#yes another story coming

[silenzahra]

I just want to let you all know that I wrote yet another thing today... and it shall be out in a few days to celebrate the first anniversary of a certain game 🤭 I'll just leave three emojis below and then leave for now (might be back later though).

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❤️🫧🩷

Any guesses? 🤭

Also, before I go, thank you so much to those of you who commented on AO3 on my latest story!! I'll get back at y'all as soon as I can 🥰 And thank you as well to the ones who supported it here on Tumblr of course!! I deeply and sincerely appreciate your support 🫂💖💖

See ya later! 🥰👋🏻💖

[zu-is-here]

A young actor ends up on the street following a family dispute. In a bid to avoid publicity, he finds shelter with an older co-star, and this play without a script opens up new roles for them.

[aroaceleovaldez]

Mark Oshiro confuses me a little bit not going to lie. In the press tour for the first book all they ever talked about was how Nico is their son and Will is fine I guess. Then they said like 2 weeks before TSATS came out that they didn't understand Will's character at all and it's one of the main reasons why Will has so little POV.

Possibly unpopular opinion but I don't think it's a good, encouraging sign when the writer admits to not really caring about the deuteragonist or not even having a sense of how to write them...

Yeah, no. If you have no interest in 1/2 of the POV characters of your book, you REALLY shouldn't be writing it (or at least, not have that be a main character). Especially when the main way TSATS could have been improved is if it was primarily Will-centric instead of Nico-centric. Will basically had next to no established character prior to TSATS! He was practically a blank slate! But all the new stuff we got for Will in TSATS was so clearly disinterested and had no regard for his previously established traits (or the established timeline/canon). Which is annoying because fleshing out Will would have been the PERFECT opportunity to actually incorporate a lot of the topics that Mark Oshiro specializes in as a sensitivity reader, which was the ENTIRE REASON THEY WERE BROUGHT ON AS A CO-AUTHOR!!!!

As TSATS stands, there is no reason for Mark Oshiro specifically to have been the co-author instead of someone else. It's so clearly just a PR move from RR following the huge backlash Rick received due to his response to criticism on how he wrote Piper and Samirah (and Reyna and etc etc). This was immediately following Rick saying he wasn't going to write what would become TSATS because "it [wasn't his] place to." Most of the topics that Mark Oshiro specializes in either weren't relevant at all to TSATS or written very poorly (to downright offensively) in TSATS, so either Mark Oshiro wasn't doing their job or was not able to do their job for some reason, but either way it basically makes the theoretical justification for Mark Oshiro being the co-author/sensitivity reader irrelevant.

With Will, it was HUGE fanon back in the day for him to be trans. Trans!Will and photokinesis!Will were basically the two biggest headcanons for him (both largely popularized by Cherryandsisters). We know Rick is aware of this old fanon because he canonized photokinesis!Will. If we had gotten trans!Will, that would have been great! And then made sense why we specifically got a trans co-author! (Instead, if anything, TSATS canonized Will being cis.) If we had gotten Will being latino, that would have been amazing!!!! And also then made sense as to why they chose Mark Oshiro for the job as a latinx author/sensitivity-reader, versus potentially choosing an Italian co-author since Nico being Italian/Venetian was emphasized so much in the book (and done poorly! Yknow what they could have done to fix that? GOTTEN A SENSITIVITY READER FOR IT)! Based on the themes and focuses actually present in the book, it would have been most logical to get a queer, neurodivergent, Italian co-author or sensitivity reader who specializes in those three topics at least. But we didn't! So why was Mark Oshiro chosen instead when they only specialize in one of those topics? PR reasons. It's blatantly entirely PR reasons and no actual thought or care was put into this book (or, likely, TSATS 2 either).

It doesn't help that we're also actively being told that the published version of TSATS was a rough draft. Or that their editor blatantly isn't doing her job. Or that "The Sun And The Star" was the working title that they just kept cause they didn't bother to make an actual title. And that the final version is full of explicitly last-minute scenes that weren't checked over at all (the final Bianca scene, for one). Or the ACTIVELY ADMITTING TO SOURCING IDEAS AND INFORMATION FROM FANS! That last one is kind of important because at this level of publishing that is a HUGE no-no for legal reasons. You can get into a lot of trouble for that and there is a reason why it is Ye Olde Fandom Law to never try to pitch your ideas or headcanons to the source creator(s) and keep fandom separate from the creators. There is a REASON why Rick Riordan is so distant from the community these days and it's for PROTECTION AGAINST LEGAL REPERCUSSION. Mark Oshiro being the exact opposite while also ACTIVELY ACKNOWLEDGING sourcing concepts from fans does not bode well! It has to do with copyright stuff.

It's just. So. Sighhhhhhhh >->o <- me lying on the floor about all of this. It's sad being able to see the glimmer of what could have been at the very least a decent book underneath all this. If anyone involved in the process had actually cared just the tiniest amount.

[wtftaylr]

babe wake up i have 37 gold bars and a long fucking story,

[solitary-bones]

so dndads live show St Paul! idk how much of this is a spoiler for anyone else going to shows so I'ma cut here!

we had!

- so many gay people in the audience that as I was walking in to the venue I said to my friend damn this is like a pride parade and a bunch of gay people in front of me were like TRUEE

- a live performance of both! dead and gone and rocks rock! it was so incredible. Beth and Will both POPPED OFFF!!!!!! they were so cool oh my god. and Freddie fucking shredded it on the electric guitar it was so sick.

- silly St Paul themed dad facts plus Ron just uhh thinking all manual labor is called a hand job.

- the people royally fucking up the dice roll (not my fault I was in the balcony I cannot be held responsible)

- the people absolutely manifesting the complete improv prompt as the live show topic. and all of the cast going into mourning over it (will fell to his knees on the stage so dramatically it was so funny)

- the cast deciding to do a DND game with their characters! Starring: Will Campos as Henry oak as Mr Chris (later Dr Chris), by the book health inspector! Matt Arnold as Darryl Wilson as Darryl, ex football quarterback now accomplished priest searching to remember all 10 commandments! Beth may as Ron stampler as Nor Relpmats, doctor (the best health inspector of them all)! and Freddie Wong as Glenn Close as Glenn The Closer, weed enjoyer moonlighting as a health inspector relying on his gut! Anthony Burch as Patrick as Patrick the shit (among other characters)!

- the audience not being able to stop being horny when giving suggestions for what their location, bad guy, and theme were gonna be (bdsm dungeon, just a guy from the audience named Patrick, and a 10 commandments dildo)

- an abundance of flashbacks and one single flashforward

- butt spanking competition to get past the second door (it is a bdsm castle ig)

-mr Chris tests to see if the floor has been cleaned recently and thinks it hasn't. Glenn the closers gut says it's fine but Mr Chris says if he tastes some of what's on the ground he'll be able to tell better. Glenn the Closer bites his fingers and Mr Chris is into it.

- Mr Chris finding a dead cockroach on the ground and revives it using CPR and mouth to mouth (Anthony is the cockroach and also when will tried to fake the mouth to mouth yelled DO IT PUSSY so yeah they actually kissed like twice at least) and revived it to ask about the cleanliness of the floor and found it not very.

- none other than paeden bennets on the second level, who Darryl proceeded to obliterate with a holy football. I'm not lying (not before asking how Patrick the DM knew about their friend Paeden who was long dead and us getting a lively npc on npc scene by Anthony of Patrick meeting Paeden and getting punched in the balls and saying "I'll never forget you")

- Test by the health inspectors to see if the blood of paeden would get cleaned up. all of the soots from spirited away came in with little mops to clean it and cleaned all the party. Glenn rolled to see if he's into it and got a 9 but the crowd gave inspiration and he got a 6, which is 69 so he was and wanted to stay there forever with the soots. Henry as Mr Chris used his persuasion to get Glenn the closer to leave the soots by saying that whatever they're doing he could do it better. because apparently they're ex lovers now. (Anthony yelled something about Will wanting to kiss another boy)

- Flashback reveals that they were highschool sweethearts but were going to health inspection schools on opposite sides of the US and were talking about how their relationship would progress from there when Mr Chris' secret lover barges in and informs them that they're pregnant and he's the father! Glenn the Closer gets upset and asks what happened and Mr Chris proceeds to another, extremely graphic, flashback where Ron the doctor commentates the uhhh conceiving of said child. and Glenn is understandably upset at the graphicness of this explanation about being cheated on. They end with bitter words, stating they're now nemesis in health inspection.

- Nor asks Mr Chris how long it's been since he saw his son Patrick. (not since birth lmao)

- they go up to the final level, find Patrick using the commandment dildo, on the 8th one I think, and upon seeing his absent father run in and ask "are ya winning, son!?"gets extremely turned off. he understandably asks what he's doing there after being absent his whole life. Mr Chris explains that he's finally ready to be back in his life, with his husband Glenn the closer, and his newfound belief in Christianity from Darryl the priest who's really good at football.

- Flashforward to Mr Chris and Glenn the Closer living together and apparently "they're bougie enough to have their own priest" so Darryl lives with them too. Nor comes to visit and we see the commandment dildo hanging above the mantle.

and that's that on that.

[bridgeportbritt]

Over the Phone | Selvadorada and SimDonia

Bria: Hi, Sweetheart. How'd it go?

Gianni sighs: It went well, I think. I just spoke the truth.

Bria: Well, that's good. That's all you can do, honey. I'm proud of you for even agreeing to do it.

Gianni: Thanks. If it wasn't for Grayson, I probably wouldn't have. Man's all about closure.

Bria: Yeah. He's right, though. Hopefully, this will help you move on from all the crap your dad caused.

Gianni: Yeah, I think it will. At least for most of us. Guy didn't show up to the funeral.

Bria: Really? Hmm. Well, I wouldn't worry too much about it. You all will deal with this in your own way.

Gianni: Yeah, you're right. I plan on inviting him back to the rental. Just to make sure he's alright.

Bria: That's a great idea, honey. He's lucky to have you as a brother.

Gianni: Well, I don't want to keep you. I'm sure you've got a busy day.

Bria: Yeah... certainly an interesting day. Alright, I'll talk to you later, honey. Tell everyone I said hi.

[brynn-lear]

Case File: Missing Person Investigation

Victim:  (Y/n) (L/n)  

Date reported missing: 04/20/2024  

Reported by: Jelena "Topaz" ███████, close friend.  

Circumstances: Suddenly went missing before reaching the airport, hasn't left the country. Missing for more than 72 hours when authorities were notified.

Possible Motive/s:  

- Unknown.

Victim's Background:  

- An overseas immigrant worker from ██████, registered Penacony citizen for 3 years.  

- Full fledged human, no remarkable hybrid bloodline.  

- Moved near Clockie Memorial, Penacony City to start the Dreamjolt Cafe. The cafe is heavily supported and funded by retired famous actress, Siobhan.

Possible Suspects:

1. Gallagher  

   - Description: Victim's flatmate, canine hybrid, possibly a former bloodhound detective.  

