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foxtrology · 3 days ago

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inertia (1)

reed richards x reader

star sailor series | ao3 link

notes: hi. so i’ve been writing this fic over the last three weeks (yes, three entire weeks, i know) and honestly it would not exist in its current form without my best friend, who is a literal physics major and walked me through so many of the equations and techy parts so reed didn’t sound like a fraud. i love her for that.

also, fun fact: reader is neurodivergent (i borrowed some of my own neurodivergent tendencies to shape her), so if you pick up on that... you’re right. thanks for being here!

word count: 12k

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You’ve always preferred rooms with humming machines to those filled with people.

It wasn’t shyness, not really.

Just an overwhelming awareness of your own rhythm, too far removed from the world’s noisy metronome. You knew early on you understood things differently—less about feeling out what someone meant, more about isolating the structure beneath their words, the pattern in their tone, the physics of an interaction.

Most people called it brilliance. You called it survival.

The Baxter Foundation didn’t feel like survival at first.

It felt like exile.

A postdoctoral placement handed to you like a sealed fate—"promising," "potential," "gifted." Euphemisms for "difficult," "obsessive," "odd."

They said Reed Richards might know what to do with you.

You assumed they'd meant “handle.”

But he didn’t handle you. He saw you.

Reed Richards wasn’t what you expected.

The name carried weight: prodigy, theorist, treasured in the scientific community. You imagined arrogance, an aging wunderkind with a room full of accolades and a voice like static.

But the man who stood waiting for you at the base of the Baxter Building's elevator looked almost misplaced—rumpled in a navy button up, absent-mindedly smearing graphite on the sleeve as he scribbled into the margin of a battered notepad.

He had those lines around his mouth—the kind that softened a face rather than hardened it. A sharp nose, brown eyes, and that unmistakable streak of grey curling through otherwise dark hair.

At first, you assumed it was dyed—it looked too perfect. But it was real. Of course it was.

You hadn’t realized you were staring until he tilted his head.

“You're early,” he’d said, voice warm and textured. Then, a smile that lit up his whole face—eyes first. “I like that.”

That was two years ago.

You’ve since learned Reed keeps a second toothbrush for you in his private quarters upstairs, though he’s never pointed it out.

You discovered it one night after a double shift, when he gently steered you towards the bed in his guest room instead of letting you fall asleep under your desk again. He didn’t say, “Stay with me.” He just adjusted the pillow, handed you a glass of water, and made sure the bathroom light stayed on.

It’s quiet love. A sustained frequency. A knowing.

On Tuesdays, you both eat lunch in the server room because it's the only place in the Baxter Building that maintains the kind of white noise you can disappear into.

Reed brings you a sandwich without tomato—he learned after the first week that you can’t stand the texture—and sets it beside your research without interrupting your thought process. You don’t thank him out loud. You just leave the crusts in the pattern he finds funny, concentric squares, always precise.

Sometimes, he laughs at that. Sometimes, he files it away like data.

Today, the two of you are working on a stabilization algorithm for experimental gravitational anchors—Reed's theory, your math. The simulation keeps failing, and Reed mutters something under his breath about quantum decay before turning to you.

“Show me again how you’re quantizing the drift interval,” he says, pushing his chair slightly closer to yours.

You don’t flinch. He always asks to see your work like this—not to correct, but to understand. He thinks your brain is a mystery worth mapping. And maybe it is.

You pull up your calculations, annotated with your usual shorthand that no one else in the lab pretends to follow. Reed doesn’t blink. He reads your annotations like they're a shared language.

“You inverted the modulus,” he says quietly, quite in awe. “God, that’s...elegant.”

You look down. Compliments still stick to you like static. You’ve never known what to do with them.

“It was obvious,” you murmur, tapping the screen once to clear the render.

“Not to me.”

His voice carries something like reverence. Not the kind people fake when they’re talking to someone younger, or different. His is heavier. Sincere. Measured.

You chew the inside of your cheek.

“Can I show you something?” you ask.

That’s how you always start, even though Reed never says no.

The observatory lab is empty when you both arrive.

He unlocks it with his palmprint, but you go in first, navigating in the dark by memory. You’ve had an idea simmering for days—a tweak in boundary calibration using harmonic frequency overlap, something even Reed dismissed initially as too unstable.

But last night, at 2:43 a.m., your model ran clean for the first time. No drift. No bleed. Pure coherence.

You bring it up on the projection wall, fingers moving fast. Words tumble when you’re excited—sharp, fast, too much for most people. Reed doesn’t interrupt. He never has.

When the model stabilizes on the fourth run, you glance over your shoulder.

Reed is watching you.

Not the simulation. Not the math. You.

You freeze.

He steps forward slowly, like if he moves too fast you might vanish.

“You didn’t sleep last night, did you?”

You look back to the projection. “No. But it was worth it.”

He exhales a soft breath, close enough now that you can feel the warmth of it on your temple.

“You can’t burn like this all the time,” he murmurs, but his voice doesn’t hold judgment—only concern.

“I can,” you reply simply. “And I do.”

He lets out a low laugh, almost involuntarily. Then, more gently, “Let me take care of you. A little.”

He says it like a hypothesis. Something untested.

You don’t answer. Not out loud. But you lean into his shoulder—not quite a nod, not quite an invitation—and he stays there. Long enough that the simulation cycles again, quiet and steady in the background.

Later, you’ll find that he’s updated the cafeteria schedule in your calendar to make sure no one disturbs you between 12 and 2 p.m. on Tuesdays. You’ll notice that he’s ordered extra noise-cancelling panels for the lab, without ever saying why. That the lights outside your lab space dim slightly when you stay past midnight.

All Reed’s doing.

He never says it out loud.

But this is how he shows you.

In recalibrated thermostats. In cups of tea left cooling on your desk. In letting you be silent when silence is the only thing that fits.

The world outside moves too fast. New York never sleeps, never softens. There’s always construction in the distance, always an ambulance shrieking down Fifth, always people spilling from cafés and rooftop bars like they’re late for something invisible.

But in the Baxter Building—six floors above the ghost of the old Avengers Tower—the hum of your controlled environment remains undisturbed.

For now.

It’s the kind of phrase that hangs in the air longer than it should, like steam after the kettle's been lifted, like the echo of a chord when your fingers already left the strings.

You don’t hear it, of course. Not consciously. But the sensation trails you anyway, ghost-like, as the day folds open and the building shifts around you.

You return to Lab B-3, where a data stream from the gravitational anchor prototype pulses in pale blue on the screen. You prefer this room to the others—less foot traffic, colder air, fewer variables. The walls are lined with the modular panels you installed yourself, after three months of fighting sensory burnout from the old fluorescents. The air purifier in the corner hums at a frequency you can tolerate.

It smells faintly of dust and ozone, like a server farm on a rainy day.

You’re cataloging the last ten hours of micro-interference logs when the door hisses open behind you.

“Hey.”

You don’t turn. It’s a mistake, maybe, but you assume whoever it is has entered the wrong lab.

You’ve put the sign up: DO NOT DISTURB — QUANTUM MODELING IN PROGRESS. A laminated shield between you and the rest of the building’s noise.

The voice cuts through again, sharper. Louder.

“Hey—don’t ignore me.”

You blink at the screen. Your heart doesn’t race. It clenches, tightens like your ribcage is shrinking inward. You turn slowly.

It’s Dr. Ian Delmont. One of the senior engineers. Jacket unzipped, badge swinging loose around his neck like a noose that can’t make up its mind. His face is already red, already pulled taut around the mouth.

You recognize the body language...shoulders set forward, hands ready to gesture. Angry people always move in patterns. You learned this years ago, the way some people learn fire drills.

“Why the hell did you rewrite my core schematic without logging the revision?”

You stare at him.

“I didn’t rewrite anything. I optimized the redundancy logic. It was bottlenecking the chain reaction model.”

“That’s rewriting.”

Your voice stays steady, your mouth forming the words in the exact order they should go. “No, it's not. It’s a correction. The existing code couldn’t handle parallel iteration under dual-load conditions.”

“You didn’t clear it with me.”

“It was a bottleneck,” you repeat.

