#you all know who this is about I don’t need to explain myself

[cognitiveoverload]

Rejection (Aaron Hotchner x reader)

summary: Being Hotch’s favorite is hard, but when he suddenly asks you out, you don’t really know if you’d like to make things harder for yourself.

tags: fem!tech analyst!reader

note: There will be more parts, not necessarily in chronological order. What do you think, what situations will they find themselves in? Send an ask with your idea, and let’s see what will happen.

At first, it was just a casual and genuinely innocent observation from Spencer. “Have you noticed that Hotch calls only you if he needs something?” he asked one day as he sat between you and Penelope in your little den.

But then this comment spread through the BAU like wildfire, making everyone think back of all the times their boss needed information, and look at that, they all remembered the same detail–it’s not just the fact he was always calling you, it was the fact he always called you by your first name.

And that’s how the constant teasing began. Derek, Emily, JJ and Penelope tormented you, with Spencer occasionally joining to spit out some facts about the both of you, while Rossi targeted Hotch as far as you knew. It was mortifying, really, but you got used to it.

What you still can't get used to is the change in your boss’ behavior. Recently he’s been different, although you can’t quite put a finger on what it is that changed. Sure, maybe he shows up a little more often in your office, strictly when Penelope isn’t around, and he brings you coffee when you’re working late or arrive a little too early as he does.

“How are you holding up?”

You turn your swivel chair around to look at Hotch, who’s standing in the door with an almost worried expression on his face. He sent Penelope home a few hours ago when a case affected her too much, and now apparently it was time for another wellness check in your little office. It’s hard to miss the way he’s flexing his fingers, a clear sign that he’s nervous, although you’re not a profiler, so you remain silent before you say something stupid.

Thinking about his question, you realize one thing. “It didn’t really affect me. Does this mean something’s wrong with me?” you ask him.

His lips part as he takes a shallow breath and thinks about what you just said. For a moment you think he’ll not give you an answer, but then he sits on the edge of your desk and watches you with a small smile. “It only means you’re tough. Look, you said, ‘It didn’t really affect me,’ which tells me it did affect you, just not as intensely as it did Garcia for example,” he explains kindly.

Nodding, you look down at your hands in your lap, but your gaze rises when he bumps his leg into your thigh. You expect him to say something, but Hotch remains silent, and he even acts like he didn’t do anything at all. There is one little thing that’s different, though. That barely visible smirk, the one you’ve all seen before.

Times like this it’s hard to comprehend the extremes in his behavior. He can act like this, so kind and supportive, but he can play rough too, especially when he loses control. And times like that, like a few days ago when he yelled at an agent who tried to take a case from him, you can’t help but think about how he could yell at you any time with you even thanking him.

Because, as pathetic as it might sound, an angry Hotch is simply irresistible. You probably have some issues that should be analyzed, but that’s tomorrow’s problem.

“I often wonder how you all can do this every single day. Penelope told me to brace myself when I arrived, but… It’s hard sometimes,” you admit quietly. “Yet, there are cases that don’t really make me feel anything. I can’t really wrap my head around that.”

His brown eyes soften in sync with his expression, and then his lips curl into a smile. “You’re a good person, never forget that. Not feeling anything might be your brain’s way of protecting you. Either way, if you ever want to talk, you know where to find me,” he tells you as he stands up.

You nod, then return to your computer once he’s heading to the door. But then the sound of footsteps suddenly dies, and when you turn around to see if he has just disappeared into thin air, you find him watching you with a thoughtful look. Your brows furrow in confusion, but you don’t say anything, you just wait for him to spit out whatever’s on his mind.

“Aren’t you hungry?” he asks casually.

It seems like an innocent, regular question between co-workers. The members of the BAU often team up in pairs or bigger groups to grab something, even Hotch joins them for a drink in a bar or dinner in some restaurant nearby. But he has never, ever gone out to eat with someone alone. Maybe with Rossi, but that doesn’t count.

So, it’s no wonder you have to think about the offer. You would be on thin ice, the team already has a little too much fun with the fact Hotch is playing favorites with you. If you have dinner with him alone, they might think you’ve been in some secret relationship all along.

In the end, the rational–or maybe rather paranoid–side of your brain makes the final decision. “Thanks, but I’d rather go home after I finish this,” you say, pointing at your computer.

He nods, and you begin to think he’s about to leave, but then he gulps and takes a deep breath, as if he’s gathering the strength or courage to say whatever’s on his mind. “I have paperwork that can’t wait, but I can give you a ride home after I’m done,” he offers, and there’s a look in his eyes that you can’t quite identify.

“No need, I’ll be fine, but thanks anyway,” you tell him with a forced smile.

The last thing you need and want is Hotch taking you home. He means well, you know that, but you can’t risk being seen by someone who could easily start a rumor. The problem is, he’s almost as old as your dad, so people would talk about your nonexistent daddy issues, and he’s your boss, which would only make things worse.

So far the whole joke about being his favorite is something that stayed within the team, but if it gets out and reaches HR, you’re both done. You don’t want that, but not because of yourself. Hotch is ambitious, he’s insanely good at office politics, and if he wants to be promoted, he can’t be involved in such scandals.

You’re pulled out of your thoughts by the sigh that leaves his lips. He looks almost disappointed, which is something you don’t really understand, because you can’t remember anything that could be even remotely rude. What is his problem? Or is there something he wants to talk about, something he wants to get off his chest?

Before you know it, he closes the door and walks back to you. “I’ve been making offers, and you turn down each and every one of them without hesitation. Why?” You can’t help but give him a confused look, because you have absolutely no idea what he’s talking about. Well, you know, but why does it bother him? “Is it because we would be alone?”

“It’s just… Wouldn’t it be weird?” you ask.

He inhales and exhales slowly before he suddenly crouches in front of you. “Look, there is a chance it will be weird, yes, but why don’t we give it a shot to see, huh? Come on, just you and me. If you’re afraid someone we both know will see us, we can go somewhere away from the usual crowd.”

You tilt your head to the side as you watch him, observing the look in his eyes, the small smile that makes your heart melt, and you simply can’t get yourself to say no to him. “Why?” you ask, although you know the answer, you just want to hear him say it.

“I’m sure I don’t have to spell it out for you,” he says with a boyish smile.

Gulping, you nod. A date. Aaron Hotchner wants to go on a date with you. But he’s your boss, if you started a relationship, there would be the danger of the aftermath of a breakup. Would you really like to risk it? You love this job, you love this team, you love Penelope, losing them wouldn’t be worth it.

You lick your lips as you push your chair back to build some distance. “I really have to get back to work now, and I’m sure Jack would be happy if you got home before bedtime,” you say, even though it hurts to turn down the invitation.

Hotch lets out a disappointed sigh as he stands up. “If you change your mind… you know. Good night.”

“Good night.”

[poppitron360]

@cometmoons so for some reason tumblr has glitched and isn’t letting me respond to the ask you sent me so I’m just gonna do it like this.