   - Relationship: Lives in the same apartment with the victim. Home is located besides the cafe.  

   - Circumstances: Unlikely to leave shared home to kidnap or attack (Y/n) due to surveillance footage.  

   - Suspicions: Suspicions were raised by Jelena but her accounts are shaky and not conclusive.

2. Sunday  

   - Description: Penacony senator.  

   - Relationship: Alleged arguments with the victim regarding cafe spot.  

   - Motive: Possibly interested in victim's cafe spot for the capital's town hall extension.  

   - Denial: Claims cordial and friendly relationship with (Y/n).

Relevant Information from Witness: Ms. Robin:  

- Sunday's Visits: Contradictory statements regarding visits to the cafe near closing time. Sunday often happily remarks prior to (Y/n)’s disappearance that he fondly enjoys listening to them talk. Close friends and regulars corroborate the opposite as he had “never visited the cafe at night.”

- Gallagher's Popularity: Adored by customers, the victim often jokes about him replacing them as owner/barista when they retire. Gallagher declines all their proposals. 

- Relationship Status via Prof. Ratio: Victim is “not dating anyone, not looking to date”. Prof. Ratio was very adamant that they were not lovers with Gallagher or Sunday.

- Sunday's Opinion On The Victim: [Audio file attached]

“I'm not sure why you're suspecting me, Robin. Even though (Y/n) thinks little of me, I enjoy their company very much. I have never met someone who has passionately disliked me as much as they do. I wouldn't want to start missing that voice.”

- Family Bond via Kakavasha: Victim has strong bond with family, unlikely to elope. As the family's “breadwinner”, there is pressure for them to send financial assistance.

- Digital Disappearance: All of the victim’s accounts are offline, unreachable by phone.  The Cyber Investigations Division has yet to find their cell's last known location. Investigator “SW” is assigned to this case.

- Rumors of human trafficking: Word is spreading that there has been a series of other missing people in the area. Some claim a mafia is involved.

- Rumors of rigged election: Mr. McCoy has been implicated in the ████ elections for his role of (allegedly) manipulating the vote count in Penacony City to favor Senator Sunday.

My personal notes:  

04/20/2024: The investigation is ongoing with focus on Gallagher and Sunday as potential suspects. Further inquiries and evidence collection required to determine the whereabouts of (Y/n) (L/n).

They removed me from the fudging case and now I can't do any flipping poop about it. Hecking suspicious that they're so tight-lipped  about some cafe owner's disappearance. Ain't no way something political ain't involved here. They won't let just anyone in. They even have the audacity to get Agents Kafka and Yingxing to look for em. Robin thinks Sunday has something to do with it and now the little bird thinks about partnering up with me. I can't shake her off. Annoying, but I don't want to just do paperwork. Gotta do some legwork for fun.

04/21/24: Gallagher looks like he's genuinely confused by what's happenin. But as an ex-cop (?), he's doing a darn commendable Watchmaker Award worthy job of hiding it. Ya'd think he'd be very aggressive, but the old dog's warming up. Slightly. Dunno. He's being kind of a son of a nice lady about this and I have a stinkin' feeling he's going to try and investigate this matter on his own.

04/21/24: Robin isn't feeling well. I wonder why?

Chapters

1) The First Meeting

[apparitionism]

Bonus 4

First, a PSA: If you are eligible to vote in next week’s US election, please VOTE FOR HARRIS as well as every other Democratic candidate on the ballot, and do what you can to persuade as many other people as you can to do the same. I assume anyone who bothers to read my writing is smart enough to understand why that’s necessary—and why engaging in any sort of protest-vote or sit-this-one-out charade is counter to the interests of most living breathing people at this point in history.

Anyway. Here I offer the final part of last year’s Christmas story... again and as usual, where were we? I recommend the intro to part 1 for where we are, canon-wise (S4, essentially, but diverging); beyond that, Myka has just returned to the Warehouse after a holiday retrieval in Cleveland (Pete, in town visiting his family, was tangentially involved), where Helena, whom Myka hadn’t seen since the Warehouse didn’t explode, served as her backup—a situation facilitated by Claudia as something of a Christmas bonus. Post-retrieval, Helena and Myka shared a meal at a restaurant; this was a new experience that went quite well until, alas, Helena was instructed (by powers higher than Claudia) to leave. Thus Myka returned home, both buoyed and bereft... and here the tale resumes. I mentioned part 1, but for the full scraping of Myka’s soul, see part 2 and part 3 as well.

Bonus 4

Late on Christmas Day, Myka is heading to the kitchen for a warm and, preferably, spiked beverage, intending to curl up with that and a book—well, maybe a book; a restless scanning of her shelves had left her drained and decisionless, hence the need for a resetting, and settling, beverage—and to convince herself to appreciate the peace of these waning Christmas hours. She peeks into the living room, just to assess the wider situation, and regards a sofa-draped Pete. He returned from Ohio barely an hour ago, which Myka knows because she had heard Claudia exclaim over his arrival. Then things had gone quiet.

Now, he appears to be napping.

Myka tries to slink away.

“Claud mentioned about your backup,” he says as soon as her back is turned, startling her and proving she’s a terrible slinker. Small favors, though: at least she hadn’t already had her beverage in hand and so isn’t wearing it now. “That had to be weird,” he goes on, sitting up.

She’s been wondering whether the topic would come up, whenever they happened to get beyond how-was-your-trip pleasantries... she entertains herself for a moment with the idea of referring to Helena, specifically with Pete, as “the topic.” So she tries it: “‘Weird’ does not begin to describe the topic.” It is entertaining, as a little secret-layers-of-meaning sneak. But there’s yet more entertainment in the offing, with its own secret layers: “Incidentally, speaking of weird—which I’m sure was also mentioned—I met your cousin. Thanks for giving her an artifact. Very Christmas of you.”

He rounds his spine into the sofa like he’s trying to back his way through the upholstery and escape. “Don’t be mad. I didn’t mean to. I didn’t know it was an artifact.”

Myka is tempted to keep him guessing about her feelings, but she doesn’t really have the energy; she gives up on entertainment and tells the truth: “I’m not mad. I’m serious: thank you.”

“I think you’re trying to trick me,” he skeptics. “Soften me up for something. But if that’s for real, then you should thank my mom more than me.”

Pete’s mother. The extent of Jane Lattimer’s role in Myka’s life is... surprising. Then again the extent of her role in Pete’s life has turned out to be surprising too, and that’s probably a bigger deal, all things considered.

Pete goes on, “Because I was gonna blame her, but should I give her props instead? It was her idea to give the little feather guy to Nancy, because of how after I got it I saw that it’d probably PTSD you.”

“I appreciate the seeing, but... wait. After you got it. How’d you get it in the first place?”

“I was in this antique store,” Pete says.

As if that explains everything—when in fact it explains nothing. In further fact, it unexplains. “Why were you in an antique store? According to you, you hated those even before the Warehouse turned them into artifact arcades.”

“Mom was picking something up there, and this guy showed it to me.”

“Your mom, this guy...” Myka is now beyond suspicious. “What did this guy look like?” A pointless question. As if knowing that could help her... as if anything could really help her. This is madness. “Fine. It doesn’t matter what he looked like, because I’m stopping here. I can’t keep doing this. For my sanity, I can’t.”

“Keep doing what?”

“Tracing it back. You win. You all win.”

“Do we? Doesn’t feel like it. And that doesn’t seem like a reason you’d be thanking me.”

“No. That isn’t. But as of now I’m trying to keep myself from focusing on... let’s call it the causal chain.”

“I’d rather focus on the popcorn chain.” He points to the strands that loop the Christmas tree.

They are the tree’s only adornment. Every prior holiday season of Myka’s Warehouse association, Leena has decorated the B&B unto a traditional-Christmas Platonic ideal; this year, in her absence, Myka, Steve, and Claudia, trying to replicate that, had purchased a tree. And transported it home. And situated it near to plumb in the tree stand, which was an exhausting exercise in what they earnestly assured each other was complicated physics but was really just physical incompetence.

They had then settled in to do the actual decorating, starting with popcorn strings... but once they’d finished those, they were indeed finished, pathetically drained of holiday effort. And they’d succeeded in that initial (and sadly final) project only because, as they’d all agreed once they’d strung the popcorn, Pete hadn’t been there to shovel the bulk of their also-pathetic popping efforts into his mouth.

“Take them down, slurp them up like spaghetti if you want,” Myka says now. “Christmas is pretty much over.” The statement—its truth—makes her stew. At Pete? But the situation isn’t ultimately his fault, no matter what part he played. And why is she so set on assigning, or marinating in, this vague blame anyway? She got something she wanted: time with Helena. It didn’t work out as perfectly as she’d wished it would, but she got it.

She tries to resettle: her heart to remembrance, her brain to appreciation.

The doorbell rings, its old-fashioned rounded bing-bong resounding from foyer to living room and beyond, bouncing heavily against every surface. Myka lets the vibrations push her toward the kitchen; she’s had enough of interaction for now. Her beverage and book, whichever one will provide some right refuge, await. As do remembrance and appreciation.

She hears Pete sigh and the sofa creak; he must have shoved himself from it in order to lurch to the foyer. A minute later, he yells, “Guess what! Christmas might not be over!”

Still kitchen-focused, Myka yells back, “If that’s not Santa himself, you’re wrong!”

“Never heard of that being one of her things!” Pete shouts, even louder.

“Quit shouting!” Myka bellows, so loud that she drowns out her own initial registering of what he’s said, which then starts to resonate in her head, a stimulating hum that resolves into meaning... her things? Her things... Myka’s torso initiates a turn; her body knows what’s happening, even if her brain—

“Hey, H.G.,” Pete says, and now every part of Myka knows.

Except her eyes, but once she moves to the foyer to stand behind Pete, they know too: There Helena is. Her body. Embodied. The illumination of her, in the foyer semi-dark... her bright eyes catching Myka’s, warming to the catch... oh, this.

Seeing the sight—greeting, once again, her perfect match—she is struck dumb.

There’s movement behind her, though, and she turns to see Steve and Claudia poking their heads into the space like meerkats—well, no, in South Dakota she should think prairie dogs... but they’re both built more like meerkats than prairie dogs, so she should probably keep thinking meerkats out of... respect? Whatever: they’re animal-alert, heads aswivel, faces alight. It surely signifies something.

Turning back to Helena, trying to get a voice in her mouth, she coughs out, “You’re back? Now? I mean, already? How did you—”

“To quote myself: ‘when I can, I will,’” Helena says, as matter-of-factly as anyone could possibly speak while maintaining intense eye contact with one person, and Myka thanks all gods and firefighters above that she is herself that person. “Now, not forty-eight hours later, I could. Thus I did. I should note that I’m unsure as to why I could, but perhaps it’s a gift horse?” Her focus on Myka does not waver. Pete and the meerkats might as well not exist, and Myka in turn is mesmerized.

“Maybe that’s the horse you rode in on,” Claudia says. Is she trying to break the spell? Myka wishes she wouldn’t... she ideates shushing her, even as Claudia goes on, “But better late than never, Christmas-wise, right?”

