Lizzy, Buzzcocks, Ramones, Tom Petty, AC/DC, Heart and Led Zeppelin as major influences on the record. The aggressive drive and themes were inspired by the frustration with President George W Bush and his second term in office, the current state of America, as well as The War on Terror, the mourning of friend and punk rock guitarist Johnny Ramone’s passing also served an influence on the darker songs. It sounds to me as though the band was consciously writing classic rock sounding record or it was at least the sonic direction. The longest break between releases came between the bands last record Riot Act and their self titled record here. This was attributed to singer Eddie Vedder getting married and having his first child while the band also supported the Vote for a Change tour during that break. Avocado is the closest the band has ever been to producing a conceptual record giving the listener a glimpse into the life of a working class American with financial struggles, despite having hope and faith. The mainstream medias sugar coating of pharmaceutical drugs as a solution to your problems or alcohol which is marketed as an answer to a fun time, with both of these ending in addiction. That American who cant find a job to pay the bills and provide for their family they turn to dealing. The grief stricken family of a fallen soldier, or that Army reservist manipulated and taken for granted by the government, and is stationed far from his loved ones. The record has themes dealing with feelings of political anger, addiction, religious resentment, poverty, death, anxiety, escape but ends with renewal and personal growth. You can almost see a drama unfolding throughout the album.

Alvocado was produced by Adam Kasper, producer on the bands last record Riot Act. Unlike Riot Act though instead of focusing on love as an answer the band vents all its frustrations here. Musically the record is much less of the recent experimental and calming Pearl Jam we have come to know, but much more straight forward musically and lyrically, a hard hitting formula seen on their debut and sophomore records. Singer Eddie Vedder said this about the records musical energy “It’s easily the best stuff we’ve done but also some of the hardest stuff. It’s very aggressive, because again, it’s kind of a product of what it’s like to be an American these days. It’s pretty aggressive, especially when you turn it loud.” The first half of the record contains all up tempo tunes, 5 hard rocking songs back to back, the most high energy songs in a row than any other Pearl Jam record before it, while the second half offers ballads and more mid tempo tracks. Producer Adam Kasper was able to bring the same live raw sound that was present on Riot Act again on this record here, but fills in the gaps a bit more than before. A couple of those raw, hard rocking, muscular tracks are “Life Wasted” which features an Angus Young guitar riff that bares the same energy heard on AC/DC tracks like “If You Want Blood”, “T.N.T.” and “Walk All Over You” with its off the cuff guitar solos and improvised jamming at the end. The song is played a half-step down and uses a capo on the 3rd fret (first 5 strings only, with the 6th open.) This oddly written song structure has become more frequently seen among the bands back catalog especially since Yield and really reminds me of song writing seen in bands like Led Zeppelin. Then theres the anthemic, politically ranting “World Wide Suicide” which opens with Eddie Vedder grinding an ebow into the strings and pickups on his guitar, a technique I dont think ive seen or heard before with an ebow and has a riff similar to Buzzcocks’ “No Reply”. The track has an older grungy Pearl Jam sound similar to “Satan’s Bed” while a bit of “Spin the Black Circle”, another song from the bands third record, Vitalogy, is heard on the punk rock influenced “Comatose”. The song kicks in heavy like AC/DC’s “Hell Aint A Bad Place To Be” while the hard rock energy of “Severed Hand” reminds me a bit of the beginning of The Who’s “Wont Get Fooled Again” with its guitar part at the beginning mimicking a synth, while the main riff is very similar to The Who’s “Go To The Mirror” just sped up and “Matt Cameron’s Kieth Moon sounding, chaotic drum rolls. “Marker In The Sand” the last of the first 5 up tempo songs and reminds me of “American Woman” by The Guess Who. It experiments with tempo a bit shifting time signature going into the chorus, claiming the best melody on the entire record and might be my favorite track.