OK OK OK OK OK OK SO-

There is SO MUCH to talk about with Wouldn’t You Like. I feel like it’s hard to describe on a written post so I took the liberty of downloading a music notation app and transcribing the bits I wanted to talk about (This took me aaaages. But it was a really fun process and taught me a lot.)

Be warned this is a LONG post.

Firstly, here’s my overall take on the narrative of this song:

Odysseus is one of the smartest heroes of Greek Myth. He’s a mentee of Athena. He’s tactical. Yes, he is a fighter, but he’s for the most part a strategist and he uses diplomacy and cunning and his words to defeat his foes. Big Slytherin energy. Up until this point, that’s all he’s ever used. Eurylochus has doubted and challenged this approach, and has now come to him, saying that Circe is too powerful to defeat and that they should just run away. Odysseus “Pride is my fatal flaw” of Ithaca is insisting on fighting Circe, but is realising that he might not be able to talk his way out of it.

Hermes has now shown up like “hey ✨dAhLiNg✨how about you try something different? DRUGS!”, offering him a taste of something he’s never had before… power.

This, in my opinion, is a big step in Odysseus’ fall from man into monster, and Jay uses music in so many different ways to convey that, so let’s start with a break down of the song one section at a time:

Intro:

For most of the song, you’ve got the Lyre/Harp playing- Hemes’ signature instrument, which is significant to him because according to myth he invented the Lyre. This is the first thing we hear in the song, immediately setting up the things you need to identify his character.

Harps and Lyres are typically used in film and videogame music to give a mystical, magical atmosphere. I love how Jay blends modern (1980s) Synthpop with more classical, eclectic instruments that don’t normally fit the style. I’m assuming for budgeting reasons he’s using a VST or some kind of sample pack and not a real harp (session musicians are EXPENSIVE), but still- you hardly ever hear a harp in this kind of music but it WORKS.

The introduction played by the harp also lays out something that is shown throughout the whole song:

AEOLIAN MODE!!!!

Modes are hard to explain bc I barely understand them myself (I said music theory was my special interest, not that I was any good at it) but according to the Wikepedia article I’m reading about them right now, they were used a lot in ANCIENT GREECE. The Aeolian mode specifically was used a lot back then. The word “Aeolian” comes from… you guessed it- the Islands of Aeolus!!!

Aeolus, being the God of the wind- Aeolian mode is this mystical, free-flowing mode that simulates the feeling of wind.

You know when you hear a high wind through a telegraph pole you get this whistling sound? That’s basically a rudimentary, naturally occurring Aeolian Harp. There’s a whole Physics lecture about sound frequencies and microtones and shit in here that I am not yet qualified to give but this kind of stuff FASCINATES me about music.

I found this 60sec short that explains Aeolian mode really well from a channel I really like: https://youtu.be/bJ6TRQ3k45Q?si=sksSz4xyf_96uMrp It’ll give a much more concise explanation than I could, but basically all you need to know is that the melodies are in this special scale.

Aeolian mode is the natural minor scale. It’s often used to feel spooky and mystical- perfect for a song like Wouldn’t You Like where this magical character is singing about a magical plant. It’s not the standard G minor scale, but something a little more twisted and not really something we’re used to hearing, giving it a mysterious quality.

This is established immediately by the harpline, and sets the entire tone of the song. We then hear his trademark giggle, and so in the first 3 seconds we know everything we need to know about who Hermes is and what he’s like.

Speaking of the giggle- I briefly mentioned Panning in my post about Scylla, and while I can’t discern any use of it just by listening, but I imagine Jay’s probably used a subtle amount of it to give the sense of Hermes flying overhead.

Panning is a thing done in audio production where you can choose how much of the sound is heard on the left or the right.

Verse 1 (“I must say”… etc.):

It’s very gentle at this point, the orchestration and vocalisation is calm and lilted. It’s very beautiful, although the minor tonality gives it a slightly uneasy feel. (Often the minor key is described as sounding “sad”, but that’s not always the case. This is a great example).

The harp melody is repetitive, giving a sense of persistence, this adds to the sense of unease. It also has elements of hip-hop, as a gentle beat comes in as the chorus starts.

Chorus 1:

Now the harp cuts out and you’ve got that synth bass-line coming in- the repetitive, insistent beats and this “four-on-the-floor” drum pattern where the bass drum (which sits on the floor) kicks on every beat (in a four-beat bar). This feeling of it almost pounding in your head on every thump.

The instrumentation is very stark, you’ve just got the vocalist, the bass, and the bass drum. This technique is used by Taylor Swift in both the songs “Look What You Made Me Do” and “Vigilante Shit”- this really makes you listen to the lyrics as there’s nothing distracting you. As this is the first time we’re hearing these words, it draws you into what he’s saying.

On the line “Wouldn’t you like to have some of the magic?”, the Lyre comes in, playing this repetitive line that goes up and down and up and down. It’s a repetitive, almost hypnotic sound.

Verse 2 (“She can turn you to an animal”… etc.):

This is when this bluesy piano comes in.

The piano is used a lot in different points of Epic- it’s an essential part of any musical orchestra pit or just a song in general, and crucial in every composers instrumentation arsenal (and was also the first instrument I ever learned to play and my first real taste of music, so it’s not like I’m biased or anything)- but it’s mostly associated with Athena as it’s her signature instrument. It’s a stretch, but my interpretation is that Hermes is trying to appeal to something familiar to Odysseus. So far the only God he’s interacted with at length is Athena, who taught him this idea of being strategic and tactical. Hermes is acknowledging that this is Odysseus’ main way of fighting, while also showing him that there could be something more to it.

The piano plays these low-octave chords in this syncopated rhythm, which adds a layer of intensity that you didn’t have in verse one. This continues into the second chorus.

Chorus 2:

The orchestration is much more intense, pulling the audience (and Odysseus) in.

I’m gonna talk a lot about the musical “language” that Jorge has established for the universe- bits of music theory he’s tied in with themes that don’t necessarily have the same connotations anywhere else, because I think it’s genius.

Jay has said that the mythical beings (Gods, monsters, Odysseus when he kills the suitors) are all able to summon non-diagetic backing vocalists to back them up. Interestingly, Hermes doesn’t use this the first time round, speaking to Ody on his level, and is now rising up and displaying the power he’s tempting him with.

This is when we first hear the backing vocalists. There’s now a group of voices, so there’s more people urging you to taste the flower. Musically speaking, the harmony moving in the same rhythm with the same words as the soloist creates a sense of movement, congruent with Ody’s temptation.

Here is where we get to how this harmony works. This is the section that will actually answer your question.

First of all, I also struggle with overstimulation so I totally get what you’re talking about. There’s a right way and a wrong way to do backing vocals, and I know from experience that writing harmonies as complex as this takes skill and practice.

I think that’s why music is so special to me. The sensory calm certain sounds and songs give me, the good kind of stimulation and the bad kind. It has always made me so curious as to why and how the choices made in music can impact a person psychologically, make the listener feel immersed in a story, inflict specific emotions.