“Did you enjoy your additional portion of squash?” Helena asks Myka, ignoring Claudia’s interjection. Her tone is formal, presenting public, but her question is for Myka alone.

“It was very good for my heart,” Myka says. She doesn’t add, though she could, And so was that question.

Helena smiles like she heard both good-fors—like she’s grateful for both—and Myka thinks, for the first time out loud in her head, She feels the same way I do.

It’s... new. Different. Perfect? Not yet, the out-loud-in-her-head voice instructs.

But she can make a move in that direction. “Please put your suitcase in my room,” she says. Out loud, outside her head. Realing it.

“I will,” Helena says. She takes up her case and moves toward the stairs, presumably to real that too.

It renders Myka once again enraptured. She is taking her suitcase to my room. My room. She is.

The first stair-creaks that Helena’s ascent occasions sound, to Myka’s eagerly interpretive ears, approving.

Claudia and Steve don’t even blink. Pete does—well, more the opposite; he widens his eyes in the cartoony way.

But then he turns on his heel, Marine-brusque and not at all cartoony, and exits the space. Myka doesn’t know what to make of that. She’ll most likely have to address the topic—in fact, “the topic”—with him later. Fortunately, later isn’t now.

She does know, however, what to make of Steve and Claudia’s aspect: “I’m sensing some ‘aren’t we clever’ preening,” she accuses.

“We are clever,” Claudia says, dusting off her shoulder. “More Fred. Don’t sweat it.”

Exasperating. “Don’t sweat it? As I understood the situation, Fred was a retrieval and an insanely expensive dinner. Are we doing that again, or is she back for good?”

“She’s back for nice,” Claudia says.

Steve jumps in with, “To answer your question: we’re not a hundred percent sure.”

“See, we made a deal,” Claudia says.

“With whom?” Myka asks.

“Santa?” Claudia says, but without commitment. Myka’s response of an oh-come-on face causes her to huff, “Fine. Pete’s mom and company. And Mrs. F. And even Artie, in absentia.”

“What kind of deal?” Myka asks, because while she can’t dispute the indisputably positive fact that Helena is here, she mistrusts any deal involving Regents. Pete’s mom aside. Or Pete’s mom included: She can’t stop her brain from stirring, stirring once again to life those causal-chain questions: What’s being put in motion this time?

“A kind of deal about which things they’re willing to let us—well, technically Steve—say are nice,” Claudia pronounces, as if that explains everything.

Myka is very tired of proffered explanations that actually unexplain.

Steve says, “Claudia finally found the file on the pen. Seems that Santa’s list, once made, is kind of ridiculously powerful. And it turns out you can put a situation on the list.”

“For example,” Claudia supplies, “H.G. and you. Getting to be in each other’s... proximity.”

Steve adds, “And yours isn’t the only one I put there. That was part of the deal.”

“So you’re letting the pen reward nice situations with... existing,” Myka says. “And are you storing it on some new ‘Don’t Neutralize’ shelf? So nobody accidentally bags the existence out of them?”

Claudia says, “Kinda. At least for a while.”

This all seems deceptively, not to mention dangerously, easy. “But: personal gain, not for,” Myka points out.

“Right,” Steve says. “So here’s a question: what does ‘personal gain’ actually mean? The manual doesn’t have a glossary. So we’re trying to work it out. Let’s say Claud uses an artifact and then makes this utterance: ‘My use of this artifact was not for personal gain.’ And let’s say I assess that utterance as not a lie. The question remains, are the Warehouse and Claud and I agreeing on the definition of ‘personal gain’?”

“The question remains,” Myka echoes, fretting. “And the answer?”

“We’ll see,” Steve says.

It’s destabilizing, but that’s the Warehouse’s fault, not Steve’s. “I just hope the artifact won’t downside you for any disagreement. Because you’re remarkably nonjudgmental, and—”

“With a Liam exception,” Steve notes. “Or several. Ideally, though, the Warehouse and I can work through these things like adults. Unlike me and Liam.”

Myka respects his honesty. And yet: “I’m having a seriously hard time ideating the Warehouse as an adult.”

“We’re working through that too,” Steve concedes.

“You clearly have the patience of a saint.”

Steve chuckles. “Pete’s your partner, right? And in another sense, H.G. might be too?” Myka waves her hands, no-no-too-soon, because suitcases notwithstanding, she has certainly in the past thought she was making a safe all-in bet, only to lose every last copper-coated-zinc penny of her metaphorical money. “No matter what we call anybody,” he continues, “I think you get a lot more patience practice than I do. I’m just dealing with one little Warehouse and its feelings.”

“Aren’t its feelings... unassimilable?” she asks. “Or at least, shouldn’t they be?” It’s a building. Whatever its feelings, they should be talking about it like it’s an alien, not somebody who’s in therapy. Or somebody who should be in therapy.

“Maybe,” Steve says. “Or maybe not. That was part of the deal too, that I would test out how it feels. About personal gain specifically here, eventually maybe more. But if it has a meltdown...”

“Ah. We cancel the test, neutralize the pen, and face the consequences.”

Steve nods. “But ideally, if that happens, we will have leapfrogged whatever the looming Artie-and-Leena crises are. The two of them coming back here safely are the other situations we niced, as part of the deal.”

Claudia adds, “My big fingers-crossed leapfrog is over their stupid administrative ‘keep H.G. away from Myka and everybody else who loves her’ dealy-thingy. We’re hoping they’ll just forget about whatever their dumbass reasons for that were when they see how great it is for her to be back.”

“Dealy-thingy? Have you been talking to Pete?” Myka asks, trying for silly, for light—so as to deflect that “love her” arrow.

“Not about that. But wait, are you saying he loves her too? I mean I figured he was okay with her after the whole Mom-still-alive thing, but his Houdini out of here just now makes me think he’s not quite all the way to—”

“Never mind,” Myka says, as a command.

Claudia squints like she wants to pursue it. Myka crosses her arms against any such idea, in response to which Claudia says, “Fine. Here’s some funsies you’ll like better. Making that list, you’ve gotta have balance. Naughty against the nice.”

“And you think I’ll like that because?”

“I talked to Pete’s cousin, a little pretty-sure-we-don’t-have-to-tesla-you-but-let’s-make-super-sure exit interview. Heard some things about a guy. Bob? Seemed like a good candidate.”

Well. Pete had been right on several levels about Christmas not being over yet. “That’s the best news I’ve had in the past... I don’t know. Five minutes?” Other than the Pete-vs.-“the topic” question, it’s been an absurdly good-news-y several minutes.

Claudia goes on, “Personal gain, what is it? There’s also a warden from that place I don’t like to remember being committed to who’s about to have a Boxing Day that’ll haunt him longer than he’s been haunting me.”

That definitely raises questions—flags, even—about “personal gain” in a definitional sense, but letting all that lie seems the better part of valor, so Myka asks Steve, “Any Liam on there?”

“Too personal to let the Warehouse anywhere near,” he says, but with a smile.

Myka smiles too. “Would that I could say the same about my situation.”

Claudia snickers. “Your situation is Warehouse-dependent. Warehouse-designed. Warehouse-destined.”

“All the more reason said Warehouse shouldn’t object to easing the pressure,” Steve says.

“Are you kidding?” Claudia says. “Its birth certificate reads ‘Ware Stress-Test House.’”

Myka appreciates their positions—Steve’s in particular, even as she internally allows that Claudia’s is probably more accurate—but she would appreciate even more their ceasing to talk about her situation like they’re the ones whose philosophy will determine how, and whether, it succeeds. Or even proceeds.

And she would most appreciate their ceasing to talk about her situation entirely. So that she can go upstairs and be in her situation, because Helena hasn’t come back downstairs, a fact for which Myka’s rapidly overheating libido has provided a similarly overheated reason: she is waiting, up there in the bedroom, for Myka.

Which thought is of course followed by Helena’s preemption of same: she descends the stairs and presents herself in the foyer.

Damn it, Myka’s disappointed libido fumes.

Sacrilege! an overriding executive self chastises, and it isn’t wrong, for again, here Helena is. To fail to appreciate that—ever—is an error of, indeed, biblical, or anti-biblical, proportions.

In any case, now four people are just standing here, awkwardness personified.

Helena flicks her eyes briefly toward Myka—it seems a little offer of “hold on”—then turns to Steve and Claudia. “I didn’t greet either of you directly when I arrived. I apologize. Claudia darling, it warms my heart to see you... and this is of course the famous Steve, whose acquaintance I’m delighted to make at last.”

Striking to witness: Helena has essentially absorbed the awkward into her very body and transmogrified it into formality.

Myka loves her.

“Famous?” Steve echoes, like she’s said “Martian.”

“I’ve heard much of you,” Helena says, with an emphasizing finger-point on “much.”

Steve smiles his I’m-astonished-you’re-not-lying smile, through which he articulates, “Likewise? I mean, likewise, but with more. Obviously.”

Yes, Myka loves her: for her charming self alone, but also for how that charm extends; her sweet attention to Steve has him immediately smitten. Myka’s the one to catch Helena’s gaze now, intending merely to convey gratitude, but to her gratification it stops Helena, causing her to abandon her engagement with Steve.

Maybe she and Myka can stand here and gaze at each other forever. It wouldn’t be everything, but it would be something. Second on second, it is something. It is something.

Claudia interrupts it all, saying to Helena, “Can I hug you?”

Myka doesn’t begrudge the breaking of this spell, particularly not with that; she had been selfish, before, greedy to keep Helena and her eyes all to herself. She also doesn’t begrudge the ease of the hug in which Claudia and Helena engage; getting a hug right is simpler when its purpose is clear. And clearly joyful.

Over Claudia’s shoulder, Myka’s and Helena’s gazes lock yet again, and it’s spectacular.

However: it also seems to introduce a foreign element into the hug, some friction that Claudia must sense, for she disengages and says, “So. I have to go. I just remembered I have an appointment to not be here.”

Steve says, “I feel like I was supposed to remember to meet you there, wasn’t I,” Steve says, and Myka has never been able to predict when he’ll be able to play along instead of blurting “lie” (even if he does often follow such blurts with some version of an apologetic “but I see the social purpose”).

“I don’t think you were,” Claudia says, “because I’m revising the gag; it makes more sense if I just now made an appointment to not be here. So you couldn’t be remembering some nonexistent-before-now appointment.”

“But I still think the appointment ought to be with me, gag-wise and otherwise,” Steve says, doggedly, still playing. “In the first and second place.”

“Is this the first place?” Claudia muses, faux-serious, now rewarding his doggedness. “Is the appointment in the second place?”

They could who’s-in-the-first-place this for days, so Myka intervenes, “In the first place, if this is a gag, it desperately needs workshopping. But in the second place: Scram!”

“You mean to the second place,” Claudia sasses.

Myka scowls, wishing she could growl proficiently.

 Claudia’s eyes widen. “Scramming. Best scrammer,” she says, sans sass, proving the actual growl unnecessary. Interesting.