The record doesnt take a breath ‘till the simple love song “Parachutes”, an acoustic, psychedelic ballad that reminds me of The Beatles “Hey Jude” with the cadence of the guitar being played like a piano, but the break doesnt last long as things pick right back up again with “Unemployable” a song that reminds me of The Who’s “Another Tricky Day” and “Big Wave” the only care free track on the record reminds me of Soundgarden’s “Never Named”. The album periodically breaks the high energy again with “Gone”, slowing down at the end starting with “Come Back”, a charming, soulful ballad that leans heavy on organ, bass, hi-hat, snare and kick drum. The song musically and conceptually follows “Last Kiss” harkens back to Motown 50s era ballads paying homage to Otis Redding’s “Come To Me” and Eric Clapton’s “Bell Bottom Blues”. Some of the songs like the album closer “Inside Job”, a slowly building, climactic track that starts off like The Who’s “The Song Is Over” meets R.E.M.’s “Boy In The Well”, but builds into a progression and a lead guitar part similar to Tom Petty’s Organ soaked “The Waiting”. Songs like this one explore more varied tempos and have an artistic and darker cathartic rock sound to them. The song features Mike McCready on a double neck SG guitar, playing the electrical 12 string in the beginning. Eddie Vedder said this about the up tempo music and how it relates to the darker lyrical themes, “the hope was going to be in the guitar solos. It was the guitars and drums going at it that was going to lift you out of the dark abyss that I had painted.” Needless to say guitarists Mike McCready and Stone Gossard channel guitarists Angus Young, Jimmy Page, Dan Thunder Bolton, Eric Clapton, Johnny Ramone, Kieth Richards, Scott Gorham, Peter Frampton,  Mike Campbell, Steve Diggle and Billy Zoom and Eddie Vedder seems to be channeling Pete Shelley, Michael Stipe, Bob Dylan, Phil Ochs, Tom Petty, Bruce Springsteen, and Pete Townshend on the record. The drums, guitar leads and vocals really shimmer and take a lot of the spotlight on this record and Matt Cameron puts in a lot of vocal work as a back up singer as well, while organist Boom Gasper takes lead spotlight on “Wasted Reprise,” a sort of intermission that brings back the chorus heard in “Life Wasted” and leads nicely into the next track “Army Reserve”.

In the song writing department, the band took their time in a process that was very tedious with the songs having many different sets of lyrics. Eddie Vedder described it as a process that demands “the patience of like a National Geographic photographer sitting underneath the bush in a tent”, adding that he would at times “figure out after eight, nine or eleven drafts that the first one was actually the one”. Where Riot Act was Pearl Jam’s most politically driven record this record takes that to the next level in a more upfront way and is the bands most socio-political to this day and takes the approach of writing from the perspective of someone else something present on Pearl Jam’s earlier records. The songs “World Wide Suicide”, and “Army Reserve” a mid-tempo rocker co-written by Damien Echols (one of the West Memphis Three), are about the Iraq War and express opposition against the war and president Bush’s agenda in Iraq, questioning his motives. It also provides a bit of hard truth behind war from the perspective of the family of a fallen soldier as well as the average American who reads the news paper, making the song relatable to many. “It’s understandable why someone would like their entertainment to provide an escape from modern day worries and the reality of war. We feel this record creates a healthy opportunity to process some of these emotions rather than deny them. It’s like we took our aggression’s and shaped something positive from them in a very direct manner” Vedder also stated the record “deals with real content and the moral issues of our time”. Other politically driven songs like “Marker In The Sand” deal with the hypocrisy behind religion and how it seems to be at the center of Bush’s agenda and how its always at the center of every war, while “Unemployable” a Springsteen type song that reflects on issues of poverty during the economic decline of the Great Recession and “Comatose” points out the threat on civil liberties backed by religion specifically in regards to same sex marriage. Guitarist McCready said, “We all feel that we’re living in tumultuous, frightening times, and that ranges from the Iraq war to Hurricane Katrina to wiretapping to anything that smacks of totalitarianism. And just bad political decisions being made. We feel that as Americans, and we’re frustrated. So a lot of those feelings have come out in these songs.”