Ian’s voice raises. “I don’t care if it was a goddamn chokehold, you don’t get to touch my work without authorization.”

He says it loud enough that it ricochets off the walls. Too loud.

Your neck goes hot. You feel it in your jaw, down your arms. Your hands twitch just enough to knock your stylus from the table and you bend down to retrieve it—too fast. You bump the corner of the desk, hard. The pain doesn’t register, but the sound does.

Too loud. Too loud.

Ian takes a step forward.

“Every time I turn around, you’re sticking your nose where it doesn’t belong—”

“I was fixing it.”

“You were showing off.”

That does it. You freeze.

This isn’t about the code.

You blink. You don’t blink. You can’t remember. You try to open your mouth, but your tongue sits wrong in it. The sound you try to make stalls halfway up your throat. Your hands curl into themselves like you could fold out of sight.

The lights feel wrong. The texture of your sleeves is wrong. The hum of the purifier is gone, replaced by the jagged, ugly timbre of yelling.

“I don’t care what Richards says about you,” Ian mutters. “You don’t run this place.”

“Hey.”

The sound comes from the door. Not a shout. Not sharp. But it cuts through everything like glass through butter.

You both turn.

Reed Richards steps into the room like he’s always belonged there, like his presence is not new or sudden or charged with a heat you’ve only ever felt in gamma pulses and untested energy chambers.

His mouth is tight, drawn. There’s nothing soft about his expression now.

“I suggest,” he says slowly, like each word has been smoothed against the edge of a scalpel, “you take your tone down. Immediately.”

Ian hesitates. Then his jaw sets. “With all due respect, Dr. Richards—”

“No,” Reed interrupts, walking further into the room, voice calm and sharp all at once. “Don’t. Don’t try to play seniority. This isn’t about protocol. This is about how you just cornered one of my lead researchers and yelled at her while she was running live code on a multivariable anchor model.”

“I was confronting—”

“You were posturing,” Reed cuts in. “And you were wrong.”

Ian blinks. Reed’s voice doesn’t rise. It doesn’t need to.

“She didn’t rewrite your schematic. She corrected a critical flaw that should have been caught weeks ago.” He stops beside you. Not in front of you, not shielding—beside. “The only reason that anchor hasn’t destabilized is because she stepped in.”

Reed turns his head slightly, glancing down at you. His eyes soften, fractionally. He doesn’t touch you, but he lets the silence hang, as if waiting for you to reclaim your voice if you want to.

You don’t. Not yet.

“Ian,” he says without looking away, “I want you out of this lab. Now.”

Ian’s mouth opens, then shuts again.

Then he leaves.

You’re still breathing too fast. You know you are. You can feel the microtremors in your fingers, the irregular skip of your pulse. But the room feels real again. Your body is slowly remembering where it ends.

Reed waits until the door hisses shut.

Then, “Can I sit?”

You nod, once. He pulls a chair close—closer than he usually would in a shared lab space—and sits beside you with the kind of silence that doesn’t ask anything from you. His knees are angled toward yours. His forearms rest loosely on his thighs. His whole posture is a quiet question you don’t have to answer.

You stare at the screen.

“I wasn’t showing off.”

Reed lets out a sound between a sigh and a laugh. Not at you. With you. “I know,” he says gently.

“I just…saw the error. It was obvious.”

“I know.”

He pauses.

“You don’t need to explain yourself to anyone in this building. Least of all him.”

You press your thumbnail into the meat of your palm, grounding.

“I’m not good at…tone.”

“That’s not a flaw.”

“I always think I can just fix it quietly and not deal with the…other part. The confrontation.”

He nods once, his eyes still fixed on you. “The way the world expects communication isn’t the only valid way to exist in it.”

Something in your chest cracks open at that. Quietly. Invisibly.

You lean back against the chair, your breath finally settling into a rhythm.

Reed stays where he is. His presence doesn’t press against you—it anchors. He’s always been like that. Dense and still, like a planet with just enough gravity to make sense of things.

You glance over at him.

“Thank you,” you say finally.

He shrugs. “I don’t like mean people.”

You look down at the table. You trace a line in the condensation ring your tea left behind earlier.

“Are you going to fire him?”

“I don’t know,” he says honestly. “But I’m going to make it very, very clear who’s indispensable here.”

You don’t ask who he means.

You already know.

Later that night, you’re still in the lab, long after the rest of the building has gone dim.

Reed comes back with a takeout container—your favorite, though you don’t remember ever saying it aloud. He doesn’t mention the incident again. Just passes you the food, leans back in the corner chair, and starts updating his lab journal aloud, knowing you like to listen to the way he thinks.

Outside, New York glitters like a malfunctioning galaxy. Inside, the lights are low, the air quiet, the world small and manageable.

Just you, your notes, and the man with the grey streak in his hair who watches you like you built the constellations from scratch.

A quiet love, not yet named.

But it’s there.

Always has been.

It’s late now, nearly eleven, but the labs on the upper floors of the Baxter Building don’t abide by clocks. Here, time stretches. Pools. Slows down when the work is good. Speeds up when the math gets too beautiful to let go of.

You and Reed are the only ones left.

Everyone else has long since clocked out, their departure announced by the usual symphony of zipping backpacks and elevator chimes. The security team downstairs knows better than to check on you. You’re a known variable—an equation that balances best in silence, after dark, with only the man beside you and a cooling takeout container between you and the void.

Reed is sketching something in his notebook—a systems flowchart annotated with arrows that curve and overlap like a child’s drawing of a galaxy.

He’s humming, under his breath. Just a few bars of something he’s probably not even aware of. It’s familiar, not because you recognize the tune, but because you’ve heard him do it before, under the same kind of fluorescent moonlight and the same clean, ticking quiet.

You finish logging the day’s simulation data, close the terminal, and pull up your schedule for the upcoming weeks. The glowing display casts faint shadows over your face, which you don't notice but Reed glances at, once, over the edge of his notebook.

Monday. Field trip.

You hadn’t forgotten. Not exactly. It had just sat at the bottom of the week like a pebble in your shoe—felt but not seen.

You stare at the words for a beat too long.

VISITOR OUTREACH: 9:30–11:15 — RICHARDS / YOU

Group: PS 22 — Grade 2

Your fingers twitch at your side, a muscle memory of anxiety without the adrenaline to match. You don’t say anything, but your mind is already running the old loop, quiet and tight, like rewinding a tape you didn’t want to play in the first place.

You’d been paired with high school seniors last time.

They came in loud, late, and bored. One of them had a vape pen tucked into their hoodie drawstring.

You remember the boy in the back who asked if you “did anything real” or if you just “sat in rooms with graphs all day.” Another mimed falling asleep when you began explaining atmospheric coding inputs for small-scale gravitational fields.

You hadn’t raised your voice. You hadn’t snapped. You just shut down the projection early and handed the rest of the presentation off to the intern whose voice sounded like she smiled even when she didn’t mean it.

Afterward, you’d sat on the roof of the Baxter Building and stared at the clouds. Told yourself they were just kids. Told yourself they didn’t know.

But it stuck. The way they laughed when you said you worked on electromagnetic resonance feedback models. The way one of the girls whispered “so basically nothing” to the boy next to her like you weren’t even there.

They didn’t know.

That your work stabilized quantum harmonics in the kinds of silicon they tap on all day, every day.

That your programming makes the screen light up when their crush texts them back.

That the interface delay they complain about in video games used to be twenty seconds instead of two, and you helped design the equation that closed that gap.

They didn’t know you once pulled Reed out of a theoretical blind alley and into a breakthrough he’d later call elegant, a word he doesn’t use lightly.

They didn’t know how much you cared. That the caring was the point.

So after that, you asked to be reassigned.

“Elementary school kids,” you’d told Reed in his office one morning, already chewing at the inside of your cheek. “They’re too small to be cruel yet.”

He didn’t laugh, but you remember his eyes. How they softened. How he nodded and said simply, “Okay.”

And now here it was. Monday. Second graders. A classroom full of kids with juice boxes and velcro shoes and hands that still shoot up when they’re curious.

You can handle that. Probably.

You close the schedule tab. The screen goes dark.

Reed looks up from his notebook. “Everything okay?”