“Except that’s about to be me with the gold-medal scram,” Steve objects and concurs.

Myka pronounces, “I’ll be the judge of who’s what. Once you actually do it.”

“You’ll award the medals later though, right?” asks Claudia. Her words are jokey, yet her tone is weirdly sincere, as if Myka might forget they had scrammed on her behalf, and that such amnesia would be hurtful.

“Participation trophies,” Myka semi-affirms, “in the form of a healthy breakfast.” She adds, internally, Take the damn hint.

After much winking and nudging, the comedians at last absent themselves, and Myka and Helena are alone.

Unfortunately that doesn’t immediately yield the perfected situation Myka seeks, first and foremost because she doesn’t know what comes next. Take your own damn hint, she tells herself, but... how? They need privacy, and the only reasonable place for that is where Helena’s suitcase rests: upstairs. Myka can’t magic them there, so what incremental movement will be recognizable as an appropriate beginning?

She casts a wish for Helena to ease it all, as she had with Claudia and Steve, but Helena is stock-still, offering no increment. For both of them, upstairs seems to have become a different place... the promised land?

Nothing is promised, she reminds herself. Some things are newly possible, but nothing is promised. Certainly not when the Warehouse is involved.

So maybe the point, probably the point, is that it’s incumbent on Myka and Helena to realize the possibility.

Nevertheless, here they stick.

After a time—most likely shorter than Myka feels it to be—Helena announces, “Pete and I have had a chat.” Her articulation of “chat” shapes it into a synonym for “fight.” “Who won?” Myka asks.

“I believe it was a draw. He opened by saying he ‘didn’t get how far along this thing had got.’” Hearing Pete’s diction in Helena’s mouth is disorienting. “He then said he wants to protect you.”

That’s so Pete. “I don’t need protecting.”

Eyebrow. “I noted that I want to protect you too.”

That thrills Myka. At the same time, she wants to object to it nearly as much as to Pete’s assertion... internal contradictions, what are they? She lands weakly on, “I hope that persuaded him.”

“Pete finds deeds more persuasive than words,” Helena says. “Thus I’m ‘on probation where Myka’s concerned,’ until he determines I won’t damage you.”

That’s so Pete too. But. “That is my determination.”

“I expressed a similar sentiment. He responded, ‘And how’d that go last time?’” Helena’s wince after she says this is awful, and Myka dares to assuage it, stepping toward Helena with open arms, drawing her into an embrace.

This time, their hug—simpler because its purpose is clear—works, bodies soft-querying at the start, then firm, intentional. Not quite catching fire, but this is a palpable first cut into whatever membrane of uncertainty is obstructing their movement.

Slow, slow, they move apart. Yet they stay close, the embrace’s softness lingering as Helena says, “Selfishly, I didn’t concede his point, which is in any case indeed down to your determination. But I did note that circumstances have changed since then. And to be fair I must report that he allowed they have.”

“You’re both right,” Myka says. But: “Was this Cleveland mission contrived to... further change the circumstances?”

“I didn’t contrive it,” Helena says, fast. “I would have, if I could, but I didn’t.”

“I’m not saying you did. I’m saying I always wonder, because I can’t help it, how much, or how little, of what happens just happens.”

“And the rest—or if I’m understanding your implication, the bulk—would be...?”

“Some sort of social engineering.”

“On whose part?” Helena asks.

That’s disingenuous. “Your engineers of choice. Regents. Mrs. Frederic. Mr. Kosan. Ententes thereof.”

Helena runs a hand through her hair—frustration at the thought of those entities? Or just showing off? Then she shrugs, as if to dismiss both possibilities. “I favor any engineering that places me in private proximity to you.”

The words are beyond welcome. And yet. “I’m not objecting to it. I’m just...”

“Objecting to it.”

“No. Questioning its provenance.”

“Why?”

That brings Myka up short. “What?”

“If it produces an outcome you desire, what does the provenance matter? In this case, at the very least.”

It’s a reasonable question, and Myka’s most-honest answer would have something to do with the ethical acceptability of poisonous-tree fruits. For now, though, she goes with, “Because I don’t like being manipulated.”

“Don’t you?” That’s flirty, a near-whisper, compelling Myka to lean even closer. Helena knows—she’s always known—the power she has over Myka. And she’s always known how—and when—to wield that power.

“The manipulator matters,” Myka says, responding to the flirt, accepting the push away from ethics.

“Then would that I could in truth say I contrived that relatively banal retrieval. And sabotaged the elevator, so as to draw our attention to... that to which it was drawn.”

“I can’t say I was displeased with the drawing,” Myka allows. “So if you had...”

Helena moves her lips, a sly hint of curve, and says, “Oh, but perhaps I’ve manipulated you into that sentiment.” Again, an ostentatious flirt.

Myka’s knowing that flirt-show for what it is? That’s Helena-specific. In the past Myka has always had to be told when she was being flirted with: “He was interested in you,” an exasperated friend would explain of an interaction Myka found incomprehensible, and she would cringe internally at her inability to recognize such an apparently basic, obvious display. But with Helena she’s never needed a flirt translator. From the first lock of gaze, unto this night’s myriad connections; from that first brush of finger, unto the way Helena has just allowed their hug to linger; from the first just-for-you conspiratorial grin, unto this very moment’s slip of smile—all the advances, heavy and light, have been legible to Myka.

And based on what she is now reading, she has no ground left. “Fine. I like being manipulated if it means.” She clears her throat. “If it means I get closer to you. You win.”

“Do I?” Here’s the disingenuity again, but now Myka understands its intentional irony. Helena follows up with, “This establishment has no elevator,” Helena says, like it’s nothing more than a structural observation that checks a box on a form, a minor note in an overall architectural assessment.

“No,” Myka agrees.

“How fortunate,” Helena says.

Myka waits for the conclusion, the help... but it’s not forthcoming, probably in a that’s-down-to-your-determination-as-well sense. The next cut is clearly Myka’s responsibility too. So: “It has stairs though,” she offers. “That go. Up. Well, both down and up. Of course. As stairs do.” Stop talking, she tells herself, but her nerves don’t heed the advice. “As they have to? I don’t know; do they? Escher?”

“Ess-sherr,” Helena echoes, clearly uncomprehending. That she lets Myka hear her knowledge gap is a gift. For Christmas?

“He’s an artist. I promise I’ll explain later. Eventually. Anyway the stairs. I think you just used them? Without incident?”

Myka expects a comeback. She gets none, which leaves her in some non-place, absent as it is of Helena-attitude... but what form had she expected such attitude to take? Aggression? Naughtiness? Or “naughtiness”... does the lack of all that mean Helena is offering a self more authentic than the one who charms and flirts? But that doesn’t seem quite right, for the charms and the flirts have always seemed clearly intrinsic Helena-talents. Deployed, yes, but not inauthentic. So if this Helena is deploying fewer such talents, maybe it’s that she’s... less?

Ironically—of course ironically, because all of this is so, so layered like that—a reduced Helena is an even greater bonus.

All of this, which Myka had better figure out, fast, how to appreciate and accommodate. “Of course that’s no guarantee that travel will go well,” she begins. “So we should try not to trip on the stairs... wait, no, that would make it our problem, which I don’t think this ever was. Maybe better: we shouldn’t let the stairs trip us.” She considers. “But no again: what I really mean is, we shouldn’t give the stairs a reason to trip us. Right?”

Helena looks at her and blinks, charmingly blank. “I have no idea. Are you through?”

“I have no idea either,” Myka admits, still directionless without Helena’s attitudinal lead. Is this, like the semi-botched hug of two days ago, a seemingly terrible sign?

“Merely delay.” A little head-shake follows. Signifying disappointment? Making light of Myka’s inability to get through? Then Helena says, “And yet I don’t know how much more delay I can withstand.”

Those raw words are mediated by nothing more than molecules—the nitrogen-oxygen-argon-et-cetera invisibilities conveying waves to Myka’s ossicles—and for the second time, Myka ideates, in full awe, She feels the same way I do.

“Me either,” she says, literally heartfelt, sending the words back, a final push through everything, molecules and otherwise, that has stood between them.

Testing, she offers Helena her hand. Helena takes it.

These hands together: not a first. Not even a second. In the present circumstance, that translates to something very like “comfortingly familiar.”

Under the aegis of that comfort, they ascend the stairs, Myka leading the way, marveling that she can. Against her pulling hand, Helena offers what seems a single erg of resistance, a display, an I-am-letting-you affirmation.

They cross the threshold of Myka’s room, and then. Then, after Myka makes one turn and twist, a closed non-elevator door stands, for once and at last, between them and the rest of the world.

Closed, the door is, but not locked. In the door-closing instant, turning the lock—adding its presumptive click—had struck Myka’s hand as overly brazen: that’s a frustrating flinch her hand will have to work out with whatever part of her brain-body complex was certain enough to start this, start it by saying what she did about the suitcase... the same part that keeps telling her that Helena’s feelings match hers.

As Myka turns her back on the now-closed door, she sees her bed. She sees her bed. Disconcerting, in this new now, how large a percentage of the room’s space this one piece of furniture seems to be occupying...

But she’s self-aware enough to know that she’s overlaying the bed’s current brain space, the desires it signifies, on the physical. Whatever’s going to happen—or not—will happen, she tries to force into that space in her brain, pushing it down... for desire, sometimes indistinguishable from expectation, has devastated her before. But she tries too hard: missing the mark, she slips and falls into some past-obsessed cerebral fold, once again lost, quietly but deeply, in that devastation.

“Here we are,” Helena remarks into the silence. “Or, harking back to engineering: Here we are? I continue to be unsure as to why. I can accept unclear provenance, but I’d prefer more explication regarding my allowable movements.”

That’s help. That’s rescue. But oh: movements. The word nearly derails Myka in a different direction, but she gathers herself, resetting to reply, “It’s explicable, but I honestly don’t have the energy to explicate even my minimal knowledge of the mechanism. The most basic base is, Claudia and Steve worked out a deal to use that pen, and there’s a list that you and I are on. As a ‘nice’ situation. Anyway if you want real details, you probably should sit down with Steve.”

A mind’s-eye image comes to her, of Helena and Steve leaning toward each other, bringing complementary concentration to bear on some topic large or small... and then an incipient sound strikes her: the chime of their voices together, both seriously and lightheartedly, ringing notes she hadn’t before this new instant thought to anticipate. “Actually I think you and Steve sitting down would be really pleasant. Even productive. Given that you’ll be sticking around. I mean, if you’re willing, and if, or at least until, some definitional issues get worked out. As I understand it.” As I devoutly hope, she doesn’t quite utter.

“That addresses... some issues, I suppose. Yet a question remains.”

This is a bonus of a day: Helena turning into the queen of understatement? It’s freeing; Myka laughs and says, “Tons of questions remain. Which one’s on your mind?”

Head-tilt. “You said you didn’t have the energy... to explain the mechanism,” Helena says.