The song “Come Back“ is easily the most heart wrenching ballad the band has produced since “Black” and has similar themes of heart break after someone you loved has past away or moved on, much like “Last Kiss”. The track has been said to have been inspired by the death of famed punk rock guitarist and Vedders close friend Johnny Ramone. Another song like “Severed Hand” is about dealing, addiction and substance abuse with “Life Wasted” being viewed as having been on the verge of overdosing or witnessing a friend overdose or just a simple brush with death. Eddie Vedder has stated the song was written after attending Johnny Ramones funeral and reflecting on mortality and the outcome of substance abuse. Eddie stated, “When you leave that funeral, that drive is as important as any single stretch of road you’ll travel on. You’ve got a renewed appreciation for life. And I think that feeling can last through the day, through the week, but then things start getting back to normal and you start taking this living and breathing and eating thing for granted. I think that song is there to remind you, ‘This is that feeling’.” The existential track “Big Wave” is a fun song of oceanic celebration, where Vedder expresses being of crustacean origin, evolving and adapting into a human but still having connections with his aquatic roots through his love for surfing, constantly seeking that next big wave. Songs of self reflection, soul searching and renewal are expressed on songs like “Inside Job” a song written entirely by Mike McCready, his lyrical debut about recovery, sobriety and loving yourself so you can share that love with others. Vedder said one way to deal with negative energy and frustration is “to kind of look within. If nothing else, effect some change in yourself. If you’re in a position of feeling pretty together at that point, then you feel like you can make a contribution to society, as opposed to being a fucking wreck and just adding to the pile of destructive forces you can find yourself surrounded by. And that’s exactly, verbatim, what’s in the song, really. Like ‘shining a human light.” and the song “Gone” is a song of liberaion that goes back to the idea expressed on the bands song “Rearviewmirror” where the character in the song is getting in a vehicle and heading out of town, leaving his/her anxiety and materials behind in search of peace, autonomy and freedom. Vedder has said “Gone” is about someone “needing to find a new life without his past, without his possessions, and not really looking for more possessions.” Early shades of what was to come on Eddie Vedders “Into The Wild” record. The line “nothing is everything” was taken from the song “Let’s See Action” from the 1972 Pete Townshend solo album, Who Came First. Vedder thanks Townshend in the liner notes for the album.

The cover art of the record depicts an avocado cut in half with the seed still in place. McCready said, “That symbolizes just kind of … Ed’s at the end of the process and said, for all I care right now, we’ve done such a good job on this record, and we’re kind of tired from it. Let’s throw an avocado on the cover. I think that’s what happened, and our art director goes, hey, that’s not a bad idea.” Because the album is self-titled, many fans refer to it as “Avocado” or “The Avocado Album.” I feel the record’s minimalistic cover art is an artistic symbol and straightforward display of this unique fruit that is organic and natural, which is exactly what the music on the record and what the band has always been, so the records self title and artwork makes sense and is fitting. Vedder explained, “In the end, we thought there was enough there with the title of the songs, so to put another title on the album would have seemed pretentious. So, really, it’s actually Nothing by Pearl Jam.” The liner notes contain artistic images of wax sculptures, in an almost “Body Worlds” style recreation of each band member with their flesh either decaying or lit on fire and other times have insects crawling out of them. The art was brought to video in the music video for “Life Wasted”, the band’s firorst conceptual video since 1998′s “Do The Evolution”. The music video represents the fragility of life, a theme that is expressed in the song as well. 