You nod once.

He doesn’t press. But he waits.

You speak without looking at him. “Monday's outreach.”

He leans back in his chair, notebook on his lap. “Right. You’re with me.”

You nod again.

“I asked for the younger group this time,” you add quietly, almost like you’re confessing something. “The older ones were…”

You trail off.

You don’t finish the sentence, but Reed catches the thread anyway. Of course he does.

He doesn’t say they were cruel. He doesn’t say you didn’t deserve that. He doesn’t fill the silence with anything easy.

Instead, he says, “You’ll be good with them.”

“Because they’re not old enough to be bored yet?”

“Because you care,” he says, looking directly at you. “And kids remember that. Even if they can’t say it.”

You pick at the corner of your sleeve. You’re still thinking about Monday. About the fear that your voice will tremble again. That the wrong word will come out. That your quiet will make them fidget and giggle and whisper.

But then you think about the last time a kid visited the Baxter—seven years old, wandered away from the main tour. Found his way into your lab by accident. You showed him how magnets repel in zero gravity fields and he tried to high five you with both hands at once.

You’d smiled for hours after that.

Maybe Reed is right.

Maybe caring is enough.

By the time you both shut down your stations and gather your coats, it’s nearly midnight. Reed holds the elevator for you without asking. It’s just the two of you, the soft gold of the lights reflecting off the brushed metal doors as they slide shut behind you.

You watch the numbers tick down.

Reed stands beside you, shoulder not quite brushing yours. Quiet, like always. Present, like always.

“Do you want me there?” he asks suddenly, softly, as the elevator hums downward. “Monday. With the kids.”

You blink. “You’re already scheduled for it.”

“I know,” he says. “But do you want me there?”

It feels like a trick question. But it’s not. It’s just Reed, offering steadiness in the places you don’t always know you need it.

You nod.

He nods too.

Outside, the city glows like it’s forgotten how to sleep. Yellow cabs streak past in lazy arcs. Rain clings to the pavement like it’s not ready to let go.

You stand under the awning of the Baxter Building, both of you half-heartedly pretending to check your phones, neither of you quite moving to go. It’s a ritual now—this lingering. Like the day doesn’t want to end, so you don’t let it.

Reed finally speaks, his voice low and near your ear.

“You know…you do more than keep this place running. You are this place.”

You glance at him. He’s looking at the sky like it might answer back.

“And if some bored teenager can’t see that, it’s only because they’re too young to understand the shape of things.”

You swallow. The city smells like damp concrete and neon and early summer.

You don’t reply. But the words lodge somewhere behind your ribs.

And they stay.

In the space between you and Reed, that sentence hums like background radiation—silent, but measurable.

He doesn’t look at you, not directly, but the softness in his posture says enough. The kind of softness he reserves only for you. For late nights and unsaid things. For quiet field trip fears and tired bones after thirty-seven straight hours in the lab.

You shift your weight from foot to foot under the awning, fingers fidgeting at the edge of your sleeve. The city is wet and warm and humming in that uniquely New York way—trash trucks groaning down Sixth Avenue, a taxi horn blaring three blocks over, the subway beneath your feet thrumming like some subterranean heartbeat.

Reed checks the time on his phone, but it’s performative. He’s not really looking at it.

“You can stay upstairs if you want,” he offers. Voice neutral, like he’s suggesting you borrow a pencil.

You know what he means.

His quarters above the Baxter labs—spare and quiet and clean, like an extension of his brain. You've stayed there before. Once after a storm knocked out the subway, once when you got a migraine so bad you couldn’t walk home without throwing up. The guest room is always ready, with a weighted blanket you know he ordered just for you. The lights dim at 30% automatically, and the fridge always has tea.

Still, you shake your head.

“I don’t want to bother you.”

“You wouldn’t.”

You shrug one shoulder.

“But I’d feel like I was bothering you.”

There’s no irritation in your voice. It’s just a fact. A line drawn lightly in pencil, not ink.

He doesn’t argue. Reed knows better than anyone that pushing you when you’re already overstimulated only drives you deeper into the quiet.

“I’ll walk you,” he says.

You almost tell him it’s not necessary.

That you’ve done the walk a hundred times alone. That it’s late and he must be exhausted too. But something in the way he says it—low, certain, without any edge—stills your protest before it can take shape.

You nod once.

The streets are emptier than usual, rain thinning to a mist that catches in your hair and softens the world around the edges. You button your coat up to your chin. Reed tucks his hands into his pockets, his long strides slowing instinctively to match yours.

You don’t speak for the first few blocks. You don’t need to. It’s not awkward—it’s companionable. Your silences have always been functional. Built like scaffolding. Structural.

You pass a late-night falafel cart and the warm, oily scent of fried chickpeas folds around you. Someone’s playing Miles Davis through a cracked open window above a bodega. A cab splashes through a puddle without slowing down.

You glance at Reed. His hair is slightly damp from the rain, curling a little at the edges. The grey streak catches in the streetlamp glow and glints like metal. He looks tired, but the good kind—brain-tired. Soul-deep contentment worn like a worn-in coat.

There’s something in the way he carries himself now that feels looser than it used to. Since you.

You think about that sometimes. The before of him.

You’ve seen the photos.

You’ve read the papers.

The man with ideas too big for gravity, with headlines like The Modern Da Vinci and Richards' Law stapled to his name before he was even out of his twenties.

You used to resent those profiles.

How they smoothed over the things that mattered.

How they all insisted on brilliance and ignored what he really was...careful. Constant. Gentle in ways that science rarely rewards.

He wasn’t always like this. He told you, once, in a rare moment of openness, that he used to believe love would only slow him down. That affection dulled the edge of genius.

He doesn’t say things like that anymore.

But he doesn’t say the other thing either.

You know what you are to him—friend, confidant, collaborator.

His mind matches yours, nearly. But not quite.

You run faster. Not always more elegantly. But faster.

You see the equations before he does.

You make intuitive leaps he can only reconstruct in hindsight.

He admires that. You see it in the way he watches you work, the way he lets you lead without hesitation.

And still, he hasn’t said the thing.

Because once it’s said, it can’t be unsaid. And Reed Richards has never risked a variable he couldn’t account for.

“You know,” he says softly as you cross Park, “when you rewrote that module today… I think that was the first time I felt—” He pauses. “Old.”

You glance at him. “You’re not old.”

He chuckles. “My knees would disagree.”

“That’s not science.”

He smiles. “No. But it is gravity.”

You snort.

He watches you carefully. Then says, “You don’t realize how good you are, do you?”

You look down at the sidewalk. The rain has turned the concrete slick and mottled.

“I do. I just don’t know how to be proud of it.”

He nods like he understands. “Because pride implies…audience.”

You don’t answer. But your silence agrees with him.

A block later, you say, “You’ve taught me how to be better without making me feel small.”

It slips out before you realize it. The kind of truth that rarely finds a voice.

Reed stops walking.

You look back at him. He’s staring at you like he’s memorizing the moment.

“You’ve done that for me too,” he says quietly.

It should be more than that.

But it isn’t. Not yet.

Your building is a brick structure tucked on a quieter side street. Sixth floor, walk-up. Rent-high, because New York is cruel and physics has been paying you back a lot recently.

Reed’s been here before—once when you locked yourself out, once when you were sick with a stomach bug and couldn’t get out of bed to pick up your prescription.

He always waits at the foot of the stairs.

Tonight is no different.

You fish out your keys and glance back at him.

“I’m okay,” you say.

He nods. “Text me when you’re in.”

You hesitate. Then, a beat later, “Thank you for walking with me.”

“Always.”

You step inside. The door swings shut behind you with a soft click.

Reed watches the rectangle of light shrink until it’s gone.

Only then does he turn.

He walks back slowly, hands deep in his coat pockets, rain heavier now. The city is hushed, its noise folded in on itself. His shoes splash through puddles he doesn’t try to avoid.

He thinks about you.

The way your voice tightens when you talk about the things you care about.

The way you never apologize for being brilliant, just for being visible.

The way you notice every small thing—every decimal, every gesture, every change in temperature—and store it away like evidence that the world can be read if only you learn its language.