More delay, Myka knee-jerks... but she knows the reflex immediately as wrongheaded, for this is conversation, the value of which she should have learned by now not to discount. “Right. Sorry, I’ll try: so the pen, and honestly speaking of questions and provenance, I still have some questions about provenance, which I’m trying to ignore, but anyway, Claudia found the file, and—”

“That is not the issue I had in mind.”

“Sorry. I’m not getting anything right, am I?” Because of course she isn’t getting anything right.

“We’ll see,” Helena says.

“So what did I jump the gun on?”

“You don’t have the energy to explain.”

This muddles Myka; it will probably require another reset. “I did say that, but I can try to—”

“Myka,” Helena says, and her name in that mouth will never cease to be a singular wonder. “What do you have the energy for?”

Here again is the difference between the attitude that Myka, in her more cynical moments, might have thought Helena would maintain, and the reality she is instead offering: the question is suggestive, but guilelessly, graciously so; its import is genuine, not manipulative. “How do you do that?” Myka asks.

“Do what?” This question, too, is guileless, gracious.

“Stop me.” It’s the best definition Myka can produce of what Helena has in fact done, what she seems consistently able to do.

Helena breathes several breaths, like she’s waiting for the right words to arrive... no, more like they’ve already arrived, but she’s preparing herself, gearing up to deliver them. “I don’t want to stop you,” she eventually says, and Myka should have used that windup to prepare herself: for the admission this is, for how this don’t-want utterance nevertheless is want.

They are the most vulnerable words Myka has ever heard.

New, new, new... the fact is that historically, people have tended to twist and shy from revealing weakness to Myka. Fallout from her tendency to judge, no doubt, but it means that this, too, is new: here is Helena, and maybe in some other world someone else might have made such a mattering move but here in this best one it’s Helena, Helena ignoring that character defect, Helena blowing past it for a chance to change everything.

Everything. “It’s Christmas,” Myka says, because it is. And because now it is.

“So give me this gift,” Helena rejoins.

“You too,” Myka says.

For the space of one breath, they both wait—bracing for whatever fate intends to use to stop them this time.

But this time nothing stops them, for in the ensuing instant, they both give that gift, blowing fast past everything that, slow, might stop them, grasping at this chance to change.

The jolt of their contact reminds Myka of—no: the shock of it strikes her as—artifact activation, that calling of vested power into being, that enabling of such longed-for release. Before the Warehouse taught her to recognize this transubstantiating, she would not have understood this moment’s raw unleashing, its summoning and compelling of stored potential to manifest as what it has lain in wait, in desperate wish, to become.

But also: all the blood in her body knows she has never felt such power released nonartifactually before now, before this.

Before this world-encompassing, world-creating first kiss.

“You’re thinking,” Helena murmurs into the space of a pause for breath. “I can taste it.”

“Sorry, sorry, sorry,” Myka scrambles, kicking herself for not staying in the unprecedented moment, for letting thought intrude, as she always does, and it’s always bad, and Helena is now rightfully offended and disenchanted and—

“It’s delicious,” Helena says, punctuating—proving—by meeting Myka’s lips again, again again again, as if determined to never stop.

Myka would be perfectly happy, oh so perfectly happy, with that forever-continuation, but something in her brain has begun gesturing wildly, demanding her attention... something about her hand... brazen... she rips her lips away and yelps, “Wait! I have to lock the door!”

“The thinking continues,” Helena says, stepping back, freeing Myka, and spreading her arms in a ta-da endorsement. “You’re brilliant.”

A memory: “Bunny, you think too much.” No I don’t, she can now answer. Not for her. In time, given time, she’ll tell Helena how much this matters, but now is not that time. Not when Helena is saying, “However, as we’re behind a locked door, I’ll wager I can make you stop thinking... for at least one consequential moment...”

To Myka’s extremely consequential—and utterly, blissfully unthinking—delight, Helena wins that bet.

****

Later. Lazily, later: “I genuinely cannot believe we were stuck in an elevator,” Myka says. A thing to say, said. “As the prelude to all this.” Which is what she really means.

Against Myka’s neck, newly and blessedly intimate, Helena says, “Your limited capacity for belief is noted. Are you equally incapable of believing that we had the apparently obligatory, if not preordained, chat?”

“Obligatory... preordained...” Myka is still so lazy, she’s practically drawling, and the out-of-character surprise of it pricks at the edge of her ability to stay in such a state. Stay, stay, stay... “Honestly... just clichéd.”

“And yet I was able to add a reference to my Myka-index. Entry: Mirrors, your artifact-related discomfort with.”

Myka’s heart seizes: Helena has a Myka-index. That, plus their proximity now, surely requires her to do better than the little falsehood she’d rested on with regard to the mirror-discomfort. Pushing laziness aside, with something too much like relief, she acknowledges, “I misled you. There was an artifact, but that isn’t what bothers me. The real thing is that mirrors make me observe myself too closely. Too much. Which I do all the time anyway.”

“I wish you’d delegate that observational task to me.” Sweet. Helena sounds so sweet. And not just sounds: Myka can tell (hopes she can tell) Helena means it. Which is even sweeter.

And which in turn entails a need for Myka to think seriously about being observed. Being protected. Being willing—but more important, able—to delegate in the correct spirit, even minimally. “I can try.”

“I can accept that,” Helena says, and the approval is better than sweet: it’s buy-all-the-books-you-want indulgent. “But I must ask: do you honestly think any part of the Cleveland interregnum was the elevator’s doing?”

The true answer references Myka’s entire Warehouse experience, from day one: “Yes and no.”

Helena nods, her hair sliding mink-soft on Myka. “I can accept that as well.”

“And whoever’s at fault, our chat was interrupted,” Myka says.

“As it was poised to progress beyond ‘chat’... but in truth I would rather this happened here than in an elevator. Better environs for still further progress. Don’t you agree?” Helena moves her unclad limbs against Myka’s, in transcendent emphasis.

Of course Myka agrees. Which leads her to a painful realization: “So maybe the elevator wasn’t as judgmental as I... judged it to be.”

Helena bestows a kiss to Myka’s shoulder—small, intimate—bringing Myka’s mind back, sharp, to what those bestowing lips have so recently accomplished, which threatens to render her again overcome. She shudders, which reduces her to embarrassment instead, but Helena is kind enough to feign obliviousness as she says, “You did note your own judgmental nature.”

Myka’s soul twinges in genuine regret, collapsing her lip-recall. She regrets that too. “Do you think I need to go back and apologize? I feel all guilty now.”

“The elevator has most likely moved on,” Helena says, quite dry.

“You’re saying it doesn’t have my memory.”

“I’m saying that even if it does—an open question, though the lack of elevator memoirs argues in the negative—it’s unlikely to care as much as you do about what it does remember.”

“Story of my life,” Myka sighs out. Now she’s really saying it, because memory, and caring too much about it, is that story.

“For the best, I suspect. Your life story and an elevator’s shouldn’t be entirely congruent, should they?” Helena questions, and that makes Myka laugh and want to read an entire library shelf’s worth of elevators’ memoirs. Feigning seriousness, Helena continues, “Although we might revisit so as to investigate whether its conveyance of Bob proceeded properly after our visit. That could be revealing.”

“Speaking of Bob, I feel bad for Nancy. Because of course he’ll blame her.”

“For elevator mischief?”

Ah. Helena doesn’t know. “For naughty.”

“Naughty what?”

“The list. He’s back on it, thanks to Steve and Claudia.”

“Is he.” Her satisfaction is evident, and for a moment she and Myka are one in their schadenfreude. That, too, is delicious. “Better they punish him than we do,” Helena then says.

This sends Myka back to guilt. “It feels like cheating. We didn’t use the artifact, but we get the personal gain.”

Myka’s shoulder now receives an indignant exhale. In its wake, Myka is dwelling on how she would have preferred another kiss, but Helena says, “I was speaking of soul-consequences, not this personal-gain fetish you all seem to embrace. Or perhaps it’s an anti-fetish, but in any case was no hard-and-fast dictum in my day.”

“I’ll reiterate that you should sit down with Steve,” Myka tells her, and Helena accedes with a nestle that erases the exhale.

Are words about such things—ambiguously motivated elevators, deserved punishments, fetishes of undetermined valence—a waste of time? No... for again, they are conversation... the value of which, Myka has lately learned, is even greater when the words it comprises land as soft breath on skin.

In fact Myka has learned a great many things in this locked-door recent while. There is, for one, the gratifying fact that she and Helena are physically compatible, at least as evidenced by this first performance, in terms both of wants and of abilities to satisfy them. But nearly as important, particularly in its physical component but not only that, is her new understanding that while her life has offered her several circumstances with which she’s been reasonably satisfied—that she hasn’t minded—this right-now is orders of magnitude above such contentment. She must have in some soul-stratum known this would prove true, or she would not have been panting in its pursuit so seemingly hopelessly, with such dogged desperation.

She says, with gratitude, “This is what I wanted.”

Getting what she wants: that, too, is new. And very. very nice.

“I would hope so,” Helena says. As if she had some genuine doubt about Myka’s motivation? “No, that’s rhetorical; rather, I did hope so. You’ve realized that hope, and... well. I should be clear: this is more than I dared to want.”

Myka, endeavoring to bring everything together, says, “So what you’re saying, want-wise, is that it’s a bonus. A nice one.”

“I’m saying, want-wise, that my wildest hopes have been exceeded. Surpassed. Transcended.”

It’s something, that reply. Also more than a little over the top, rhetorically, which Helena obviously knows. “Pleonast,” Myka accuses.

Helena laughs. “Not inaccurate. I suppose your ‘nice bonus’ translation is technically correct, if a bit... with apologies, pedestrian?”

“It’s less pedestrian than ‘Fred,’” Myka says. A “hm?” from Helena reminds Myka that she hasn’t yet made that translation evident. “I guess ‘Fred’ counts as esoteric instead, so never mind. You’re right, ‘bonus’ is pedestrian. So is ‘nice.’ But maybe it’s a good idea to call our whatever-it-is something pedestrian. I don’t want to scare it away.”

“And what precisely do you think would ‘scare it away’?”

“Bigness,” Myka offers, weakly. It’s what she means, but—

“‘Bigness?’” Helena says, quotes evident. “From the woman who so recently deployed ‘pleonast’? Should I fear that you’ll regularly revert without warning to Pete-reminiscent locutions?”

Myka chuckles. “Spend enough time with him, it’ll probably happen to you too.” The laziness is back. Earned back?

After a time—or perhaps Myka only after a time processes the sound—Helena says, “God forbid.”

A further lag ensues before Myka manages to respond, with a drowsy “I agree.”

Sleep follows. That is certainly earned.

****

Consciousness resumes for Myka with a banging on her door and a shout from Pete: “It’ s really not Christmas anymore, because Artie’s back!”

“Being Artie about it!” Claudia shouts in addition. “He says get to work!”

“I’m awake,” Myka says as she becomes more fully so. This is a Warehouse morning, and Warehouse alarms ring as they do.