Pearl Jam’s self titled record is a great record, its my first record purchased through the Ten Club as an official member, this was the record I was listening to in high school while everyone was listening to modern emo and pop punk music. No one understood it or heard of it and thats what I liked most about it cause I never understood the appeal or the popularity behind the shallow music at the time, but I dont think it met the production or passionate song writing that was offered on Riot Act or even Binaural and I think it is the first record that showed the bands age a bit especially with Eddies vocals sounding a bit strained now going into a higher register on the fast songs but I think It gets credit for being as hard hitting, aggressive, scientific, and objective as their earlier records and most politically driven and socially critic to this day, making it arguably the most important and meaningful record in the bands discography. It has been been stated that atleast 12 songs were left off of the record. Not much is known of the songs. This would also make Avocado the most fruitful songwriting from the band since Ten! Some of the known songs are “The Forest” a song released on Jeff Ament’s solo record “Tone”, “10 Billion Years” was a song that ended up on Stone Gossard’s second LP and the track “Of The Earth“ is speculated to be B-side from their self titled record and has made some rare live appearances in 2010. The beautiful “Man Of The Hour”, one of my favorite songs was one that was recorded for the film Big Fish but wasnt included on the self titled record here. The song seems to conceptually connect with “Come Back” from the record, paying tribute to an idle or father figure after they have passed with them giving their final bow but stating that its only goodbye for now. The band had also recorded covers of “Someday at Christmas”, “Love Reign Oer Me” and “Daytime Dilemma” around this time. My favorite tracks are “Life Wasted”, “Word Wide Suicide”, “Marker In The Sand”, “Come Back”, “Army Reserve” and “Inside Job” If you like Burden Brothers, X, Foo Fighters, Wellwater Conspiracy, The Rockfords, Mother Love Bone, Skin Yard, AC/DC, Ben Harper, Temple of the Dog, R.E.M., Peter Frampton, Soundgarden, Bob Dylan, U2, Led Zeppelin, Hater, Tom Petty, Eric Clapton, The Beatles, Green River, Brad, Pete Yorn, Mad Season, Neil Young, Supersuckers, Heart, Three Fish, Steve Turner, The Verve Pipe, Ramones, Buzzcocks, The Rolling Stones, Bruce Springsteen, Sonic Youth or The Who you will love this record.

[spideytorchbigbang]

2017 Second Claims

Due to interest and the number of artist sign-ups, we’ve decided to open a second round of claims for the 2017 Spideytorch Big Bang. If you were unable to claim to a story in the first round, or you simply want to claim another, please e-mail spideytorchbb@gmail.com with your pick!

Summaries repeated under the cut:

JAILBREAK

Universe: AU [616-based] Rating: M Warnings: college rejection/dropouts, morally grey decisions, breaking and entering, involving a teenager in illegal things, dubious consent due to alcohol (not painted in a good light), manipulation, sexual regret, mentions of canon compliant character death, shady and illegal government organizations, prison Summary: When Johnny Storm is fourteen years old, Reed Richards and Ben Grimm move next door. Due to his sister’s strange attraction to them, and his intense love for his sister, Johnny finds himself sucked further into their world, until one night Reed decides to steal a spaceship and bam – along come the Fantastic Four. At first, the F4 are heroes, but they soon take a menacing turn, and it takes a chance run-in with Spider-Man, the new kid on the block, to remind Johnny that he can be a hero again. But when things take a turn for the worse, Johnny is left alone in a world of heroes, desperately fighting to find his family (and maybe even himself). Or: the Fantastic Four are well-meaning but evil, SHIELD is generally shady, Johnny kisses boys he shouldn’t, Peter Parker has a hot girlfriend and a motorcycle, and Spider-Man is always in Johnny Storm’s corner. 