This is what fascinates me about music theory. Yes, it should overwhelm you. Yes, it should sound wrong. But it doesn’t. It WORKS. And what’s so interesting to me is why.

Jorge describes it as “crunchy and punchy” which is honestly perfect.

He is of course, referring to dissonance.

I have been studying music most of my life, and pretty much every music teacher I’ve ever had describes dissonance as just “sounding smushy”. It’s actually “a lack of harmony among musical notes”, usually two notes next to each other played at the same time.

But why does this sound “crunchy” and not “smushy”?

The Melody remains modal, as it has done the entire song. This is our grounding, our “Home”, but the harmony does something different. It’s moving down and up, flowing like wind, like the sea. And it’s doing this chromatically- using notes from the G minor key instead of the Aeolian mode- which creates clashes. Also known as dissonance. Also known as “smushy”.

And this is where we break out the good ol’ notation! I transcribed this myself by ear, so it might not be perfect. I can sight read tablature but not sheet music, so if this is wildly off then I’m sorry. I find it easier to explain music through annotations, but in order to make this screenreader accessible, I’m just gonna cite the lyrics and explain it in the text underneath.

In this section, “Wouldn’t you like to have some of the magic? Wouldn’t you like your outcome preferred?” The melody pretty much remains on C this whole time, only changing at the end of each two-bar phrase. This gives a forceful, repetitive, driving feeling. Hermes is being very persistent here.

For the first two-bar phrase- “Wouldn’t you like to have some of the magic”- both harmonies are the same. They then split at “Wouldn’t you like your outcome preferred?”

“Wouldn’t you”- The harmony starts on G, which is the root of G minor (the key that we are in). This is diatonic (using the notes from the key)- so it sounds nice, not “smushy”.

“Like to”- We then go down to F sharp, which is dissonant to the Aeolian mode, even though it’s the major 7th of G minor. This is why it sounds “smushy”

“Have some of the”- And here is where the “crunchiness” kicks in. It’s resolving down to the flattened 7th, which is F natural. The flattened 7th is the modal note.

“Magic”- The first two-bar phrase ends in E natural, which is dissonant to the mode. The melody also ends in D, which provides a lot of dissonance with the E as they are right next to each other, which can create clashes.

“Wouldn’t you”- This is where the two harmonies split. Harmony 1 goes back to G, which is the root of the mode. Harmony 2 goes down to E flat, which is also consonant (not dissonant).

“Like your”- Harmony 2 goes down to D, which is dissonant with the note in the melody (C) because they are next to each other. Harmony 1 goes to F sharp, which is dissonant to the Aeolian mode, as said before.

“Outcome”- Harmony 1 resolves to an F, and Harmony 2 goes back to an E flat.

“Preferred”- The last two notes “smush” as F natural (Harmony 1) and E natural (Harmony 2) are a semitone apart, then both harmonies join at E natural, which clashes with the D in the melody.

So the pattern goes from “nice” to “smush” to “nice” to “smush” to “nice” to “smush” to “nice” to “even more smush” and then when the next part of the harmony starts “deep in the night” you resolve back to the G, which is the tonic note.

Why does the dissonance work in this song?

It’s passing. Going down by step and resolving to a modal note. Passing notes that resolve don’t have that smushyness. They crunch.

Dissonance is a funny thing. Often musicians stay away from it because it sounds muddy and awkward and not great, but it can at times sound quite sweet, and with skill and knowledge you can learn how to use it effectively.

It also works here because it fits with the aesthetic and Hermes’ character. We’re already in this spooky, mysterious mode. We’re in a minor key. And Jay is using all these other musical techniques to give a slightly uneasy, hypnotic feel. The dissonance feels strange- not the sweet, diatonic harmonies we’re used to hearing. This is what makes this song stand out, and what makes Hermes such an intriguing and appealing character.

There’s this “up and down” melodic pattern that occurs throughout the song in several places. While Harmony 2 is doing that, Harmony 1 is just going down, repeatedly. I find it interesting that Odysseus isn’t rising to this power, but falling to it. It hints at Hermes’ trickster nature. These musical motifs (harmony, the harpline, the synthline, etc.) go up and down and up and down and up and down like gentle waves. We’re on the ocean. It’s lulling, compelling, hypnotic. “Come hither” whispering in the ear. It’s creepy, to be honest, and shows a darker side of the song that I will talk about later.

Bridge (“Here in the root of this flower”…etc):

Jorge has talked about how this is one of his favourite bits to sing, and musically that makes perfect sense.

Firstly, you’ve gotta hand it to Troy Doherty’s amazing performance. Hermes is so expressive even without seeing him.

Quick note about vocal techniques- YOU CAN HEAR SMILES. The act of smiling changes the shape of your mouth and thus changes the quality of your voice. You can HEAR Troy break out into a smile on the line “Though it’s only for a moment, ‘til you’ve beaten your opponent”. This is also my theory as to why the line “Penelope Whyyyy, you know I’m too shyy” is so stuck in everyone’s mind. Try singing it without smiling and then try singing it while smiling. Do you think it would’ve been that catchy if Jay wasn’t such a cutie pie?

Smiling is contagious, even if you’re only subconsciously noticing it. Hearing a smile gives you that little hit of dopamine.

When we hit the bridge, the piano, bass, and backing vocals cut out. Again, it’s just drums, harp, and lead vocals. This signifies a new section of music and also does the same trick as before- drawing you into the vocalist- but this time making you focus on the melody instead of the lyrics.

This whole bit is solely in Aeolian mode. The downward motion of the bridge increases the intensity of the song, dragging you into his words, falling into the power of the root. It’s sort of a callback to the downward motion to the second harmony line.

The constant quaver rhythm of this rising and falling conjunct “stepwise” melody gives a spiralling feeling, leading downwards. The rhythm is almost conversational, which fits with a mode like Aeolian that flows like the wind. It’s also why it’s so catchy and fun to sing. I love how Jorge composes in this uncommon scale in this particular pattern to reflect this idea.

There’s also one particular detail about the rhythm of this riff that compositionally shows something even deeper:

THIS IS IN TRIPLETS.

DO YOU KNOW WHAT TRIPLETS SYMBOLISE IN EPIC???

RUTHLESSNESS.

Ruthlessness is usually a theme reserved for Poseidon, Act 1 Athena, and Act 2 Odysseus. You wouldn’t expect a “friendly” God like Hermes to be using it. But he is. He’s being persistent, constant. He is trying every trick in his bag to persuade Ody to take the flower.

Jay is VERY deliberate about his arrangements and his composition, so this is not a coincidence. He has established this “language” of musical voices, rhythmical voices, and motivic voices to symbolise all his characters and themes. It’s fascinating to me that he made this choice for Hermes. Ever so subtly hinting that the God might not be as benevolent as he seems.

Chorus 3:

The instrumentation of this new chorus is pretty similar to Chorus 2, except…

These DRUMS.