Then: I’m not awake; I’m dreaming, because the back of Helena’s head and her naked shoulders greet Myka’s opening eyes. That’s a bracingly new alarm.

Helena’s voice comes next. “He says get to work,” she quotes, playfully, and Myka would be willing to wake to such an alarm with joy for the rest of her life.

But assuredly, if the content of that alarm is the dictate, then no one is dreaming. There’s really nothing for Myka to say except, “Sorry, but one more time: Story of my life.”

“Now? Our life,” Helena corrects.

That is a literally life-story-altering assertion, and a self-deprecating impulse tempts Myka to scoff it away. Behind that impulse, however, lies a clear-eyed recognition that she must meet what Helena has said. How, how, how...

...and then her mind starts fully working. She begins to formulate a plan. One that will, if possible, manifest her gratitude, but also, display her difference from the Myka she used to be, that one from so few hours ago, who had not yet known the dream-surprise of this awakening’s sight.

“I’m going to tell them I can’t get the door unlocked,” she says. Steve isn’t there. She can get away with it. She sits up, ready to head for the door and tell that story.

Helena touches Myka’s shoulder. “Would it lend credibility for me to suggest out loud that I genuinely can’t believe we’re stuck in your bedroom?” More play, but the touch is becoming a don’t-leave-this-bed grasp.

Myka leans to kiss the restraining hand. “I think that would make them think you planned it. And were being nefarious about it. Shocked incredulity isn’t really your strong suit.”

“It’s true that my capacity for belief outstrips yours.” She pulls down on the sheet, exposing both her body and Myka’s.

Talk about overdetermined. Or is it, in this as-yet-unmapped terrain, underdetermined? To be determined later, if at all... Myka somehow marshals sufficient will to rise from the bed, while telling herself that she is not, conceptually at least, actually leaving it. At the door, she fiddles with the lock, expressing frustration to support her claim, after which Pete and Claudia make noises about toolboxes and battering rams, respectively, and then mercifully depart.

“They’re going to try to get us out,” Myka reports as she returns to bed. “Maybe violently?”

“Let them,” Helena murmurs. “That elevator and its manifestation of mischief... comparatively amateur. You’ve bested it handily.”

That jolts Myka out of a back-of-mind consideration of whether she might be able to jam the bedroom door’s lock with something easily to hand, or perhaps whether her dresser might be pushed across the room to block the door entirely. She then considers, front of mind, the possibility that Helena—her physical presence, her physical provocation—is a bad influence... or at the very least a naughty one... for these thoughts are so, so out of character.

“That, on the other hand, is not the story of my life,” Myka says, and the fact of it does make her more than a little nervous.

“A new chapter,” Helena counters, reading Myka’s mind and setting it right—in three words. Such economy.

****

Myka and Helena are engaged in adding to that new chapter (or at the very least, drafting a steamy interlude of same, even if it isn’t essential to the plot) when a banging on the door interrupts them yet again. As does shouting: “We’re back!” yells Pete, unnecessarily.

“Hey, Myka, what’s going on?” That’s Steve. Far more quiet.

“I brought Steve,” Pete says, also unnecessarily.

“I gathered that from his voice,” Myka notes.

“But!” Pete says, in aha-I-got-you mode, “what if it turns out all I brought was his voice?”

“Then I guess he’d still be here in some sense?” she says; she’s thinking on the Helena-hologram, on what a lack of visual might have meant, on how a more ontologically disembodied voice would have made her believe Helena was there, there but standing on the other side of a door. How she would have wanted to take her own battering ram to that door. The hologram’s present non-presence had stranded her, stranded them, in a strange shared space, offering no barrier Myka could use her body to break violently through.

“But!” Claudia exclaims, jokey, fighting with Myka’s ache of reminiscence, “what if it’s just me, doing my Steve impression?”

“That’d be a different thing,” Myka concedes.

“You do a me impression?” Steve asks Claudia.

Who exhales so dramatically, Myka’s surprised the door doesn’t just blow open. “You have stood next to me while I did it.”

“I have?” Puzzled-Steve is honestly Myka’s favorite Steve.

“Are we not a team?” Claudia demands. “Myka does a Pete. Pete does a Myka. Naturally they both suck, but the point is, why don’t you do a me?”

“Because you’d kill me?”

“Guys,” Pete says, “this isn’t getting Myka and H.G. out of the bedroom.”

Claudia says, “But let me just. Myka, H.G., you guys do impressions of each other, right?”

Helena raises her arms, a gesture of observe-this!—or maybe it’s at-last!—and exclaims, “I feel compelled to express disbelief about this circumstance!”

It takes Myka a second to get it, but once she does, she shouts, “I love blooming onions!”

For quite some time, there’s silence from the other side of the door.

Then Steve says, “Am I the only one who’s extremely confused?”

“Usually, yes,” Claudia says. “Except now, no. I’m with you. Pete?”

“Myka loves blooming onions,” Pete says, slow; he’s the one having trouble now with belief. Myka can picture his gobsmacked face. “There’s my endless wonder for the day. Also, I gotta rethink a whole lot of stuff she said about what she was willing to eat.”

Myka presses an apologetic kiss to Helena’s lips (and how nearly unbelievable it is to feel comfortable with such a touch being swift, to not need to hoard, to believe there will be more), then extricates herself yet again from the sheets, the bed. She heads for the door: to make a show of unlocking it, to send them away temporarily so she and Helena can reassemble themselves to rejoin the world—but. Problem. Big problem. “Guys. I really can’t get the door unlocked now.”

“‘Now’?” Pete echoes.

“You mean you actually could before?” Claudia asks.

Moment of truth. So, fine, truth: “I didn’t actually try before.”

“Ha!” Claudia barks. “Are we still on impressions? That might’ve been a decent one, for real, because the attitude? Way H.G.”

“Thank you so much!” Helena chirps.

“H.G.,” says Claudia, with a whiff of pedantry—and that she feels free to express such an attitude toward Helena is most likely because she’s on the safe side of a closed door—“I was complimenting Myka’s impression.”

“But in it, you recognized my attitude.” Helena’s words are a full preen, and as she speaks, she’s rising from the bed, approaching Myka, slipping arms around her, such that Myka loses her ability to track what’s happening on the other side of the door, even as splinters of sound catch in her ears—“hinges inside,” “lock plate solid,” and finally, “break it down”—whereupon she realizes anew that neither she nor Helena is clothed, and that being caught and seen in that state will constitute a disaster that outstrips a great many of the others in her experience.

“We have to get dressed,” she breathes at Helena.

“Wait,” Helena says. “I suspect a realization is about to occur.”

At times, Helena can be eerily prescient. But what is it this time?

As if in answer, Claudia says, “I have a really depressing theory. Myka, can you get the window open?”, whereupon Myka understands Helena’s deduction: this isn’t mechanical; it’s artifactual. More specifically, list-artifactual.

She cannot open the window.

“Yeah,” Claudia says, a defeated I-knew-it. “I’d be all ‘try to smash it!’, but since I can’t see you try it and, like, bounce off the glass, what’s the point? I mean, go for it if H.G. wants the lulz.”

“I don’t know what that means!” Helena informs her. That too is a chirp, and Myka’s pleased to note it’ll probably head off the slapstick.

“Kind of a shame,” Claudia says, but with a drag, like she’s picturing it, and Myka is less pleased to have to devoutly hope that picturing involves everybody fully clothed. “Anyway I hate to say it, but it’s pretty clear this is on us, the list-makers.”

Pete groans. “You were supposed to check it twice! It’s right there in the song!”

“Listen, we seriously argued about the wording,” Steve says.

“And oh guess what!” Claudia says, defeat apparently tabled for the moment. “Everybody in the world is going on about their day as usual due to the unshocking news that I was right.”

“No, I was right. I was the one who said ‘proximity’ was likely to be too vague,” Steve says.

Myka’s inclined to agree with him.

“Bro, I was,” Claudia says, “because I said it was likely to be not vague enough.”

Well. Now Myka’s inclined to agree with Claudia.

She sees the conundrum. “I appreciate it either way,” she says, and that quiets the combatants.

“Regardless, we obviously need different wording,” Steve diplomats.

“I think our first mistake was thinking an artifact would word like we thought it should. You need to get more into its head than you did before.”

“I was in a hurry before,” Steve says, a little less diplomatically. “Because you were yelling at me.”

“I am so so so so glad,” Pete hosannas, “that none of this is on me.”

Myka cannot let that stand. “Who gave his cousin a thing?”

A pause. Then, “Whoops,” Pete says, very sad-clown.

Later, she’ll thank him again, but for now, she doesn’t mind having wielded this little shiv, inflicting this little nick, so he’ll remember that there is, or should be, always a downside.

“How fortunate they’re not asking for our help,” Helena says, bringing her back to the upside.

“Who’s better with words though? You certainly are,” Myka says.

“You hold your own, Ms. ‘Pleonast.’ But ssssh. Don’t remind them.”

“We’ll fix it, we promise!” Claudia says.

“Don’t feel compelled to hurry!” Helena directs, cheerily.

Steve says, “I think she means ‘Don’t yell at Steve this time.’” His hopefulness is clear.

“He isn’t wrong,” Helena notes into Myka’s ear.

Pete announces, “I think she means bow chicka wow wow.”

“He isn’t either,” Myka notes back. “Even less so?”

Helena answers by kissing her with intent.

Claudia snorts. “I think no matter what she means, Artie’s gonna kill us.”

“Alas, the least wrong of all,” Helena grants with a sigh.

The wrecking crew’s voices fade, and they may still be making non-wrong statements, but for Myka and Helena there is at last, again, peace. And once Myka pulls Helena back to bed—a delectable spin she is now bold enough to put on their dynamic—there is at last again not-peace.

Lazily later—and these lazy laters are vying to be Myka’s favorite at-last—she says, “Not to overinterpret the artifact’s thinking, but this feels very nice. As an in-proximity situation.”

“This particular proximity seems more than a bit naughty, however,” Helena says, incongruously matter-of-fact. She isn’t wrong. “Pete obviously made an inference to that effect. Perhaps if Steve and Claudia can use that as a way of writing us out of the current situation.”

“I’m sure that’s for the best,” Myka says, with no small amount of regret, first attached to her embarrassment at Pete, Steve, and Claudia’s involvement in that inference, but even more due to the sad fact that this beginning must come to an end.

“Are you...” Helena’s words are a smile.

“No. I’d much rather stay here forever with you.” Her practical side then takes over, as even Helena’s body twined around hers can’t prevent. “But if they don’t fix it we’ll die—pretty soon, unless they can figure out how to get food in.”

“Would the artifact allow us to starve? That seem the antithesis of a situation that might be termed ‘nice.’”

“‘Termed’? Isn’t problematic terminology why we’re still here?”

“Granted. But of course we’ll die regardless.”

The casual, literal fatalism trips Myka up. She temporizes, “The artifact might have something to say about that,” placeholding, as she finds her way to a real response: “But artifact aside... will you though?” It’s a question about... well, about whether Helena is, for want of a better word, real. Speaking of terminology. “Die,” she adds, not as a word she must expel, for its terrible taste, but one she feels a need to place. As a marker.