Reed Richards has spent his life searching for patterns. For the math behind miracles. He’s found some. Lost others.

But you?

You remain his favorite unsolved equation.

He doesn’t say the thing. Not yet.

But it lives just under his tongue, waiting.

The next morning you wake up earlier than you meant to.

Not by choice. Not by discipline.

But because your upstairs neighbors, despite living in an apartment complex with allegedly soundproof walls, have spent the last six and a half hours making the most expressive use of their vocal cords.

Moans.

Laughter.

Something you’re fairly certain was a vase being knocked over around 3:12 a.m.

You’d counted.

You’d logged the minute it started—12:49 p.m.—and the moment it finally slowed to quiet again, or at least to something muffled enough that you could hear yourself think.

There was nothing logical about it, and therefore nothing you could fix. No formula to solve thin drywall. No algorithm to isolate human behavior into something quiet, contained, reasonable.

So you’d stared at the ceiling. Then at your wall. Then at your ceiling again.

And now it’s 5:47 a.m., and your alarm hasn’t even gone off yet.

You sit up.

The air in your apartment is slightly too warm—residual heat from the radiator you can’t adjust. Your mouth is dry. The muscles in your back ache in the specific way they do when your sleep’s been interrupted just enough to confuse your circadian rhythm but not enough to explain it to anyone else.

You don’t bother lying back down.

Your morning routine is exact. Not out of compulsion, but out of necessity. A lattice structure of steps that keep the rest of the day from collapsing.

Boil water. Black tea, no milk.

Brush teeth—no mint toothpaste, only the kind with baking soda, because you hate the artificial sweetness.

Shower. Warm, not hot. You step out and wrap the towel tightly around you like armor.

Dressing is harder. The shirt you wanted to wear feels off today—too scratchy, too bright. You change into the navy knit Reed once said brought out your eyes.

That memory shouldn’t matter, but it does. You feel steadier when you put it on.

Bag. Notebook. ID. Keycard. Noise-canceling headphones, just in case.

You skip breakfast.

You always do when you’ve been overstimulated. It makes your stomach feel like wires have been crossed.

The subway is half-empty this early. The kind of silence particular to Friday mornings—the city not quite buzzing yet, just flickering. You stand near the doors and stare at your reflection in the opposite window, your face hovering over the tunnel blur outside like a ghost.

You think about the model you left open in Lab B-3. About the field trip on Monday. About whether or not you remembered to reroute the final data loop in the harmonic anchor sequence.

You think about Reed, and then try not to.

By the time you arrive at the Baxter Building, it’s just before seven.

You enter through the side entrance, swiping your badge through the sensor and waiting for the familiar mechanical click. The lobby is dark except for the ambient lighting that glows along the baseboards. The city hasn’t reached in yet.

And then you see him.

Reed.

Sitting on the bench just inside the front hallway like someone who forgot what time it is—or didn’t care.

He’s wearing the same navy coat from the night before, his hair still slightly damp from whatever morning shower he took before stepping into the day. His notepad is on his lap, open, but untouched.

He looks up at the sound of the door.

“Hey.”

You blink.

“You’re early,” you say.

“So are you.”

“I didn’t sleep.”

He stands slowly. “Your neighbors again?”

You nod, already tugging your bag strap higher on your shoulder.

“I’m thinking of writing them a formal request to conduct their mating rituals at a lower decibel range.”

That makes you snort, despite yourself.

“They’d probably just find that hot.”

Reed’s laugh is soft. “You’re probably right.”

He falls into step beside you without needing to be asked. You head toward the elevators together.

“I wasn’t expecting to see you here,” you say as you press the button. “You're never this early unless there’s a test run.”

“I was hoping you’d show up early,” he admits, sheepish but not apologetic. “You didn’t text last night.”

You look down. “I forgot.”

“Neighbors really did a run on you, huh?”

You ket out a breathy laugh meeting his eyes.

Soon the elevator arrives. You both step in.

He doesn’t say anything else, but the quiet settles around you like a blanket. You don’t have the words for it, but you know he does this often—positions himself near you, close but not invasive, like a planet finding the right orbit. Something about it always makes you feel tethered.

The elevator stops on your floor.

As you exit, he doesn’t turn toward his own lab. He follows you.

“I figured I’d sit with you for a bit,” he says simply, “if that’s okay.”

You nod. You don’t say thank you, but your body does—shoulders uncoiling, pace slowing, your breath evening out.

Your lab still smells faintly of ozone and the synthetic lemon Reed always insists on using in the electronics-safe cleaning spray. You flick on the under-lighting instead of the fluorescents. It’s quieter that way.

He watches you unpack, the same way he always does when he’s not pretending to be distracted by his own work. You can feel his gaze—clinical, affectionate, reverent.

You settle at your station and glance over.

“Did you get any sleep?”

“Some.”

He sits across from you at the small corner table, flipping open his notebook. “I kept thinking about the field trip Monday.”

You groan softly.

Reed smiles. “You’ll be fine.”

“They’re going to ask me if I built Fortnite.”

“Just say yes.”

You narrow your eyes. “That’s unethical.”

He shrugs. “You do kind of power their world.”

You chew the inside of your cheek.

“I know you’re dreading it,” he adds, more gently. “But you’re going to surprise yourself. I’ve seen you explain quantum turbulence to a twelve year old. You used two chairs, a glass of water, and a slinky. It was borderline performance art.”

You allow yourself the smallest smile.

He studies you for a beat.

“I waited this morning,” he says, voice lower now. “Because I wanted to see you before the day started. I figured if you didn’t sleep, you’d need a buffer.”

You look up at him.

“A buffer?”

“For the noise. The world. Everything.”

You don’t answer for a long moment.

Then, “You’re good at buffering.”

Reed closes his notebook. His eyes don’t leave yours.

“Only for you.”

You look away too quickly. Your stomach flips, your thoughts scatter like dropped dice.

This happens sometimes.

The intimacy of Reed. The nearness of what he doesn’t say.

The feeling that he’s handing you something fragile and invisible, and asking you to decide whether to name it or leave it untouched.

You pull up your simulation model and begin reviewing last night’s logs.

He watches you for another minute, then opens his notebook again and starts annotating something beside you, close enough that your knees brush once, and neither of you moves.

The morning settles.

Quiet.

Unspoken.

Waiting.

The building wakes slowly, like a body stretching into motion. The light outside the lab windows tilts, warmer now, brushing across your workstation and catching on the rim of your teacup. You don’t drink it, but it’s there—heat fading, a symbol of routine more than comfort.

One by one, the others begin to arrive.

Keycards beep. Footsteps echo off tile. The rhythmic click of heels and the soft, buzzing shuffle of rubber soles on linoleum fill the air in the way only a scientific institution ever sounds. Conversations start up in clipped, caffeinated tones. Someone’s talking about a failed simulation in Lab A-2. Someone else is complaining about the elevator skipping floors again.

You don’t look up.

You’ve already built a wall of focus, exact and methodical—three simulations running in parallel, an error log cycling in your periphery, two graphs comparing harmonic distortion levels under varying environmental noise inputs.

Reed hasn’t moved far from you since you sat down.

Every now and then, he leans slightly over to ask a question—never invasive, always curious. He taps the edge of your screen to point out something and waits for you to explain it in full before speaking again. His voice stays low. His body language remains small.

He is very, very careful with your space.

At some point, you adjust the variables in one of the testing loops. Reed notices before you explain why.

“You brought down the feedback tolerance?”

You nod. “I think it’s overcompensating for impulse drift. If we calibrate to a slightly lower resilience threshold, we might expose the weak nodes in the structural harmonics.”

He lets out a low hum of appreciation.

“I wouldn’t have caught that.”

You glance at him.

“That’s because you were trained to trust the tolerances.”

Reed raises an eyebrow, amused. “And you weren’t?”

“I was trained to notice what doesn’t belong. Even if it doesn’t make sense yet.”

He leans back in his chair, studying you with something just shy of awe.

That’s when the others start to notice.

There’s no whispering. No gossip. That’s not the culture here. Baxter doesn’t reward spectacle.

But still, people look.