I asked my dad about these while I was staying with my parents over the Xmas holidays, and it resulted in a 5-minuite-long infodump about a specific type of drum used in 80s pop music (yeah I totally definitely don’t see the family resemblance at all /sarcasm). Any Brit in the audience might recognise this drum sound as sounding almost identical the intro to a show called East Enders (which I never watched, but was aware of) and idk if that was Jay’s intention, but the drums apparently have a long and complicated history, which I will give you the abbreviated version. (If this is too much information you can skip the next paragraph if you so wish, I realise this can be overwhelming)

Bass drum called the Simmons’ drum- electronic drum pad- famous for being hexagonal- they were radical in that they gave an electronic palette to modern dummers- they weren’t well-built and the very earliest ones were made from the same composite materials as police riot gear- caused repetitive strain injury that became known by session drummers as “Simmon’s wrist” because it was a bit like using your drumsticks on concrete (What’s that? You don’t think music is as intense as sport? Musicians get injured just as much as footballers do)- the sound is one of the most distinctive sounds in 80s music and entirely synthetic, generated through synthesis so some poor technician had to sit and programme a synthesiser to sound like a tom-tom- in the 90s and early 00s it was seen as cheap and over-the-top but is now looked on with a sense of love and nostalgia.

This is, of course, a sample of the Simmon’s drum as I doubt Jorge owns a real one.

So what does that do for Hermes? It grounds the song it its 80s retro aesthetic, creating Hermes’ unique stylistic voice. Jorge has described how he got the idea for Hermes’ sound when he saw a retro, multi-coloured lamp that made him think of 80s music. Each character in Epic has their own soundscape, and this very particular drum sound adds to it.

It also adds intensity to this final chorus. These loud, heavy drum sounds give that adrenaline rush that the previous verses and choruses have been building to, when Odysseus finally takes the flower.

Then we get Odysseus singing the “oOOOooOoOOhHHHhs” as he eats the holy moly, then the chorus ends, and we get a repeat of the harpline from the intro as he thanks Hermes for the help.

My conclusion:

Odysseus has made a Faustian pact with Hermes, the trickster god. While Hermes’s words are friendly with no ill-intent, the composition and orchestration lean more towards this idea of “making a deal with the devil”. Gods know the game, and how it’s played. You, mere mortal, do not. When they entreat mortals to do their bidding will offer riches, money, fame, success, magic, power, but very rarely are their motives sound.

This is Odysseus’ first taste of the magic that separates gods and monsters from mortals. He is able to fight Circe as an equal, and this new development teaches him that he doesn’t always have to be strategic and diplomatic, but ruthless and relentless as well.

I know that the fandom see Troy Doherty’s performance of Hermes as “omg babygirl so slayyyy!!!” But there’s actually a deeper level to what he’s doing here. He’s a trickster God, tempting and teasing Odysseus down a path of magic and power- giving him the first taste of something that will later drive him into becoming the Monster. Hermes is almost seducing him to the dark side, using rhetorical questions, waving the Holy Moly in front of his face and saying “Come on. You know you want it. Wouldn’t you like a taste of the power? Wouldn’t you like to be victorious for once?” In his lyrics describing a “taste” of the power being something almost like a temptation. Odysseus is breaking from his norm- using magic and might instead of logic, diplomacy and reasoning. While he’s doing it to save his men, this is a major step in his descent into monsterhood, and it’s fascinating how Jay does this not only lyrically, but musically as well, using what’s called “word painting” (music and words working together) to create the sense of hypnotism and manipulation.

Hermes is being:

Ruthless (triplets),

Ceaseless (repetition),

Persuasive (rhetorical questions),

And hypnotic (lilting, lulling melody).

He’s drawing you in, forcing you to listen to him (stark instrumentation focusing on the vocals, then increasing the instrumentation as the intensity progressively increases, culminating in this big, expressive final chorus with this pwerful drum sound)

Overall Jorge uses all these techniques to show Hermes manipulating Odysseus into taking the flower. By subconsciously making you feel the temptation that Ody- the Narrator- is feeling through music and orchestration.

So anyway, those are my thoughts on “Wouldn’t you like”. I didn’t even have time to talk about “Dangerous”- perhaps I’ll make a separate post about that but no promises. Thank you so much for reading if you made it to the end!

[takendruid]

Okok so, requesting some help from StephCass shippers, and maybe also TimSteph shippers/people who know decent amount of information about TimSteph’s relationship

Can you guys, StephCass shippers, explain to me the reasons why you ship them?

I don’t know nearly enough about Steph or Cass, or their relationship to each other, to make a proper judgement of the ship.

It always kind of felt weird to me, because it just felt like Batcest even though Steph isn’t actually Bruce’s kid. And then I actually started to think about why the ship makes me uncomfortable in a batcest way, before having the realisation that I simply don’t know enough about either girl or the relationship they have with each other (nor Steph’s relationship with Tim) to justify feeling that way.

I’m relatively new to the Batman fandom, so I’m still learning a lot. And this is something I feel like I need to be educated on before I can actually make a judgement of the ship.

Because I only found out today that the reason Tim and Steph broke up was apparently because Tim is bisexual?? I already knew he’s bi, I didn’t)t know that apparently that was the reason they broke up (but don’t quote me on that, and feel free to correct me).

I have started to read the comics, but there are so many comics that I just… need that shit explained to me. Tim and Steph’s relationship kind of also made me uncomfortable because Batcest, but to a bit of a lesser degree, before I had the same realisation about TimSteph that I did with StephCass; that I know basically fuck all about their relationship to each other because I’m a newbie, and very uneducated.

The way I have always perceived Steph and Cass has just been as sisters, and Steph and Tim as exes who are still close and have a very sibling-like relationship. Before realising, obviously, that I just know fuck all.

This post, and request for an explanation comes from a place of genuine confusion and curiosity, not any hate. I do just need the StephCass ship explaining to me because I genuinely don’t know very much about either girl, or their relationship to each other.

Sorry I keep repeating myself ✌️ (under the cut isn’t anything really relevant to what I’ve talked about here, it’s just an explanation of what I have seen comics-wise)

Idk if anyone is going to ask, but when it comes to the comics, I have started actively reading some currently releasing ones like Batman & Robin: Year One, and Absolute Batman. I have also bought Absolute Superman and Absolute Wonder Woman, but haven’t gotten around to reading them yet. I’m perfectly aware that the Absolute comics are basically AUs/is an AU (idk if they carry into one another), and that B&R:Y1 is of a retelling of Dick’s origins as Robin???

I have actively read the two issues of Red Hood Gotham War, and the surrounding issues in Batman and Catwoman that take place at the same time (Bruce… what the fuck… writers, what kind of mischaract-). I wouldn’t say I have “read” either RHATO, but I have skimmed through the one with Artemis and Bizarro; from when Jason is kind of… disowned-ish by Batman as a Bat, up to about when the group of kids were introduced (because I wasn’t reading it properly, I got super confused and just stopped looking). But I have read more closely the Prince of Gotham issues when looking at it a second time for a quick moment. I have also skimmed through the early issues of both RHATO comics. Jason is my favourite character, so I have kind of tended to look at official stuff more aimed around him. That is why I know pretty much fuck all about Steph and Cass.