Helena takes a moment. Before, Myka would have read that pause as censure; it would have pushed her overboard into I-have-overstepped agony. But the plates have shifted, and her footing feels—strange but nice (oh, nice!)—sure.

The answer, when it comes: “Here with you, I don’t want to be bronzed again. So yes.”

That leaves Myka warm, yet shaking her head. “I honestly don’t know a lot about romance.”

“Don’t you?” Helena asks, all of her limbs beginning to move again against all of Myka’s.

Which, for the moment, Myka resists: “So I’m not sure if it’s weird that I find it incredibly romantic for you to have said yes to dying.”

Now Helena’s smile is a smile; she rears away, back and up, showing Myka her face’s full measure of delight. “Weird or no, whatever you find romantic, I’m inclined to approve. If that’s acceptable to you.” Helena bows her head, as if to formally request Myka’s benediction.

The very idea of such an ask floods her with happy tenderness. “Is it okay for me to find that romantic too?”

“‘Okay’ seems a sadly weak word to convey the extent of my approval,” Helena says. “Further, I find it romantic for you to ask my permission to find any thing romantic. Unnecessary, yet romantic. Is that ‘okay’ as well?”

“It’s a relief,” Myka understates. “Can I call it a romantic relief?”

“I don’t see why not. However, to what extent is it romantic, or non-, that we seem to be finding—or placing—ourselves in recursive loops of romantic-allowable querying?” Helena accompanies this academically focused, seemingly serious question with yet more limb movement.

Myka is actively in bed with someone who’s questioning the romantic quotient of recursive loops of romantic-allowable querying. It is a level of “nice” that she could never ever have ideated on her own. “I genuinely cannot believe any of this,” she says.

“I can assure you that I will be taking some time—if allowed, and thus perhaps only in an ideal world, some great length of time—to determine whether your incredulity will ever cease to be tedious and elevate itself to ‘romantic.’ Some great length of time,” she repeats, playfully.

Myka knows Helena’s appreciation for time’s length is far greater than any ordinary individual’s... so this smacks of a promise. Myka’s gratitude rises, as does her willingness to pursue any and all romantic activity, despite her apparently romance-dampening incredulity... but then the limbs pause. “However,” Helena says.

“What’s this ‘however’?” Myka asks, now selfishly impatient.

Helena has, obviously and of course, heard and felt the impatience. Myka’s neck receives a press of lips, a curve of smile. “However: fortunately, at this juncture, belief isn’t required. Participation, on the other hand, is. So?” This is something Myka has always suspected was a Helena tactic, but here in intimacy she recognizes as true: challenge not for its own sake, but as an attitude in which to wrap something different, deeper, some authenticity Helena isn’t fully willing, or doesn’t quite yet know how, to express.

Myka moves her own limbs, her limbs that are even longer than, and just as flexible as, Helena’s. She moves them against Helena’s. She cannot believe she is doing so; nevertheless, she is. She is participating.

She places a chock under this particular incredulity, for unlike facts, the quality of emotions can escape her if she doesn’t consciously tie them down. She paints the word “bonus” on the emotion-wheel as she secures it, to ensure she elevates that felt quality too. Then she eases herself back to the full experience of the physical, this smooth beauty—and that is the word for every touch-heat-rise their bodies execute—that she and Helena together are creating... are enjoying.

She sighs soft against Helena’s neck; in return, Helena offers again her lips-on-skin smile.

They are participating. In this. Together. Lips on skin.

“So,” Myka agrees.

END

[signanothername]

Besties who know nothing of personal space and social distancing when it comes to each other supremacy <3333

Also can i just say how so very happy yet so very sad Okuyasu makes me? How can this absolute sunshine have such an unfairly harsh life??? LET MY SON BE ALWAYS HAPPY

[firadessa]

Please acknowledge Bleakwatch Chronicles, Tinker Bell and the Lost City. I understand that BW chronicles may not have as much fans and are turned off by the art style. Also the author never posted (Zack Loran Clark) much promo for the book unlike Allison, nor mentioned anything about DF on his IG page. It is intended for a younger audience. However, I am much more excited for this book as it pertains to the movie universe. So please, just clap if you believe if you will.

As this is the first book to come out since 2017 that is labeled as "Disney Fairies" and the second spinoff- like this is important. You don't have to buy the book or give it the free promotion, but acknowledge the existence of it at least. WoS is not labeled as DF, if it matters.

Here are some of the reasons why I am more excited for Bleakwatch Chronicles than I am for Wings of Starlight by Allison Saft (Clarion x Milori YA Novel):

It's a post canon story implied to take reference to the cancelled Tinker Academy movie where TB goes to study at the Tinker Academy on the mainland. The art seems like they took references especially when directly compared to the concept art. WoS is a backstory.

It releases first, BWC releases in November 2024 and WoS releases in Feb.

It seems like more of original concept to me, literally because of the new concepts like the Flutterpunks and the implied secret cities of the Bleakwatch and Clockwork Capital.

New characters like Quin and Ozwald will be joining TB on this journey.

It expands on a old concept, and tweaks it in a way that makes more sense. IMO, an idea like a Tinker Academy seems to hold less weight because before the events of Tinker Bell fairies couldn't go to the mainland to spread nature, and it's implied they always stay. It is also implied in GFR that Tinker fairies don't typically go to the mainland even if TB's inventions help them in the intensive summer season (the song implies that's why she's there- it's implied in the first movie she goes there whenever she has a job) Vidia is dismayed by this and says "this is why Tinker fairies don't go to the mainland" whilst TB is checking out the car. In a deleted storyboard for Tinker Academy it is implied that it is a prestigious academy that FM gets into before the events of Tinker Bell, yet to me the idea of underground London tinkers makes more sense to me than the academy. Think about it, it's implied that TB and FM are some of the most brilliant Tinkers in pixie hollow and yet the Tinker population is small. (only Clank and Bobble greet her and we see no one in green outfits) Why do you think that is? I personally like the idea of rogue Tinkers who would scavenge on the mainland for parts and self-exile themselves from Pixie Hollow. It explains why FM calls the lost things junk, if the difference in mindset between the mainland tinkers and the pixie hollow tinkers was that the mainland Tinkers are considered "scraps" (get it) while the PH tinkers are considered more put together and community driven. It makes sense that TB being a brilliant Tinker that outshines even Vidia gets such an audience if brilliant Tinkers do not normally last in PH because they are seen as too curious and ambitious, opting to start their own community of outcast Tinkers in the mainland. Vidia's talent switch in The Pirate Fairy also implies that Tinkers have the gift of thought, and literally think differently (regardless of personality) then their non-tinker peers because it's their talent. There is much potential for this storyline as it adds more nuance to the Tinker Bell movie and the dynamic between the nature and non nature talents, something I think it would benefit from. It makes a lot of sense if the edgier steampunk designs came from a secret Tinker counterculture and not a secret academy imo.

The implication of this book suggest revitalizing the Disney Fairies franchise, possibly not just as a "brand". Not sure what that could mean but it's interesting

IMO, Wings of Starlight has more of a "booktok" vibe I'm getting from it. I'm not just saying that because it's YA, but given the (beautiful) cover design it feels more targeted for what Disney thinks grown fans of Disney Fairies might like based on whatever market research was done (and you know it was). WoS has been receiving better marketing and there are people out here that don't even know two books exist. I'm not saying the book looks lazy, slapped together, or unoriginal- or it will just be corporate and bland, I mean I'm a Disney Fairies fan I don't believe that everything is corporate greed lol and like to see creativity in the "unexpected". But I hope that future Disney Fairies books won't just be going for what is "trendy" to reel people in and instead invest in creative storytelling *in general*, in other words I hope they keep concepts and genres broad and inclusive enough so we have the potential for more creative stories. Not just expanded stories on specific characters and stories like the Twisted Tales series, or sticking to specific genres for this specific niche audience in a way that feels too specific. I feel like there has to be some sort of balance struck, or DF may be a little stuck for a while and may still have "missed potential".

On expanded stories, like I said, Disney has done a lot of that and there is an audience for that. However, I prefer the idea of post canon more than a backstory or expansion. From what I know, we know some details of the Milarion backstory and it will be adding more layers and expanding on the dynamics of the existing characters, where the new book seems to be more lore driven in focus.

I don't like Secret of the Wings that much in terms of lore as a lore fanatic. I feel like this book could also retcon other things when possibly trying to explain things that make sense in SOTW. If BWC is good, I can imagine myself thinking about it more after it releases but I can just imagine myself thinking more of how I felt and my emotional reaction after WoS with fading interest afterward, it just sort of feels like the book could resonate with me more y'know? and I got a pretty good gut feeling for that sort of thing.

Underdog bias, just acknowledge it's existence. Do that with the NG graphic novels from 2022, heck the whole Never Girls series. Do that with the whole DF franchise if you are new here somehow. That's it, that's the post.

The mystery. What is the mysterious pocketwatch and who's on the cover?

Copy and pasted plot summary- Tinker Bell loves nothing more than solving a problem. For her, red buttons demand to be pushed, treasure maps need to be followed, and lost things ought to be found. So when a strange fairy crash lands in Pixie Hollow and leaves Tinker Bell two clues to find a mysterious necklace on the Mainland, she really doesn’t have a choice but to help. However, her journey takes an unexpected turn when she discovers a hidden city of fairies living below the streets of London.

In this city called Bleakwatch, she’ll meet the Flutterpunks, the most infamous band of trinket scavengers around. Helping her may just give them their biggest score yet. But when the Flutterpunks’ plan goes haywire, they’ll be forced to choose between a big payday or saving their new friend.

When their adventure takes them inside the glittering Clockwork Capital, Tinker Bell and the Flutterpunks will uncover a villainous secret that threatens all the fairies in Bleakwatch. It turns out there’s more at stake than just finding a missing necklace, and it’ll be up to Tinker Bell to set things right. Luckily, that’s what tinker fairies do best!

[what-even-is-sleep]

thinking about Bodkin again bc I mean,,, ALL THE SYMBOLISM OHHHHHGH. i NEED some tumblr film analysis hobbyists to watch this show and tell me all the themes n such

[azure-clockwork]

How Does it Feel to Read Classic Sci-Fi?

Orson Scott Card: Two of the most interesting books you’ll ever read if you’re willing to look past a handful of things. And then you find the planet of Chinese people who worship having debilitating OCD. And the Mormonism. And the fact that the author is wildly homophobic and ought to read his own books.

Robert Heinlein (or at least the Wikipedia Summaries): I guess that’s a neat concept—oh, it’s a sex thing. Um. Gotcha.

Ray Bradbury: Man, I gotta read this thing for class huh. Well here’s hoping it’s good! *three hours later* oh. that’s why he’s famous. this will stick with me forever and I will never look at the phrase ‘soft rain’ the same again. christ. And then repeat 3x.