FAMILY

Universe: 616, but current canon is more of a suggestion than anything Rating: Mature Warnings: Kidfic (but not mpreg), Peter Parker’s Poor Decision Making Skills, Tentacles, Implied Foggy Nelson/Matt Murdock/ Kirsten McDuffie , HEAVILY Implied Venom Symbiote/Flash Thompson Harry Osborn/Flash Thompson and Venom/Harry/Flash, child illness, Johnny Is Shirtless All The Time Because Reasons Summary:   Peter always thought he’d have more of a say over when he had a kid, that it would be something decided between him and his hypothetical lover some time down the line. But between his board of directors insinuating that the public doesn’t trust a single and child-free CEO, and a rather insistent alien queen wanting him as some kind of stud male to save her people,  Peter’s ‘someday maybe’ plan has ended up becoming 'no time like the present’ when said alien queen gifts Peter with an egg. Inside? A baby made up of his and Johnny Storm’s DNA, because name dropping Johnny Storm to get out of hot water was never a good idea. In the face of Johnny’s depression over his still missing family, Peter decides that Johnny could never know the baby was his, too. Instead, Peter invites Johnny to live with him as the baby’s nanny, because living with the guy you have over a decade and a half of repressed romantic feelings for and raising your daughter together under false pretenses is a plan that can’t possibly back fire. Good Job, Pete.

WOLF

Universe: MTV-Teen-Wolf-inspired AU Rating: Mature Warnings: secondary characters’ deaths including a police shooting scene, bullying incidents, scenes with Peter in chains, mild horror content (a wild werewolf chasing and threatening Peter), expletives (swearwords), animalistic characteristics of Peter in some scenes, shapeshifting into a werewolf, violent incidents, some scenes are heavily influenced by the Teen Wolf series Summary: When Peter gets dragged by Gwen into the Central Park in the middle of the night to look for a body he doesn’t expect to be bitten by a werewolf (it’s not like they exist, right?), but that’s exactly what happens. His life takes rapid turn, he’s lost his uncle, a crazed killer alpha werewolf is trying to get to him, and he can’t even control his own body. To make the matters worse the fate seems to like playing with him as it turns out that the only person who can calm him down is none other than Johnny Storm, a self-absorbed cheerleader who seems to embody everything that Peter hates. But maybe being a werewolf won’t be as bad as Peter thought…

SPIDER

Universe: AU Rating: M Warnings: violence, drug addiction as a minor plot point (Harry Osborn), alcoholic parental figure/legal guardian, a lot of bruises and visible physical injuries on Peter, one usage of a homophobic slur, one usage of a racial slur, heavily implied child abuse (and child abuse is discussed), very minor Peter/Flash is sort of there technically, perceived relationship between an adult and a minor, keep your eyes wide open and you’ll still probably miss it but it’s definitely in there reference to canonical childhood sexual abuse, a brief Spanish language conversation that while is not google translate bad I also am not very strong at Spanish, and I think that about covers it Summary: Possibly the worst part of being a superhero was dealing with villains such as the notorious and mysterious Spider. But Johnny has bigger problems to deal with. His girlfriend just left him for some twerp named Peter Parker. He meets the kid and he sort of gets the appeal. Oh god, no. Of course Parker has no clue what Johnny’s talking about when Johnny calls him out for stealing his girlfriend. The Spider has nothing on this sort of terror. Or: AU where Peter Parker chose to be a super villain instead. Featuring Johnny not knowing jack about Les Mis, Snitch the teddy bear, the magic of criminal profiling, “Dorrie Evans? Isn’t she gay?”, and a completely made up super villain origin story.

Additional Information from the author: In this fic Johnny and Peter are both Latino. To be more specific Johnny is Mexican and Peter is Puerto Rican. I felt that was something an artist should be aware of going in.

MULTIVERSE

Universe: Main Universe: 616, Guest Universes: Fant4stic, World’s Greatest Heroes, an original universe or two Rating: T or M Warnings: A character dealing with intense grief over an AU character’s death Summary: Johnny’s been hopelessly in love with Peter almost as long as he’s known him, but he’s never told Peter how he feels. During his lengthy stint in a Negative Zone prison, he promised himself that he’d finally tell Peter the truth if he ever sees him again. He’s been back a few weeks, but he still hasn’t been able to work up the courage. When he and Peter step through the Inhuman Eldrac, a magic door, he and Peter are jointly sent on a trip through the multiverse, where they encounter version after version of themselves, all in different stages of their lives…all of whom are deeply in love. Could Eldrac possibly be trying to tell them something? Featuring mutual pining, angst, babies, weddings, old marrieds, a widower, and tons of Peter being his usual oblivious (and possessive) self.