I briefly know their backstories, I know that Steph became Robin for like 2 weeks after Tim was fired, I know that Tim and Steph were dating. But I haven’t actually read anything official with them in besides RHGW, which includes like a panel or so of Steph as Spoiler.

And yes, I have read most of WFA (I need to catch up) but I’m perfectly aware of the context it existsin; it’s not official, it’s slice of life, it’s a webtoon, and it does not properly represent the characters… even though (some of the) said characters have been so disgracefully mischaracterised by the official comics that WFA doesn’t deserve the amount of shit it gets for doing the same thing, or so I have heard.

I’m not claiming to know my shit, I think that’s pretty obvious. I trust the people on Tumblr to not treat me like shit because the community here is lovely. But I know there are going to be the odd people that might pull me up if I don’t clarify what comics I have actually read and seen. Or maybe not pull me up? More just be curious to actually know my level of knowledge from the official sources, instead of people on the internet talking about it.

[house-of-naga]

Fellas….

Is it gay to move in with ur bandmate, call yourself his boyfriend, and also constantly mention that you’re generally happier, healthier, and sleeping better since you did?

[dykedvonte]

I keep seeing fanarts of ppl's OC's being on the ship, so do you think that if there was 6st crewmember (specifically, another woman) Anya would've been more safe? Like, someone to actually call Jimmy's begaviour out, someone Anya might wanna trust? Is there a possibility something might have changed (even if a little) or it would not have mattered at all?

-💀

I feel like the game would make it part of the commentary on where she would believe and help Anya but still be sort of dismissive? Like the whole “don’t waste time crying and being scared keep going and move on, don’t let him win”. It’s supposed to be positive and reinforcing but sometimes it does more damage in those times of mourning and grief, it feels patronizing, like you don’t understand what you’re going through but they do. Even if they did call out his behavior it’s still on Curly to act and while another voice would help, it’s still 4 against 2 on guys that don’t get it until they have to vs women who always have to.

I don’t mind mouthwashing OCs but I do get a bit bored as they tend to be borderline saviors or like Jimmy aligned. They are either more complicit than Curly or just Jimmy haters for no reason, outside of what the creators know about what he did to Anya. I am never irked by OCs but in a story like mouthwashing you really need to think about what your character adds to the commentary, especially if they are there during the crash. It’s nice to have like characters on Anya’s side more whole heartedly and interesting to see characters who placate Jimmy but sometimes it’s one note.

I can’t and don’t want to police peoples OCs it’s never my intention when I comment on trends I notice, but I do feel like the way people make their OCs interact with these two characters and especially Curly, really show a grave misunderstanding of the narrative and these characters as people vs roles in the story. Still, I know people just make up characters for fun and that’s fine. Great even, but I guys I’m focusing more on OCs that are supposed to have those serious dynamics. My favs tend to be pretty-Tulpar or post-Tulpar au OCs.

The inevitably of the crash is on Jimmy. He did that not because he wasn’t stopped but because all his means to kill Anya were taken. The gun, the axe. Even if Curly did strip him of his co-pilot privileges and try to keep him contained there’s only so many people. An extra body helps but they have jobs they have to do, he’s the only one steering the whole ship and Jimmy would likely have an out: food, bathroom, etc. He’s not new and if he couldn’t crash the ship directly, who’s to say he wouldn’t sabotage something else? A clunker like the Tulpar wouldn’t take much. An extra person helps but it’s just another thing that prolongs what a person like Jimmy is willing to do to shirk responsibility.

It’s more than just needing someone to stand up to him and think that’s what is missing when it comes to inserting a character into the mouthwashing setting.

[itspileofgoodthings]

had a very nice realization about peace, especially spiritual peace, the other day. (Been brewing for a while.) and it’s just: peace is for the non-peaceful.

[whenthegoldrays]

overthinking … nooo ……

[dailyautophagy]

SORRY BUT IM JUST TOO PRETTY TO BE UPSET

[pepprs]

STILL wide awake! i did not put down my phone! and now im hungry. so i will not be sleeping tonight ♥️

[agents-are-dicks]

Me being a bitch (waayyy more drama in tags):

Decided to stop all the petty shit and actually text my cousin to explain things and have an actual conversation and the bitch laughed at me so I’m officially done with her royal highness

[bfpierce]

.

[insanechayne]

~ ~ ~

[classyrbf]

IS THERE SOMEONE ELSE! — GOJO SATORU

SYNOPSIS...you and gojo get into a fight after realizing that he’s been hiding something about your relationship the entire time

INFO...gojo x fem!reader, angsty, arguing, breaking up(?), not proofread

OTHER...likes and reblogs are appreciated

You slam the door to the penthouse, your heels clicking against the mahogany floors with each step. You toss your purse on the couch, hearing Gojo opening the front door and shutting it quickly. “Baby, please just listen to me.” He pleads, following after you.

“I don’t wanna hear your bullshit excuse, Satoru.” You roll your eyes, plopping down on the edge of the bed to relieve your sore feet of the heels you’ve been wearing all night to your boyfriends opening event he’s been planning for months now.

“I’m not trying to make excuses. Please.” He walks over towards you and toss your heel at him. “Stop throwing shit and just talk to me!”

“You don’t get to tell me what to do!” You stand to your feet, glaring daggers at him. “Do you know how embarrassing that was for me? God, you’re a fucking asshole.” You seethe, narrowing your eyes. “I sat there all alone, while you let some woman feel up on you the entire night? Are you out your fucking mind?” You scoff.

“She’s just an old friend, y/n. I swear I didn’t mean to make you feel that way.” He shakes his head at you, grabbing onto your arms tightly.

“Oh, yeah? So I when I came up and introduced myself as your girlfriend none of your friends were looking at me like I was crazy? I know we’ve been only together for a year, Satoru, but that’s fucking low.” You pull away from him. “They didn’t even know who I was. Then you got miss prissy bitch clearly flirting with you in front of me and you didn’t do a damn thing to stop it!” You brush past him, stomping over towards the bathroom.

“Slow down, y/n! Baby—”

“I’m not your fucking ‘baby’, Satoru.” You gather all of your products from the bathroom, from your makeup and skincare to your clothes and shampoo.

“Stop for just one second.” He spins you around so you’re facing him. “Don’t leave. I swear you’re the only girl for me. I know I fucked up, I know I did. I embarrassed you, made you look stupid and I am so fucking sorry. But please do not leave.” He cups your face gently and his touch feels so inviting, but you can’t forgive him that easily. “I only want you. I only need you.”

You look up at him through your lashes, swallowing thickly as you bite the inside of your cheek. “Should’ve thought about that when you let her kiss your cheek and you smiled at her. Right in front of me. Get the fuck off of me.” You push him, rushing to grab your bag from the closet.

Gojo lets out a tired sigh, following you. He wasn’t going to let you go. Not like this. “I shouldn’t have let her near me.”