Isaac Asimov: Wow, this is such an interesting concept! I wonder how the exploration of it will influence the plot! Wait, hey, are you going to add any characters? Any of em? No like, with character traits other than ‘robot psychologist’ and ‘autistic’ and ‘woman’? None of em? No, ‘detective’ isn’t a character trait. Those are all just facts. Aaaand now I’m bored.

Ursula K. Le Guin: Hah, get a load of this guy! He’s never heard of nonbinary people before. Lol, what a riot; how dumb do you have to be to comprehend that these people aren’t men *or* women actually? Oh, wait, what’s happening. Oh shit, it was about society and love and learning to understand each other? And now I’m crying? And perhaps a better human being for it??

Andy Weir: Alright, this guy’s a really good writer. Funny, creative, knows so much engineering stuff…ooh, a new book! …I guess he can’t write women. Well, he wouldn’t be the first sci-fi writer…ooh another new book! And it’s more engineering problem solving and—wow. It’s not just women he can’t write. Please stop letting your characters talk to each other.

Lois Lowry: Oh, I remember this being fun when I was a kid! Wouldn’t it be fucked up to not see color? …upon reread, it would be fucked up to have your humanity stripped away, replaced with a tepid, beige ‘happiness’ for all time. Yeah.

Tamsyn Muir (let me have this ok): Haha, “lesbian necromancers in space” sounds fun. Lemme read this. Oh wow, yeah, this is right up my alley. OH GOD WHAT. NO. FUCK. OH SHIT WHAT IS EVEN HAPPENING AND WHY IS IT REFERENCING THE BOOK OF RUTH AND HOMESTUCK BACK TO BACK!!! AHHHHHHHHH!! Now give me more please.

[drinksglue]

I'd like to propose a new rule for fandom:

If you have the time and energy to complain that there are not enough people writing the types of fanfiction that you want to see because they are daring to enjoy themselves by writing other things that you personally don't like to read, then you also have the time and energy to sit down at your keyboard and write it yourself and are, by default, volunteering yourself to do so.

"Everybody is too obsessed with [popular ship]! Nobody's writing for my favorite ship!"

Then write it yourself.

"Everybody's writing SHIP and SMUT fics! I want something else!"

Then write it yourself.

"Why isn't anyone writing super in-depth 200 chapter fics with fully realized plots and character development?!"

Because that takes time and energy that not everyone is willing to invest in a hobby they're partaking in for fun. Oh yeah, and WRITE IT YOURSELF if you want it so damn bad.

There's nothing wrong with feeling frustrated that you can't find what you're looking for because you have specific taste, or perhaps your taste is different from that of the majority of the fandom. This is fine and understandable and I completely relate! But once you start complaining that the only reason people won't write what you want them to is because they're "lazy", "unoriginal", or any other insult you might think is clever, then what you're doing is demanding other people put down what they're doing to serve YOU.

Fanworks are shared with you, not made for you. Unless commissioned, fanfiction is not a commercial product and it is not held to any standards of excellence. It has an inherent right to be as polished or as messy, as defined or as vague, as the author pleases. All works of fiction about fictional characters have an innate right to exist. Your ideas are no different, but it is on you to bring those ideas into existence.

Your options are to find the fics you like, commission an author (under the table of course), or write it yourself. These things are YOUR RESPONSIBILITY. NOBODY ELSE'S.

[queenlucythevaliant]

We see him come and know him ours

Russia: "Carol of the Russian Children," traditional // Kenya: The Nativity, Elima Njau // France: "Bring a Torch, Jeanette Isabella," Nicolas Saboly // Haiti: Madonna and Child, Ismael Saincilus // Australia: "The Three Drovers," William James // China: Tryptic by Lu Hongnian // Canadian/Algonquian: "Huron Carol," Jean de Brébeuf

[pasdetrois]

Marina Dyachenko and Sergey Dyachenko, Vita Nostra (tr. Julia Meitov Hersey) • Mircea Suciu, Camouflage (2) • Agostino Arrivabene, Immutatio • Matthias Claudius, "Der Tod und Das Mädchen" • Henry Fuseli, The Nightmare • Dragan Bibin, Pull (edited) • Maria Kreyn, Angel's Back • Franz Wimmer, Death and the Maiden • Mel Chin, Bat and Dove • Ana Sanchez, Death and the Maiden

[carnivalcarriondiscarded]

do—

Do Howdy and Barnaby ever get together in your human au 🥺🥺

of course they do, who do you think i am

oh BOY do i have things to say about human!Laughingstock! im so unwell about them allow me to talk and talk and talk and ta-

~

so in this au they're like... the ultimate slowburn. their feelings for each other slowly simmer and grow over the course of *checks nonexistent watch* a lil over a decade i think. it's not very dramatic - just soft & silly w/ just a heap of pining and a pinch of angst for Flavor

it starts when they were teens - Howdy had a lil crush on Barnaby in middle school. and how could he not? Barnaby was cute, hilarious, and kind. at this point, they weren't friends! Barnaby knew Howdy's name, but only because they'd shared a school since elementary (as with 6/7 of the other neighbors) & speaking from experience, you just Know Those Names. Howdy slowly "grew out of" this crush, especially when the friend group started forming and he & Barnaby became actual friends.

that crush would fluctuate over the years. It starts out strong and then softens into just this hum in the back of Howdy's mind. always there, often easy to ignore, just... part of him, in a way.

Barnaby has a similar experience. when he and Howdy became friends, he got a lil crush - how could he not? Howdy was cute, laughed at all of his jokes and had a few of his own, and was endearingly eccentric. but at the time, Barnaby didn't recognize the crush for what it was. so he elected to ignore it until the crush dwindled to something easily manageable, something he wouldn't realize is still there. as with Howdy's, it'd never fully go away

and its noticeable enough to their friends that they'd all kinda side-eye how touchy Howdy & Barnaby are with each other (Barnaby is a physical guy, but damn. if Howdy is nearby they Will find a way to be touching at all times), the way they always laugh at each others jokes, the way they always ask "where's [x] / is [x] coming with" whenever the other is absent. but the group couldn't be sure if they were looking into it or not. it's too subtle. over time they get so used to it that they don't bat an eye - Howdy is Barnaby's best friend after Wally. of course they're close!

but then there's this one college party Howdy drags Barnaby to (and by extension, Wally). they're drunk off their asses, Wally's edible has kicked in, the party is pretty chill and everyone is having a decent time. all three of them are on the couch, and Barnaby and Howdy start drunk-complimenting each other. naturally, this feeds their mutual attraction, and one thing leads to another! they make out on the couch. naturally with Wally sandwiched between them, snacking on chips and committing the moment to memory (it's a surprise tool that'll help them later!) neither Barnaby nor Howdy will remember this

now, something i'd like to state for Barnaby in this au! he has had a lot of relationships - from one night stands to actually dating someone for months. sometimes the one night stands were a "he takes someone home after a date, & they leave while he's sleeping and ghost him" situation. with actual dating, the other person always breaks things off after a few weeks, if not days. it breaks Barnaby's heart a little bit every time. to the point where in his mid-20s, he just... stops dating. he avoids other people's advancements towards him, he always takes a friend with him to bars/etc as a buffer, he becomes an expert at gracefully turning people down

("why, pray tell" no one asks "do they always leave him? he's such a catch!" that he is! when he was in school, it was his friend group. he'd try to introduce his 'girlfriend' to his friends, and it'd be an immediate "eugh, you're friends with those freaks? no way!" as an adult, people found it off-putting how (by societal standards) unusually close he was with Wally. also, again, a "weird" friend group. they'd think it's too much, or just not their scene, or 'why don't you date your little blue haired boyfriend', etc. Barnaby never holds it against Wally or his friends. he has the mindset of if that person was the one, they would accept every part of Barnaby - and his friends are indeed part of him. Howdy has also dated around a little, but to a much lesser extent. he's too busy! he doesn't have time for that!)

but the ball really starts rolling in their late 20s. something the group does together - as a fun lil rare hobby - is LARPing. they get really into it! Sally made them all custom costumes, Julie helped make the weapons (like a giant sword for herself), etc etc. they fully commit to the bit (even Frank <3). so at this event's point in the timeline, Eddie is fully integrated into the clique, but that's unimportant - just to show where we are!

so they're all doing their thing, it's a pretty big LARP event - there's always way more people than our dear neighbors, yk. they're just part of the crowd! & there's a big battle hosted, the group is split between teams, but Barnaby & Howdy are on the same side! yay! during the battle, Barnaby is "mortally wounded." Howdy half-drags him away from the main battle under the cover of their teammates (including Eddie and Julie) and sits him down by the tree. now, Howdy & Barnaby are the ones who get into the roleplay the most. they get lost in the sauce! they perform the hell out of everything they do!

& since Barnaby is "dying", he really acts like it. Howdy acts accordingly, but again, they get a little too emotional, a little too into it, a little lost in the sauce. genuine tears are in their eyes, Howdy's voice is genuinely shaking a little as he holds Barnaby in his "dying moments" (Barnaby is holding the sword between his arm and his side. he has ketchup on his armor.) Eddie and Julie are getting choked up just watching this happen. and as Howdy & Barnaby look into each others' tear-filled eyes, those little feelings that have been so quiet for so long come right back babey! full force! but then they all get hit with "arrows" and have to die right there and then, and the moments over. but! both Barnaby & Howdy walk away from this LARP session grappling with Partially Realized Feelings.

Barnaby struggles with this the most, since yk at this point he's sworn off dating. he's being careful with his heart! but when he tells Wally all of this, cause he tells Wally everything, Wally's like "oh. yes, i know! remember that one college party where you two kissed for an hour". and then he goes on to point out every instance where he's thought "right, Howdy and Barnaby are in love" (bc Wally is way more observant than he lets on! he saw that shit! his peepers were peepin!)

BUT IT'S STILL A SLOW BURN BABEY!

Barnaby and Howdy don't approach each other about this. they're both in the boat of "well, i'll just keep going and see what happens" to the point where they're practically dating without ever saying anything to each other. Howdy notices how Barnaby lingers around the store more. Barnaby notices how Howdy keeps turning up at his work to talk more. (they already chat so much...) but they still! dont! say! anything! but they both Know! they're not emotionally circling each other they are Dancing to their Own Music!

and Barnaby is letting himself believe that this can work because, well... Howdy already accepts him as he is. Howdy is part of the group. Howdy loves Wally just like the rest of em. Howdy has seen Barnaby at his (presumed) worst and didn't even flinch! as for Howdy, well, he just thinks this is right! his whole life no one has really caught his eyes or heart, but Barnaby is different. he's always been in Howdy's peripherals. it feels natural to love him so deeply. Barnaby slots into his life like the final piece of a puzzle!

there's a lot of stuff that happens in this inbetween state - Howdy's store burns down & almost takes him with it, there's some family drama that needs to be handled, The Crash happens, etc etc etc - so it's a while before they "actually" get together. but they're both patient! they've waited this long, even if they didn't know they were waiting. neither of them are in a rush. they're young. they have time.