It’s subtle—an extra second of eye contact, a glance exchanged between postdocs in the corridor. Even in a building dedicated to research and theoretical physics, attention has a shape. You feel it.

You’re used to being watched when you speak, but this is different. They’re watching him.

They’re watching how Reed stays near.

How he lowers his voice when he speaks to you.

How he doesn’t interrupt when you’re mid-thought.

How he laughs at things you don’t mean to be funny.

How he tracks your gestures with the full, unguarded focus of a man trying to memorize not just the content of what you’re saying, but the rhythm of it, too.

You register the attention. You don’t engage with it. You would get too flustered.

Instead, you pull up a different dataset.

Across the room, someone’s looking at you over their glasses. You minimize the screen and adjust your chair slightly so your back is to the rest of the lab.

Ben Grimm arrives around 9:15, coffee in hand, hoodie pulled up like armor against the morning.

You like Ben.

You liked him even before you knew him—when all you had was a list of his mechanical engineering contributions and the curious note in his file that simply read “Reed’s oldest friend. Trustworthy. Not academically inclined. Smarter than he lets on.”

He sees you before you see him.

“Hey, Doc,” he calls out, his voice gravelly but warm.

You glance up and, for the first time since the building really began to fill, smile openly.

“Hi, Ben.”

He walks over slowly, avoiding the edge of the test rig you have set up. His eyes sweep the table, reading the mess of wires and calibration notes without actually processing them, which is part of his charm—he doesn’t pretend to understand your work. He respects it anyway.

“You eat today?”

You blink. “Not yet.”

“You want half my bagel?”

“No.”

“You sure?”

“It’s everything seasoning.”

He grins. “You’re too sharp for your own good.”

You raise an eyebrow. “I’m just observant.”

Reed, still beside you, chimes in dryly, “She’s also allergic to sesame.”

Ben winces. “Oh, right. My bad.”

You wave it off. “It’s not lethal.”

Ben hands you a sealed granola bar from his pocket instead. “From Alicia. She said you looked pale last week and told me to keep snacks on me in case I ran into you.”

Your mouth twitches.

“Tell her I said thank you.”

“Tell her yourself. She’s coming by Monday.”

You nod, then return to your screen, not rudely, just efficiently. Ben doesn’t take offense. He pats the table lightly and leaves you to your work.

Once he’s gone, Reed glances at you sidelong.

“You like Ben.”

“He doesn’t talk to hear himself speak,” you reply.

Reed smirks, folding his arms across his chest. “So I guess I should be worried.”

You don’t answer. But something in your cheek lifts. A small, unspoken response. Reed ntoices it. Files it away like he does everything about you.

By late morning, you’re too deep in the math to notice anything else.

Three out of five anchor simulations fail—but not catastrophically. The new feedback threshold is revealing the pattern you hoped it would. Reed asks if he can run his own version of the loop. You nod without turning, already exporting the baseline parameters to his terminal.

You hear someone outside the glass wall whisper, “Is Richards still in Lab B-3?”

And then, “I think he’s shadowing her today.”

“He shadows her every damn day.”

You pretend not to hear. You shrink slightly into your collar. Not from shame. Just to stay small.

Reed doesn’t respond to the comment. But you notice that he reaches over and very quietly pushes the door shut.

Not to hide.

But to give you quiet.

The rest of the morning passes like this—like a film spooling out in perfect rhythm. Reed occasionally types beside you. Sometimes you work in parallel, other times in sync. You don’t speak unless necessary, but the air between you is charged in a way you can’t name. Not love, not yet. But a proximity to it.

And even though others look—at him, at you, at the space between—you don’t notice anymore.

You’re too busy trying to catch the shape of something hidden in the data. Something just out of reach.

Like truth.

Or a confession.

Or gravity.

Fridays at the Baxter Building settle into their own kind of orbit.

Every lab has its rhythm—Lab A-2 always wraps their protein sequencing early, because Dr. Lyman likes to jog at 1:15 on the dot. Tech Ops syncs their systems for overnight updates before noon. Environmental Engineering runs its daily dehumidifier diagnostic with exaggerated ritual, a kind of inside joke no one explains to the interns.

It’s been that way since you arrived. It wasn’t written anywhere, but you learned it all the same.

And the unspoken tradition...Reed Richards forgets about time.

By now, everyone has made peace with it.

On Fridays, he’ll get caught chasing some quantum trajectory through a dozen notepads and open tabs, muttering to himself about temporal flux interactions or pattern resonance mismatches. If someone reminds him what time it is, he’ll blink, check his watch as though it’s betraying him, and then wave his hand vaguely in the air—“Take two hours, go. Ben, order something greasy.”

And everyone will. With relief. With a kind of reverent affection for their slightly scattered, brilliant leader.

Except you.

You stay.

Always.

It’s nearing 12:45 when the lab thins out. Ben claps his hands once, loudly, to announce, “Twenty-four-inch from Mario’s. I got half with olives, don’t fight me about it.” Someone cheers from the hallway.

You don’t look up.

The simulation in front of you is finally stabilizing under increased pressure loads, and Reed’s scribbling new hypotheses across his tablet at a manic pace—“If we compensate for decay acceleration by adjusting the sequence resolution window down to 10 seconds, the cross-bridging might resolve on its own—”

You hum without meaning to, fingers typing out the updated code.

“I’m serious,” he says, pushing his chair closer to yours, legs brushing under the desk. “We’re so close. This could finally solve the vibration decay issues in the dynamic anchor builds.”

“It won’t,” you reply calmly, running the next set. “Not unless you account for the spectral density shift around the 170 Hz mark. It’s going to collapse again.”

Reed pauses.

“You already ran this model.”

You nod.

“When?”

“Last weekend.”

He looks at you like you’ve handed him a paradox.

You let the silence stretch, then: “Try adjusting the constraint to reflect a Gaussian distribution, not linear. The peaks are too soft, and the algorithm’s compensating for noise that isn’t actually noise.”

Reed exhales slowly, reverent. “How does your brain do that?”

You don’t answer. You don’t have the words for how you see things. You just do.

He smiles like he’s in the presence of something sacred.

He leans in again, close enough that his shoulder presses lightly into yours. You shift slightly to give him access to your terminal, and he doesn’t pull away.

He’s always been tactile like this—with you, at least.

Hands brushing yours when you pass equipment.

A palm steadying your wrist when you’re assembling small, sensitive components.

Once, you found yourself gripping his forearm without realizing it during a particularly volatile magnetic resonance test. He didn’t mention it. Just let you hold.

But today, it’s different.

Today, something lingers.

You're both staring at the screen. The simulation is stabilizing now, running longer than it has all week. Your throat tightens with something like triumph, or relief, or maybe just fatigue disguised as euphoria.

Then, softly—soft enough that it catches you off guard—Reed reaches up and brushes his thumb across your cheek.

You freeze.

Out of disbelief. Out of awe.

His hand is warm. The pad of his thumb gentle.

The touch isn’t performative. It’s not even decisive.

It’s hesitant. Like he needed to check that you’re real.

That this moment isn’t just one of his half-formed ideas scrawled into the margins of a late-night notebook.

Your eyes flick toward him.

He’s already looking at you.

Something unspoken and heavy passes between you. It hums underneath the fluorescent buzz of the lab lights, underneath the whirring fans of the machinery, underneath the working theory you’ve spent days fine-tuning.

You don’t lean in.

But you don’t lean away.

He doesn’t move his hand.

You don’t say a word.

Ben opens the door a few feet down the hall, holding a pizza box in one hand, a Coke in the other.

He sees you.

Sees Reed.

The hand. The closeness. The moment.

And just as quietly as he entered, he steps back. Sets the pizza down on the nearest desk. Walks away without a word.

You and Reed don’t notice.

The simulation pings complete. For the first time in eleven models, it doesn’t fail.

You blink.

Then breathe.

Reed drops his hand, slowly, like it doesn’t want to leave but knows it has to.

You don’t say anything. Neither does he.

But something has shifted.

In the lab’s stale, climate-controlled air. In the simulation still pulsing faintly on your screen. In the trajectory of two minds moving dangerously close to each other’s center of gravity.

You get up first, walking to the sink in the corner to splash water on your face. The cold helps. Reed stays in his chair, scribbling, though you can tell his mind isn’t entirely on the notes.