“Why was she so comfortable with being that close to you, huh?” You question, furrowing your brows as you turn to look at him. “Now that I think about it. Let me guess, you two were more than just friends.” You stand to your feet, snatching your clothes off the hangers and shoving them into your bag. He looks at you, opening his mouth to speak but nothing comes out. And from the look in his eyes, you already knew the truth. A bitter laugh leaves your lips, shaking your head in disappointment.

“It was before you! Before us! We never dated it was just a small thing between me and her!” He tried to explain. “Baby, I swear! Once I met you, everything changed. I cut her off and focused all my attention on you. You’re the only who has my heart.” He grabbed your wrist only for you to pull away.

“Clearly I ain’t the only who who’s got your dick, though.” You slam the closet door shut, turning your back towards him.

“Don’t say that, y/n. That’s the first time I’ve seen her in years!”

“Yeah? Well all your friends sure know about her. She must’ve been great in bed, Satoru. Me? Well, they looked at me like I was a fucking ghost!” You scoff. “Like I was some delusional bitch who came up to you and said I was your girlfriend!” You throw your hands up in disbelief. “You must take me for fucking joke. It must be written on my forehead or something!”

“I don’t take you for a joke! You’re my goddamn girlfriend. You live with me. You have my initial around your fucking neck! I love you and you know that!” He takes a step towards you.

“Do I know that?” You ask aloud, cocking your head to the side.

“What—of course I love you. What the fuck are you saying?” He looked at you with pure confusion.

“You’re a joke. One of your friends, Shoko, pulled me aside and told me the only reason you got with me is because your little fling ended up getting a boyfriend herself around the time we started dating. You’re a piece of shit.” You revealed the truth to him, watching him stare at you blankly, lost for words. “Think I wouldn’t find out?” You ripped off the necklace with his initial, tossing it at him.

“Yes, I was upset that she got a boyfriend but—”

“So you had feelings for her. And just to cover them up, you got with me as a distraction.” You step closer towards him. “Listen to me, Satoru, don’t ever try and contact me again, keep whatever fucking gifts you bought me and return them, sell them, do whatever because I am done,” you spoke through gritted teeth.

“No, no, no, baby. You can’t leave me. Yea I liked her before, but so fucking what? I was never in love with her, not like I am with you. I was too fucking stupid. I still am! Just give me another chance to fix this. I don’t want us to end this way.” He grabs your packed bag from your hands and tosses it on the bed.

“Let me go, Satoru.”

“No,” he shakes his head, “I can’t. You’re everything to me. She’s nothing compared to you.” He sniffles, holding your hands in his. “I love you so much and I’m so sorry I didn’t tell you the truth. I’m sorry I embarrassed you. And I’m sorry for entertaining the idea that she could even come close to you. She can’t.” His hands cupped your face, his heart pounding in anticipation as he waited to hear any words from you.

You reached up, pulling his hands away from your face. “Bye, Satoru.” You walked past him, grabbing your bag off of the bed. As much as it hurt to leave, you knew you had to respect yourself. Time and space was what you needed to think. With each step out the door, you could hear Gojo’s sobs, something you’ve never heard before in the year you’ve been with him. For the strong, flashily and confident man he is, you never once thought you’d see or him break down. Especially not for you.

[lizardho]

I came out to my dad as bisexual at 14 and I was PANICKED because I had a crush on a guy in my Boy Scout troop and thought I was Going To Hell Forever and he was so kind and understanding of my distress, but he had NO idea what bisexuality was. He just said “yeah but you like girls too? This is normal. Everyone is like this.” And I love my dad and trust him with my life to this day and the idea that the concept of bisexuality had not occurred to him had not occurred to me so I put it off.

By 16 though I had a crush on like THREE boys. Three entire boys in my Boy Scout troop. I felt like my sin was slowly advancing, until like an untreated cancer it had become metastatic. I remember bawling my L’il limp-wristed sissy eyes out in his big rumbly truck on the way home from a scout meeting and him telling me that it was OK, that he still loved me if I was gay, but that he knew I wasn’t gay because I still had crushes on women and that meant I was straight. I didn’t quite know how to explain that those felt *~*different*~* and that I felt like I was losing a fight to evil inside me but I again felt comforted by his reassurances and his genuine fatherly love.

At 18 I was like “hey I’m realizing all my friends are going on missions. I don’t wanna do that. Idk how to say that and I don’t have a ‘good enough’ reason to not wanna go.” So I just put it off. Again, my parents were extremely supportive of the information I gave them (I blamed it on perpetually forgetting to start the paperwork.) and one day my mom texted me that she had done the paperwork for me! And that all I needed was to get a physical! So I did that (it was awkward af tbh, my hernia check was done by a trainee doctor and she spent like 3 minutes fishing around my inguinal canals before her attending rescued me) and was sent to Mexico City where I learned that in addition to dipshit himbos with strong hands and scruffy guys with artistic hearts I was REALLY into chubby Latin men with strong personalities who bullied me a little when I lived in Mexico.

I remember my first companion got annoyed with me during an argument and said we were just gonna wrestle and whoever won the wrestling match won the argument (I stg I am dead serious this happened.) I was like…SWEATING when he tore off his tie and threw his white button-down shirt onto the ground (I won btw, don’t ask me how).

I remember one of my companions with this really intense, almost manic energy telling me that he was gonna make sure I was safe in a new area I didn’t know very well. He cooked breakfast for me and we’d go shopping together on P-Days and in the mornings before breakfast he’d jog around and do pull-ups with his shirt off and I’d do anything but look at him because my face would break out in a sweat so intense he’d think I was crying and come over to see if I was OK and somehow make it worse. He let me play D&D with myself in the evenings even though it was against mission rules because he knew how lonely and stressed I was.

I remember one of my companions was a big chubby man with a loud voice and a great sense of humor. He was kind and direct when addressing conflicts with me, and always bragged about how he knew the secrets of women’s minds and it felt like he really did since it almost always boiled down to “Treat Them Like People and Love Them a Lot. Don’t Stop Being A Person For Them. Also Eat Them Out Sloppy Style.” Our P-Day activities sometimes felt like dates, and it seemed like he was more attentive to my emotional state than I was since he was always the first to suggest we slow down our Divinely Mandated, God-Ordained, Super Sacred Work and Wonder to get a snack or check out a Pawn Shop (I love Pawn Shops).

I remember another companion who asked me to bully him every time he did something against his goal of losing weight. It was like he gave me Carte Blanche to take out my crush on him by being a nuisance and I LOVED that. I remember having a breakdown one day after we’d spent the afternoon frantically cleaning our disgusting-barely-habitable mission house to make it look less vile that it was (not our fault imo?) and I started bawling and he pulled me into a hug and he smelled good and he told me he knew it wasn’t just the house and that I was mad at him for being a Huge Dickhead for about a week (true) and that he would work on it. (He’s also a huge chaser but that’s a separate thing.)