MORNINGSTAR

Universe: AU Rating: E Warnings: Canon and fairy tale typical violence, references to self-immolation, brief sexual assault (a forced kiss) in an encounter with the villain. The explicit rating is due to consensual sex between Johnny and Peter. Peter is a giant talking spider for part of the fic. Summary: When Johnny makes a deal with the monster that lives in the woods – himself for his sister’s happiness – he doesn’t expect the giant spider to take him to a beautiful castle, or to reveal himself a cursed prince. There’s only one catch: he’s only a man in the darkest night, and Johnny can never see his face. Still, they grow closer, and Johnny is happy with their strange arrangement – until a visit home ruins everything. Now he must travel east of the sun and west of the moon to reclaim Peter from the Goblin King. An East of the Sun, West of the Moon/Polar Bear King-inspired AU.

BARK

Universe: no clear universe, it’s a mashup (character-wise, I follow Andrew Garfield’s Peter Parker pretty closely, but Johnny is also a bit of a mashup based on how I see him) Rating: Teen Warnings: canon-typical violence, kissing, injuries, brief nakedness (when Johnny gets turned back to human), Johnny is a literal dog for most of the fic, underage drinking (Johnny is nineteen), cursing (including at least three uses of the f-bomb), animal violence and abuse (dog fighting ring), non-consensual drugging (chloroforming Johnny while he’s in dog-form) Summary: A witch turns Johnny into a yellow lab, effectively leaving him in the middle of New York City with four paws, no way to communicate, and oh yeah - a dog that can flame on isn’t exactly inconspicuous. All his instincts scream for him to run home, but to his confusion, his paws aren’t leading him to the Baxter Building. Aka Johnny Storm turns up at a run down apartment near Empire State University only to discover that the apartment belongs to one Peter Parker. Only problem is, Johnny doesn’t know that Peter is Spider-Man, and Peter doesn’t know that Johnny is a dog.

CIVILIAN

Universe: AU Rating: Teen Warnings: canon-typical violence, identity porn Summary: Peter Parker meets and starts dating Johnny Storm of the Fantastic Four, which is unusual, as Johnny is a super-human super-star and Peter is…not. Competing with an adoring public and the frustration of being stuck on the ground while Johnny is up in the sky makes Peter wonder if he fits in with Johnny’s spectacular life. Then he gets a bite from a certain spider and becomes Spider-Man! Problem solved, right? The only issue: Johnny hates Spider-Man. Misunderstandings and hilarity ensue.

This post will remain up until the 20th or until all summaries have been claimed a second time.

[spideytorchbigbang]

Art Claims Big Bang 2017

Welcome to the artist claims for the Spideytorch Big Bang! We have eight fantastic fics up for claiming! A big round of applause to all of our authors – you’re all spectacular.

Please read the summaries carefully and when you’ve selected your top picks, send an e-mail to spideytorchbb@gmail.com with the e-mail address and tumblr username you signed up with along with your first, second, and third pick. When you’ve successfully claimed a fic, you’ll be put in contact with your author.

Claimed summaries will be crossed out, so keep an eye on this post. We may be opening for double claims this year once all fics have been claimed. Thank you!