You find the pizza box. It’s already cold. You bring two slices back to the workstation.

You don’t mention the moment. Neither does he.

But all through the second hour of your “break,” you work with that electric tension still threaded between you.

You pass him a slice. He accepts it.

He says your name, once, softly, like an answer to a question you haven’t asked yet.

And you don’t look up. Not yet.

You’re afraid that if you do, everything will change.

Or maybe—it already has.

“Hey,” Reed says again, this time your name folded into it, spoken low and careful, like he’s afraid of breaking it. Like he’s afraid of breaking you.

You don’t answer right away.

Because you know what he’s asking without asking.

And you know that if you answer—if you meet his gaze now, if you name the thing humming between you—it won’t go back in the box. It will take shape. It will have mass. It will alter the gravitational field between you forever.

You chew the edge of your lip and keep your eyes on the simulation results, blinking too fast.

He doesn’t push. Reed Richards never pushes.

But he stays there, watching you like a question he’s been trying to answer for years. Like a proof that’s always been just outside the edge of comprehension.

He wants you.

You can feel it in the heat of his gaze, in the way his hands twitch with unspent energy, in the way he shifts closer every time he speaks. He wants you the way he wants knowledge, reverently. With hunger and hesitation in equal parts.

But more than that—he respects you. And that respect builds a boundary he’s too careful to cross without your invitation.

So he doesn’t speak again. Not yet.

Instead, he clears his throat gently and leans back into the moment he knows how to inhabit best—the work.

“You were right about the Gaussian window,” he murmurs, eyes returning to the data on your screen. “The mean deviation narrowed just enough to stabilize the micro-vibrational bleed. Look.”

He tilts his tablet toward you.

You peer at it, grateful for the anchor. “The variance dropped below 0.0003. That’s lower than the threshold for secondary echo.”

Reed nods. “It’s still not perfect. But it’s holding. For now.”

You echo it before you can stop yourself. “For now.”

He smiles at that—soft, and only for you.

The tension doesn’t break. But it shifts. Warms.

You pull up the residual energy pattern charts and begin comparing them to your older models. Reed swivels his chair to face you fully, chin resting lightly on his knuckles as he watches you work.

Your voice steadies.

“I think we can reduce the decay rate even more by using a layered harmonic buffer. Not just a single envelope. Something like... like a tri-modal stabilization frame.”

He raises an eyebrow. “Using phase-offset looping?”

“Yes,” you say, eyes lighting up. “But slightly desynchronized. So each frequency compensates for the loss in another—like an algorithmic relay. Less like a barrier, more like... a conversation.”

You feel him watching you, not the charts.

There’s a kind of electricity in your blood now, not from caffeine or adrenaline but from being understood, seen at the level you need to be.

And for once, the way you talk—fast, disorganized, precise, too much—feels like the exact shape of something he’s been waiting to hear.

You meet his gaze finally.

He’s smiling.

That soft, quiet, wrecked smile of his. The one he only wears around you.

“You know,” he murmurs, “you say I taught you how to be better without making you feel small. But you make me feel like I don’t have to be better all the time. Like just being...with you is enough.”

You don’t know what to do with that sentence.

It sits too heavy in your chest. It rearranges your molecules.

Reed notices your hands twitch—how your fingers twitch at your sleeves when the air gets too loud inside you. He leans forward just slightly.

“I didn’t mean to make you uncomfortable.”

“You didn’t,” you say too quickly. “You didn’t.”

Then, after a breath, “It’s just... I don’t know what to do when people say things like that.”

“Okay,” he says. “Then we don’t have to do anything. We can just stay here. With the work.”

But there’s softness in the offer. No withdrawal. No hurt.

Just the way he always gives you room.

It’s quiet again.

The others are still gone. Outside the lab, Friday spills forward in lazy arcs—someone arguing about where to eat next week, a song playing faintly from someone’s portable speaker. You can hear Ben laugh somewhere near the stairwell.

Inside, Reed starts sketching again. You realize, after a while, that it’s not a schematic. He’s drawing the harmonic layering you suggested, but not in code—in lines and waves, almost like music. It’s abstract and a little chaotic and not how he normally works.

It’s your method. Translated.

You watch him for a moment. Then you reach over and pick up a stylus of your own.

You add to it without asking. Adjust one arc. Shade one line.

He doesn’t flinch.

This is your intimacy. Shared language in waveform. A courtship of the mind.

The pizza gets cold. No one bothers you. Not even Ben, who peeks through the glass once more and then nods to himself like he's witnessing a rare solar event—better not to interfere.

And Reed…

Reed reaches over again at one point, softly, thumb brushing your cheek once more. This time he doesn’t look away when he does it. And you don’t freeze.

He doesn’t kiss you.

Not yet.

But you both feel it coming.

Not like a crash.

Like a calculation converging.

Like an inevitable, elegant solution.

Friday settles into its soft descent.

Outside, the city shifts into its end-of-week hum. That specific kind of tonal change—less frantic, more languid. Like the buildings are exhaling.

But in the lab, the world is still quiet, contained in the steady blinking of data streams and the near-inaudible whir of cooled processors.

You sit on the floor now, legs crossed beneath you, a cluster of components spread around you like offerings. The modeling station sits nearby, quietly compiling your last run.

Reed is at the console, sleeves rolled up, hair curling faintly at the temples from the humidity that’s crept in through the vents. He’s biting the corner of his thumbnail absently—thinking.

You watch him.

And then you remember.

“Did you finish the sensory-feedback demo for the field trip?” you ask, voice soft but cutting clean through the air between you.

He blinks up from the console, eyes going immediately bright.

“I did. Mostly. I was going to test it tonight.”

You tilt your head. “Can I see it?”

He smiles—a real one, unguarded and boyish. The kind he only wears with you.

“You can help me run it.”

He gets up, walking to the supply cabinet in the corner, pulling down a heavy black case the size of a carry-on. You follow, standing now, hands folding in the sleeves of your sweater as you watch him unlock the case with the smooth familiarity of a man who designs entire universes and still finds joy in the click of good mechanics.

Inside, a scatter of wires, motion sensors, a series of spherical objects that look like oversized ping pong balls, each one patterned with conductive filament and dotted with touch points. You recognize the layout—a modular, reprogrammable interface system with haptic feedback, originally built for mobility therapy.

“You modified the base algorithm,” you say, eyes narrowing with appreciation.

“For kids,” he replies. “It runs a simplified tactile-reward loop. Kind of like a visual puzzle—kinetic memory reinforcement. Color-coded neural feedback.”

“Accessible interface?”

He nods. “Built for neurodivergent learners. Adaptive texture mapping. It reacts to the user’s input in real time. No static pathways. No performance grading.”

Your chest tightens a little. Not painfully. Just precisely.

“You built a toy.”

Reed shrugs. “It teaches basic physics concepts. Friction, acceleration, force vectors. Just…disguised as fun.”

“That’s not just a toy,” you murmur.

He watches you closely.

“No,” he says. “It’s not.”

You set it up together on the floor of Lab B-3, moving the tables back, laying the tiles out in careful rows. The modular touch-nodes blink softly as they come to life—first red, then green, then a low, pulsing blue.

The algorithm kicks in after calibration. Reed holds the interface tablet, flipping through the menus. You hover close behind him, watching how he reprograms the environmental variables on the fly.

“Want to try it?” he asks.

You nod.

He sets it to manual mode. The first node lights up in your periphery. You move toward it, tap it lightly with your finger. It flashes yellow, then blue, and vibrates beneath your touch.

You laugh, just once—quick, surprised.

“Positive reinforcement,” Reed says softly. “Each node has a different tactile response depending on approach angle, velocity, and touch pressure.”

“So they learn physics by playing.”

He nods. “Exactly.”

You test the next one. And then another. As the nodes light up, the floor becomes a low-lit constellation, flickering gently around your movements. It’s beautiful. You crouch down near one, tracing your fingers across the filaments, letting the haptic buzz hum beneath your fingertips.

“Reed,” you say quietly. “This is... really, really good.”

He kneels down beside you.