I remember one of my companions waking up early (and our schedule is already built for sleep deprivation) to make me a “birthday cake” from knock-off Nutella and bread. He used matches for candles and woke me up, lit the ‘candles,’ pulled them out, then smashed it in my face and took a bunch of pictures while I was still madrugada and disoriented as fuck. He had the same sense of humor as one of my HS crushes and I could push his buttons pretty easily which was so fun.

I came home from my mission and started back at BYU where I became actively and aggressively suicidal. I had a stalker the year I moved up there and my dad’s solution to that was to get me a gun. I know he wouldn’t have bought me a gun if he could have read my mind, but I had a loaded pistol under my bed during a trifecta faith/sexuality/gender crisis and that was not helpful. I remember that the day I decided to kill myself I figured I’d call the BYU CAPS and see if I could get into therapy because it felt like what I was “supposed to do” so I could check my suicide boxes. My therapist was the guy who’d helped me pick a major the year before and was this drop-dead gorgeous Hawaiian man who cried when I told him how I’d been feeling.

A few weeks into therapy I met another stunning man with soft eyes and a scruffy illegal-at-BYU beard he kept pushing his luck with. He was funny, kind, patient, married, and wouldn’t give me the time of day if he knew I was crushing on him. We were in my history of psych class, which was inarguably the worst psych class I have ever had, and we studied together for every assignment and test and I realized that my feelings for him and for all the men I’d already mentioned were in direct conflict with my faith and relationship with God. My already agonizing spiritual conflict became even more wretched and as a result of this plus some other tightly-packed experiences with Mormonisms bullshit, I left the church.

After leaving the church I decided to move back to AZ and transfer to ASU. My mom helped me get a dog since I think it had started to dawn on my family that my mental health was barely getting me through the day, and she knew that we both loved dogs. Madi made my last year at BYU livable while I got my shit together and transferred. In that last year, I went on a date with quite possibly the only semi-openly-out trans person on BYU campus. It was not a great date imo, I was not doing well, but the person I spoke with was fun and fascinating and talked to me about Gender Dysphoria and it really cemented my need to go. To leave and never come back to that fucking school.

I started at ASU a month after my last semester at BYU and within a very short time frame it felt like I was coming back together, like a puzzle magically putting itself together in an environment that wasn’t slowly draining that puzzle’s will to live.

On the 4th of July, the year I started at ASU, I saw a transition timeline photo of a gorgeous happy beautiful happy radiant happy woman and her former Mormon missionary self and I realized the light that was on in her eyes was the light that was off in mine. I looked into transitioning for 3 days, sleeping about 10 hours total during that time. I started talking to other trans people on Reddit (one of whom is now my beautiful fiancée @cintailed) and after about a month of making preparations to be disowned and kicked out, something I was not sure would happen but was ready to go through to Turn On The Lights, I came out to my family and it was amazing. I started HRT a month after that. I secretly dated some dorky guys for about a year while I applied to grad schools. I got into a great grad school for me and my needs. I got FFS. I did my trainings and classes. Me and my fiancée moved in together after some LDR shenanigans. We’ve lived together now for 4 years of basically marital bliss. We have a cat named Grandmother Esmeralda Weatherwax who bites the hell out of my feet about three times a day. My bi-cycle continues to be part of my life but now it’s not as scary. Baby gays in my life have started to look to me for advice. Idk how this all happened so fast. When the years, months, weeks, days, and hours seems to crawl by so slowly now they are rushing past me so fast it’s almost bewildering. Whereas before I felt like I was living on borrowed time, past my ‘expiration date,’ now it feels like I can Fucking Breathe. I’m training myself to slow down now and it feels worth it to Live In The Moment.

Idk why I wrote this. Idk why these thoughts only seem to come up on Sundays when I’m supposed to be writing my dissertation. Idk why I’m crying rn or why I feel so happy. I’m gonna post this shit then get on with my dissertation I guess. Read more Terry Pratchett and give yourselves the time you need. Get a pet. Talk to someone. Re-examine the events that brought you here. Be gayer. Love y’all 💕

[k9wa]

𑣲 RILE HIM UP ! ft BOOTHILL.

⠀ — your least favourite cyborg is brought back to you a mangled mess.

⠀ OR

⠀ — being boothill’s mechanic when you lowkey can’t stand each other.

⚠︎ sweet sweet tension, a little suggestive towards the end, gn reader (no referring pronouns), can they fuck already, this was ib by his lightcone, wc 1.9k

boothill's eyes flickered to life, emitting a faint glow of red as his systems began to reboot.

a pair of familiar red pupils met yours, two crosshairs fading into sight as boothill regained his sight and— to your dismay— consciousness.

as the cyborg regained his motion he attempted a step forward, only to realise he didn’t have the feet or legs to do so. the only thing keeping him powered on were some metal claws screwed into his back and a few loose cables connecting to your terminals.

“sugar plum,” boothill's scruffy voice cut through the silence. “do y'care to explain where my legs might’a run off to?”

you actually cocked an eyebrow. how the hell were you supposed to know? boothill was brought back to you in a mess of scraps and wiring— the damn hunk of metal was lucky you made him as blast proof as possible and he was left salvageable. 

“care to tell me how the hell you got this roughed up?”

you asked in turn, crouching down to look at the detached and ruined internals of boothill's torso where the stand-in wires were connected. you ran a finger carefully along the edge of his shredded metallic stomach.

“guess i didn't make you as smart as i thought. time for a newer model, maybe?”

boothill's eyes flickered down to his missing lower half, then to your hand that was more or less caressing him. it was amazing how much annoyance they could show in all their artificial glory.

“look who’s talkin.” the cowboy grumbled, pointy fangs poking out in an irritated grin. 

“how ‘bout, ‘gee, boothill! i’m real glad y’ain’t get blown to smithereens beyond repair!’” 

“it would've been less work for me if whoever blew you up finished the job.”

you sighed as you stood up, putting a hand lazily on your hip.

“how’d it happen?”

boothill bit back another argument with a gruff chuckle.

“some real cutie-pies i was huntin’ down had a lil’ more firepower than i expected. guess they didn’t appreciate me spoilin’ their party.”

boothill visibly cringed as his insult was substituted with some cutesy nickname mid explanation.

“and can you fix my beautiful synesthesia beacon already? this thing is drivin’ me up the wall.”

the request fell on deaf ears as your fingers typed something on your laptop, likely another string of code.

“you’re more concerned about your censor than how long it’s gonna take me to put your legs back on…” you sighed to yourself, still leaned over your workbench, eyes focused on your screen.

“i'm not touching it right now. you’re lucky i’m even letting you stay sentient after this.”

boothill snorted at the remark, brows furrowing in a steady grimace.

“well, ‘scuse me for wantin’ to speak freely–  i’m a grown man!” his pointy teeth shone as they peeked out again in a grin.

“y’know what? just leave yer lil’ tools and all the pieces there— i’ll get my legs back on myself. don’t need no charity work from the likes’a you.” he laughed. “heck, may even give myself a new pecker while i'm at it!”

the mechanic had half a mind to listen, sit back and watch boothill struggle to reassemble himself just to prove a point and simultaneously bask in his embarrassment when the former realised it wasn’t possible.