JAILBREAK

Universe: AU [616-based] Rating: M Warnings: college rejection/dropouts, morally grey decisions, breaking and entering, involving a teenager in illegal things, dubious consent due to alcohol (not painted in a good light), manipulation, sexual regret, mentions of canon compliant character death, shady and illegal government organizations, prison Summary: When Johnny Storm is fourteen years old, Reed Richards and Ben Grimm move next door. Due to his sister's strange attraction to them, and his intense love for his sister, Johnny finds himself sucked further into their world, until one night Reed decides to steal a spaceship and bam -- along come the Fantastic Four. At first, the F4 are heroes, but they soon take a menacing turn, and it takes a chance run-in with Spider-Man, the new kid on the block, to remind Johnny that he can be a hero again. But when things take a turn for the worse, Johnny is left alone in a world of heroes, desperately fighting to find his family (and maybe even himself). Or: the Fantastic Four are well-meaning but evil, SHIELD is generally shady, Johnny kisses boys he shouldn't, Peter Parker has a hot girlfriend and a motorcycle, and Spider-Man is always in Johnny Storm's corner.

FAMILY

Universe: 616, but current canon is more of a suggestion than anything Rating: Mature Warnings: Kidfic (but not mpreg), Peter Parker's Poor Decision Making Skills, Tentacles, Implied Foggy Nelson/Matt Murdock/ Kirsten McDuffie , HEAVILY Implied Venom Symbiote/Flash Thompson Harry Osborn/Flash Thompson and Venom/Harry/Flash, child illness, Johnny Is Shirtless All The Time Because Reasons Summary:   Peter always thought he'd have more of a say over when he had a kid, that it would be something decided between him and his hypothetical lover some time down the line. But between his board of directors insinuating that the public doesn't trust a single and child-free CEO, and a rather insistent alien queen wanting him as some kind of stud male to save her people,  Peter's 'someday maybe' plan has ended up becoming 'no time like the present' when said alien queen gifts Peter with an egg. Inside? A baby made up of his and Johnny Storm's DNA, because name dropping Johnny Storm to get out of hot water was never a good idea. In the face of Johnny's depression over his still missing family, Peter decides that Johnny could never know the baby was his, too. Instead, Peter invites Johnny to live with him as the baby's nanny, because living with the guy you have over a decade and a half of repressed romantic feelings for and raising your daughter together under false pretenses is a plan that can't possibly back fire.

Good Job, Pete.

WOLF

Universe: MTV-Teen-Wolf-inspired AU Rating: Mature Warnings: secondary characters’ deaths including a police shooting scene, bullying incidents, scenes with Peter in chains, mild horror content (a wild werewolf chasing and threatening Peter), expletives (swearwords), animalistic characteristics of Peter in some scenes, shapeshifting into a werewolf, violent incidents, some scenes are heavily influenced by the Teen Wolf series Summary: When Peter gets dragged by Gwen into the Central Park in the middle of the night to look for a body he doesn’t expect to be bitten by a werewolf (it’s not like they exist, right?), but that’s exactly what happens. His life takes rapid turn, he’s lost his uncle, a crazed killer alpha werewolf is trying to get to him, and he can’t even control his own body. To make the matters worse the fate seems to like playing with him as it turns out that the only person who can calm him down is none other than Johnny Storm, a self-absorbed cheerleader who seems to embody everything that Peter hates. But maybe being a werewolf won't be as bad as Peter thought...

SPIDER

Universe: AU Rating: M Warnings: violence, drug addiction as a minor plot point (Harry Osborn), alcoholic parental figure/legal guardian, a lot of bruises and visible physical injuries on Peter, one usage of a homophobic slur, one usage of a racial slur, heavily implied child abuse (and child abuse is discussed), very minor Peter/Flash is sort of there technically, perceived relationship between an adult and a minor, keep your eyes wide open and you'll still probably miss it but it's definitely in there reference to canonical childhood sexual abuse, a brief Spanish language conversation that while is not google translate bad I also am not very strong at Spanish, and I think that about covers it Summary:  Possibly the worst part of being a superhero was dealing with villains such as the notorious and mysterious Spider. But Johnny has bigger problems to deal with. His girlfriend just left him for some twerp named Peter Parker. He meets the kid and he sort of gets the appeal. Oh god, no. Of course Parker has no clue what Johnny's talking about when Johnny calls him out for stealing his girlfriend. The Spider has nothing on this sort of terror. Or: AU where Peter Parker chose to be a super villain instead. Featuring Johnny not knowing jack about Les Mis, Snitch the teddy bear, the magic of criminal profiling, "Dorrie Evans? Isn't she gay?", and a completely made up super villain origin story.