“I just wanted to build something that made them feel like science was listening back.”

You look over at him.

That sentence hangs there, too delicate to touch.

Your hand moves before your brain registers the decision—slowly, instinctively—and you reach for him.

You had reached for his hand but landed on his thumb.

Just his thumb.

You wrap your small hand around it gently, like it’s the only part of him you can hold without consequence.

Reed freezes.

Not from discomfort. From something else.

He turns his head toward you, slowly, like he’s afraid you’ll disappear if he moves too quickly. His smile is soft, stunned. As if he can’t believe you’re doing this. As if he’s afraid that if he acknowledges it too directly, it might stop.

You don’t look at him. You just hold his thumb in both your hands, watching the floor blink beneath you.

It’s a strange gesture, almost childlike in its simplicity. But to you, it’s everything. It’s grounding. Permission. Trust.

Reed lets out a breath like he’s been holding it for years.

He doesn’t move his hand away.

Instead, he uses the other to reach forward and adjust a setting on the control interface without looking. The lights shift. The nodes pulse in a new pattern. You follow them without letting go of his thumb.

He’s smiling now, wide and quiet.

Completely and utterly gone for you.

You test every mode together—gravity simulation, frictionless slide, kinetic echo. Reed talks softly through each setting, explaining how he rewrote the original code to simulate Newton’s Laws in modular intervals, adjusting for sensor latency so kids could trigger reactions with slower or less precise movement.

You ask questions. Not because you don’t understand. But because you do. You want to understand it his way.

He answers everything.

By the time you’re done, the lights in the lab have dimmed into their evening cycle. Reed packs up the demo system slowly, like he’s folding something sacred.

You’re still holding his thumb.

Finally, gently, he uses it to tap the back of your hand.

“You know,” he says quietly, “you don’t have to hold back around me.”

You look at him, expression unreadable. You squeeze his thumb once, then let go.

“I’m not,” you say.

And you aren’t.

Not anymore.

The lab is dark when you both leave.

Outside, the city has begun to cool. You walk beside him in silence, shoulders brushing once, then again. Not by accident.

You don’t talk about the moment on the lab floor.

You don’t have to.

It happened.

It exists.

Like an inevitable, elegant solution.

The sky has turned the color of television static. Not black, not gray, just faded. Soft enough to feel unreal. Streetlights flicker on in stuttering intervals. A breeze curls up the avenue and catches at the hem of your coat.

You and Reed stand just outside the Baxter Building entrance, neither of you moving to leave, as if there’s some invisible membrane between the lab and the world you’re not quite ready to pierce.

You should go home.

That’s the next step, isn’t it?

That’s what people do when the day ends. They go back to the place with their name on the lease and try to remember who they are when no one’s asking them questions.

Except your place has neighbors.

And thin walls.

And you're too tired to pretend your own exhaustion doesn’t vibrate at the same frequency as their pleasure.

You shift your weight from foot to foot, knuckles tucked deep into your sleeves. You can feel the buzz of the day behind your eyes—not anxiety, not anymore. Just too many thoughts stacking on top of each other like tetris blocks, and you don’t have the energy to make them fit.

Reed stands beside you, hands in his coat pockets, quiet as ever. The edge of his sleeve brushes yours every so often, an unspoken rhythm that makes you feel here.

Not tolerated. Not managed.

Just here.

Ben soon exits the building. Hoodie zipped to his throat, a half-eaten brownie in one hand. He slows when he sees you both.

“Well, well,” Ben says, raising an eyebrow. “You two finally gonna leave the building or should we start paying you rent inside the lab?”

You glance at Reed.

He shrugs, noncommittal.

Ben smirks. “Alright. Don’t do anything I wouldn’t do.” Then he gives Reed a look. “Which ain’t much.”

Reed doesn’t respond, but his smile is quiet. Affectionate.

“Goodnight, Ben,” you say softly.

“Night, genius.”

He walks off into the dark.

You stay.

Reed doesn’t ask if you’re going home.

You don’t say anything for a while. You just look at the sidewalk. The cracks in it. The faint smudge of oil near the curb. The headlights of a cab bending light across Reed’s cheekbone, catching on the streak of gray in his hair.

Finally, you say, “Can I stay?”

You don’t explain. You don’t need to.

He doesn’t ask why.

He just turns to you, and for a split second, something in his expression softens so completely it’s almost painful. His eyes widen like he’s been caught off guard, but then his entire face warms, lips parting slightly, like you’ve just handed him something fragile and beautiful and unexpected.

“Yes,” he says immediately. “Yes, of course.”

You nod once, eyes down, and he opens the glass doors for you with his keycard.

Reed’s private quarters are located on the top floor, built into the architecture like a quiet secret.

The space is sparse but intentional. One long wall is lined with windows that overlook the city—lights shimmering like data points, static and alive at once.

You’ve been here before. The air smells like him. The surfaces are all smooth, clean, designed for function rather than comfort—except the guest bed, which he quietly upgraded after the second time you stayed, replacing the stiff mattress with something memory foam, orthopedic, weighted blankets in navy and grey.

He never mentioned it. But you noticed.

Now, you step out of your shoes and move instinctively toward the small kitchen alcove, placing your bag on the counter where you always do. You hear Reed behind you, taking off his coat, the soft clink of keys being set in the ceramic dish by the door.

“I didn’t want to go home,” you say, very quietly.

“I know,” he replies.

He fills the kettle without asking. He doesn’t ask if you want tea. He just knows that the ritual helps.

You settle on his couch while he prepares everything. There’s something deeply intimate about watching him move in this space—not as a scientist, but as a man who’s built a life designed for quiet. For stillness. For you.

“Did you finish that secondary circuit loop in the interface?” you ask, voice small.

“I did,” he says, turning toward you with two mugs. “Replaced the original buffer with a superconductive braid. Reduced the thermal variance by thirty percent.”

You take the mug with both hands.

“That’s going to make it more stable in hands-on mode.”

He nods. “Exactly.”

You sip the tea. It’s perfect. Rooibos, no caffeine. Subtle and warm.

You look down at your knees.

He sits beside you, not too close, not too far. Just right.

“I’m still thinking about that tri-modal stabilization relay you suggested,” he says. “It could actually be used in more than just the interface model. If we layer it into the resonance prototype, it could compensate for secondary harmonic bleed without adding mechanical dampeners.”

You glance at him. “It wouldn’t even need a power supply. It would just borrow from the existing vibrational field.”

“That’s what I was thinking.”

You smile faintly. “We should test it this weekend.”

“We should,” he agrees.

But neither of you move.

You sit there in the dark, the city lights flickering behind the glass, the tea cooling slowly between your palms.

And then, Reed shifts slightly closer.

His fingers brush the side of your hand where it rests on the couch cushion.

You don’t pull away.

“I’m glad you asked to stay,” he says, quietly.

“I don’t always know what I need,” you admit.

“You don’t have to,” he says. “Not with me.”

You turn your hand palm-up.

He hesitates—barely a second—and then sets his own hand into yours. Warm. Long fingers. Calloused thumb.

You wrap your hand around his thumb again.

It’s small. Stupidly small. But it feels like precision.

Like the alignment of orbitals in a new chemical bond—unexpected, improbable, but somehow inevitable.

He stares at your hands like they’re a proof he’s just solved.

And you can feel it now, radiating off him.

That Reed Richards is completely, irrevocably in love with you.

It sits in his stillness.

In the way he lets you hold him without needing to be held back.

In the careful cadence of his breath next to yours.

In every half-finished sentence he doesn’t speak because he’s still calibrating the right moment to say it.

You close your eyes.

The lab can wait.

The world can wait.

Because here, in this quiet room on the top floor of the Baxter Building, the noise of the city fades into static, and two brilliant minds sit side by side, slowly, carefully falling into something that even physics doesn’t have language for.

Yet.

You’re still holding his thumb.

The weight of it feels small and ordinary and terrifying, in the way intimacy always is when it sneaks in sideways—quiet, soft, patient.

The tea between you has gone slightly cold, but neither of you moves.

Reed glances at your hand in his again like he’s not sure it’s real. Like he’s afraid any shift in air pressure might break whatever this is.