(not that he would’ve admitted defeat– you would have begrudgingly stepped in and helped before he inevitably messed up his wiring more.)

you stepped back over to boothill, hands moving to hold his cheeks so you could tilt his face side to side to check for any more damage.

“cool it, cowboy.” your eyes squinted in focus as they looked at boothill's, lightly tugging up on his eyelid to check for scratches or cracks.

“i'll get you back up and running, just lose the attitude already.”

boothill's eyes narrowed as he felt your touch on his face. the temperature difference of warm fingers on his cold, mechanical body stirring an oddity where his gut should have been. though he tried to ignore it, the sensation was there, clear as day against all his artificial nerve endings. 

“real easy for you to say,” he huffed, avoiding your eyes as he was examined like a broken toy. “let’s see how peachy you are when yer all strung up and legless, love muffin.”

that censor really was gonna drive him insane.

“just get it over with.'' boothill muttered in annoyance. “and try not t’fuss anythin’ up.”

it took quite some time, as expected, for you to successfully reattach boothill’s legs and fix his mangled midsection. when you were finally finished, you tugged out any leftover wires that connected boothill to your terminals and pushed back in your wheelie chair to beckon the cowboy forward. you pushed your glasses up to your forehead, some hair getting swept out of your eyes with them.

“feel fine?”

boothill rolled his ankles and bent his knees, giving his legs a good stretch to test their mobility.

“mighty fine,” he responded, satisfied to feel they were weighted and moved the same as before. “though i can’t say i’m lovin’ the breeze up my backside.” 

boothill glanced down at himself, steel body completely bare and lacking any of his signature clothing. 

“got my pants lyin’ around anywhere, sugar plum?”

you pointed to another table in the room, where boothills clothes— (or rather the new ones you had to go and get—) were neatly folded, his hat placed on top of them. 

boothill went to get himself dressed, hoisting up his bell bottomed pants and sliding on his jacket. he stole a glance in your direction every so often, resisting the childish urge to roll his eyes at the mere sight of you.

the artificial man hit a small bump in the road as he went to zip his jacket (could you really call it that with how little it covered?) up—  his fingers weren’t responding as well as they should have been. he could open and close his fist, but lacked the precision to pinch and hold the zipper.

“hey, honeybun,'' boothill called over to you with a furrowed brow. “didn’t i tell you not to go fudgin’ anythin’ up?”

you, in all your overtired glory groaned, turning around in your chair and waving boothill back over.

“what are you talking about?” 

“my cute lil’ fingers ain’t workin’ that’s what i’m talkin’ ‘bout!”

boothill's footsteps were clunky and loud as he stomped his way back over to his mechanic.

you reached for his hand, an uncharacteristic gentleness in your touch as you examined five mechanical fingers.

“make a fist,”

boothill obeyed, curling his fingers into his palm.

“open it,”

he obeyed again, letting them open and relax.

“hold up two fingers,”

boothill tried, but his fingers got stuck halfway into the motion, locking at the joints.

“son of a bitch.” you sighed, turning for one of your tools. “sit back down.”

boothill grumbled and went to hoist himself back onto the workbench.

“least one o’us can say it…” 

“do you want me to fix you or not?”

“i'm sittin’ ain’t i??”

you pulled boothill's shirt off his left shoulder and popped open a tiny panel on the curve of his neck, sliding your glasses back on to the bridge of your nose. with a lean forward you began carefully looking at a few thin wires that filled the space.

boothill tapped his fingers against the tabletop while you worked, that same oddity as before settling in his now repaired gut. he rarely got messed up enough for you and him to spend this much time together, or for you to have to really be in such close proximity.

it’s not uncomfortable, but the feeling is by no means familiar. it’s actually a little embarrassing– a galaxy ranger, a space cyborg and expert hunter, feeling almost flustered at some close contact like some kind of shy little girl.

“something the matter?”

boothill nearly jumped as you spoke up quietly to check on him, voice quiet and so close to his ear he had to refrain from leaning both closer and away.

“nah, everything’s just dandy.” boothill’s voice followed yours– quieter and a little softer as a result of the closeness.

“you’re sure?” you looked up from the small mess of wires, eyes glancing up at your cyborg over the rim of your glasses. “might as well fix anything else that’s bugging you while i’m here.”

boothill would have swallowed if he had the need to lubricate his throat. he shook his head, turning to look somewhere— anywhere else.

yours lingered on him, albeit briefly, observing the clench of his jaw and the way he tried to shift in his seat without being disruptive to your work. he didn’t see the little smirk tug at your lips as you refocused on the task at hand.

boothill’s cybernetic limbs felt almost human in their sensitivity, sending faux shivers up a spine he didn’t even have. the mechanics fingers running down his forearm are doing him no favours as they move to hold his hand again.

“close your fist…open it…two fingers up…”

each command was obeyed, ten gunmetal fingers finally holding up a little peace sign.

“that should be it, come see me if they start acting up again.”

you stood up, tentatively reaching out to fix boothill’s jacket and begin to zip it for him.

boothill didn’t protest the act, but it was…confusing, to say the least.

“reckon i’ll just start seein’ those auto bots again,” he leaned back on his palms as your fingers fixed his collar, straightening it out.  “much as i love our lil’ visits.”

you only hummed, smoothing out a few wrinkles and neatly tucking his scarf into it’s neckline, as he liked. “you could,” you mused, hooking your finger lightly into his collar and giving a gentle tug forward. “they don’t take as good care of you as i do, though.”

this time boothill caught the little smirk on your lips, clear as day and enough to make him question if short circuiting was possible.

you’re doing it on purpose, he knows. the careful touches to his hands and body against the sensors you put there, quiet voice leaving him with a frisson you made it possible for him to have.

boothill returned the smirk, albeit a little wobbly.

“you tryin’a rile me up, sugar plum?” 

he entertained you with a lean forward, two white crosshairs looking right at you while he considered if a hand on your waist was too forward or the perfect cornering move. 

“just like watching you squirm.”

you were gone as quickly as you’d arrived, finger unhooked and going to pick up his hat.

“but say i was,” you didn’t bother with a glance over as you made sure the brim was straight and unharmed. “i hardly have to try.” 

boothill hopped down from the table, following your path and offering a scruffy chuckle when you reached up to place it on his head.

“yeah? and what makes y’say that?” his hand found a place on his hip.

you didn’t respond— not verbally, anyway. a quick flick of your eyes downwards was all he received. 

so he followed, looking down as well, to the very appendage he had insisted you give him over and over again pushing against his trousers. 

his own dream, now his downfall. 

boothill pushed passed you, pushing his hat further down onto his head while he stomped away. the profanities that left his lips filled the air— or rather their replacements. something something i love you blah blah peach cobbler something cutie-pie or meow!

“remind me t’settle for them lovely auto bots next time!”

he opened the door with a firm kick of his boot, stomping out with a scowl. 

as if he wouldn’t be back. you took better care of him, after all.

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[peapod20001]

When I love a song, I’ll love it forever