Additional Information from the author: In this fic Johnny and Peter are both Latino. To be more specific Johnny is Mexican and Peter is Puerto Rican. I felt that was something an artist should be aware of going in.

MULTIVERSE

Universe: Main Universe: 616, Guest Universes: Fant4stic, World’s Greatest Heroes, an original universe or two Rating: T or M Warnings: A character dealing with intense grief over an AU character’s death Summary: Johnny’s been hopelessly in love with Peter almost as long as he’s known him, but he’s never told Peter how he feels. During his lengthy stint in a Negative Zone prison, he promised himself that he’d finally tell Peter the truth if he ever sees him again. He’s been back a few weeks, but he still hasn’t been able to work up the courage. When he and Peter step through the Inhuman Eldrac, a magic door, he and Peter are jointly sent on a trip through the multiverse, where they encounter version after version of themselves, all in different stages of their lives…all of whom are deeply in love. Could Eldrac possibly be trying to tell them something? Featuring mutual pining, angst, babies, weddings, old marrieds, a widower, and tons of Peter being his usual oblivious (and possessive) self.

MORNINGSTAR

Universe: AU Rating: E Warnings: Canon and fairy tale typical violence, references to self-immolation, brief sexual assault (a forced kiss) in an encounter with the villain. The explicit rating is due to consensual sex between Johnny and Peter. Peter is a giant talking spider for part of the fic. Summary: When Johnny makes a deal with the monster that lives in the woods -- himself for his sister’s happiness -- he doesn’t expect the giant spider to take him to a beautiful castle, or to reveal himself a cursed prince. There’s only one catch: he’s only a man in the darkest night, and Johnny can never see his face. Still, they grow closer, and Johnny is happy with their strange arrangement -- until a visit home ruins everything. Now he must travel east of the sun and west of the moon to reclaim Peter from the Goblin King. An East of the Sun, West of the Moon/Polar Bear King-inspired AU.

BARK

Universe: no clear universe, it’s a mashup (character-wise, I follow Andrew Garfield’s Peter Parker pretty closely, but Johnny is also a bit of a mashup based on how I see him) Rating: Teen Warnings: canon-typical violence, kissing, injuries, brief nakedness (when Johnny gets turned back to human), Johnny is a literal dog for most of the fic, underage drinking (Johnny is nineteen), cursing (including at least three uses of the f-bomb), animal violence and abuse (dog fighting ring), non-consensual drugging (chloroforming Johnny while he’s in dog-form) Summary:  A witch turns Johnny into a yellow lab, effectively leaving him in the middle of New York City with four paws, no way to communicate, and oh yeah - a dog that can flame on isn’t exactly inconspicuous. All his instincts scream for him to run home, but to his confusion, his paws aren’t leading him to the Baxter Building. Aka Johnny Storm turns up at a run down apartment near Empire State University only to discover that the apartment belongs to one Peter Parker. Only problem is, Johnny doesn’t know that Peter is Spider-Man, and Peter doesn’t know that Johnny is a dog.

CIVILIAN

Universe: AU Rating: Teen Warnings: canon-typical violence, identity porn Summary:  Peter Parker meets and starts dating Johnny Storm of the Fantastic Four, which is unusual, as Johnny is a super-human super-star and Peter is...not. Competing with an adoring public and the frustration of being stuck on the ground while Johnny is up in the sky makes Peter wonder if he fits in with Johnny's spectacular life. Then he gets a bite from a certain spider and becomes Spider-Man! Problem solved, right? The only issue: Johnny hates Spider-Man. Misunderstandings and hilarity ensue.

ALL CLAIMED for now, but watch this space...