He doesn’t want to lose it. You can feel that. It lives in the quiet of his body. In the way he breathes more carefully now, like your closeness has changed the atmospheric composition of the room.

You can’t explain it.

Not exactly.

But you know the moment has arrived—like a threshold has been crossed without either of you noticing when.

You lift your eyes.

Reed is already watching you.

And then you kiss him.

There’s no warning. No lead-in. No poetic pause.

You just lurch forward and kiss him like your brain caught fire.

You cup his face with both hands—awkward, determined, imprecise. You feel the stubble on his jaw beneath your palms. You feel the soft surprised puff of his breath as you press your mouth against his with more force than you intended.

Reed makes a startled noise.

You pull back slightly, embarrassed, but he surges forward like a current finding its charge.

His hands find your waist, anchoring—not possessive, not demanding, just present. And then his mouth is on yours, properly this time. He kisses you with a slowness that makes your skin buzz, then deeper, until you forget how to think.

You chase it.

You chase it harder than you meant to.

You end up half in his lap, straddling his thigh on the couch. He grunts softly in surprise as you pull him closer by the collar of his shirt. Your hands roam. One settles in his hair, the other at the base of his neck, grounding yourself in the shape of him. His body is warm and solid and older than yours in a way that feels deeply comforting—experienced, steady.

“Wait—” he whispers into your mouth, breathless but laughing.

You pause.

“I—God, I didn’t think—” he tries to say, and then you kiss him again.

It’s clumsy and desperate and real. Your teeth bump once. Your nose is probably smushed too hard against his.

But Reed groans quietly like it’s the best thing that’s ever happened to him.

Because it is.

Because it’s you.

Eventually, you slow. Not because you want to. Just because you run out of breath. You ease back a little, your forehead resting against his, both of you flushed and dazed.

His fingers trace up your spine, slow, careful, reverent.

You say nothing for a while.

Then, softly, eyes still closed, you murmur, “I need to take a shower.”

He blinks, dazed.

“Oh,” he says, voice rough. “Yeah. Sure. Of course.”

You make no move to get up.

He doesn’t push.

Then, without looking at him, you say, “Will you come with me?”

Reed stills.

It’s not a seductive invitation. Your voice is too quiet. Too vulnerable.

You mean with you. Not to see you.

There’s a difference.

A difference he understands immediately.

He exhales once, very slowly.

“Yes,” he says.

The bathroom in Reed’s quarters is clean and understated. No clutter. Neutral tones. A single towel folded perfectly on the heated rack. The kind of space made by someone who needs things to stay quiet, even in private.

You peel off your clothes with your back to him. You don’t ask him to turn away. You just move, deliberately, like someone trying to stay present in their own body. You don’t rush.

He undresses behind you.

You don’t look.

Not because you’re afraid.

Just because this isn’t about looking.

When you step under the water, he follows. The spray is warm. Steam begins to rise immediately, curling around your shoulders, softening the edges of the room.

You don’t speak for a long time.

He helps you rinse shampoo from your hair.

He rubs a towel gently across your upper back, washing you between passes of the water.

You stand in the quiet, eyes closed, while he reaches for the soap, his hands careful and broad. You’ve never felt so heldin a room without touch. Even when he does touch you, it’s so measured. Like he’s calibrating pressure in real time.

He never touches more than he needs to.

He never looks longer than you let him.

You begin to wash him in return—his arms, his back. Your fingers map the ridges of his shoulders. The plane of his chest.

He smiles at you when you look up at him.

You smile back.

Afterward, you towel off side by side. You slip into the oversized sleep shirt he keeps in the guest drawers—the one you claimed without asking the second time you stayed over. Reed pulls on a soft cotton shirt and gray sweatpants, hair still damp, curls a little unruly.

You both brush your teeth in silence. The kind of silence built on trust, not absence.

You spit and rinse and then, leaning over the sink, you say, “You’re not what I expected.”

Reed glances at you in the mirror.

“I’m not?” he asks, toothbrush in hand.

You shake your head. “You’re a better equation.”

He stares at you for a moment, then leans over, presses a kiss to your temple, and whispers, “So are you.”

You fall asleep in his bed, facing each other.

You don’t touch—not at first. But at some point, your foot slides across the sheet and brushes his calf.

He doesn’t bother to move.

You drift off like that.

And he stays awake for a while longer, just watching you breathe, memorizing the sound of it, calculating the half-life of the moment in real time.

He doesn't think there's a formula for this.

But if there were, he’d already be solving for you.

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nicromancytarot · 1 day ago

Text

HOW WILL YOU MEET YOUR NEXT PARTNER?

This is a general reading based on a collective of people. Take what resonates and leave what doesn’t. If you don’t feel the pile resonates with you, don’t be scared to try another, if it still doesn’t feel right, that’s ok! Maybe our energies aren’t as connected and my readings are not for you.

I do these strictly for fun and educational purposes. I do not charge for these readings, and I do not fake readings. I would tell you the cards I get for the readings, but I pull like 15-20 cards each reading and that is just slightly a strenuous task to write them all down lmao.

PICK A CARD READING

I asked my spirit guides how you will meet your next partner, pick a cad and find out what they had to say!

PILE 1

Hello my pile number 1’s! Firstly I’m seeing that you’re meeting your next partner around a time where you are actively looking to be romanced, this isn’t some big surprising moment, you are prepared for it and this relationship.

It seems that you may meet them around a place of hard work, whether that be your own job, or at theirs. You’ll be around your friends, possibly celebrating something. You may have spent a lot of time hidden away before this moment to prepare for this, and are now ready to finally step outside of your shell and face what the universe has cooked up for you.

Setting the scene: You’re a little on edge, feeling the need to protect yourself in this club full of people, perhaps it’s too crowded, too loud, your friends are shouting over one another because you can hardly make out what you’re all trying to say. You’re head is ringing, it’s getting to harder to think, and truly your eyes are darting towards the nearest exit like a temptation you couldn’t allow yourself to fall to. The hand that was nursing your head points towards the few friends paying attention before turning back to motion to the bar behind you — a drink would serve you well. Finally, you’re excused. You make your way towards the bar, the shoes on your feet are uncomfortable as hell, but no one could see the dread in your face as you do expertly mask it up with a bright smile, bright enough to match your outfit anyways.

Of course you consider your friends when requesting your favourite drink, remembering theirs like it’s engrained into the texture of your brain. You spend your own money, ordering a row of drinks. The bartender looks at you with intrigue, you’re sat at their bar, your fingers massaging your temples like you should be in a spa bring lathered in sweet smelling soap. Come to think of it, you do smell very sweet, they notice that instantly. Eventually when done pouring your abundance of drinks, the person behind the bar leans across the counter towards you, their body drawn to yours like a magnetic power, incapable of resistance.

You’re unsure how long you spoke, but you were pulled out of it when your friends joined you at your seat, chugging down their drinks as if they had just ran a marathon and won. The bartender plays them no mind, scribbling down some digits on a napkin and sliding it your way, their eye contact only now faltering with newfound nerves they had since ignored.

So yes! Bringing back my fanfic days with that one. This person will take to you like a moth to the sun, they may even notice you before to notice them.

This is applicable to a coffee shop/cafe, restaurant too, the bar is just the most tensional.

How you will know it’s them: They will look like they know what they’re doing, uniform could be black and red (black with red flowers perhaps) and long sleeves, they may try to act nonchalant even if they can’t stop staring at you, they will spill something and have to awkwardly clean it up (eg: shaking a drink and then accidentally dropping it because they lose focus)

PILE 2

Hello my pile, you are a pile with an interesting spread. I was shuffling my deck, didn’t want to pull from the top yet, wanted to go one more shuffle — the tower fell out. Then I decided to shuffle once more and not pull from the top because what the hell luck was that? I pull from the top, 10 of swords. You also had repeating tower, so let’s get into it!

My dear pile number 2, you’re meeting your person after leaving another person. It seems you would’ve gone through some crazy shit and betrayal with this former lover. It may have taken you some strength to leave, but the direction is absolutely correct and perfect for you. You’re trusting your power, define feminine energy (even if you’re not a woman) Your instincts were telling you to run, and you prepared that goddamn track.

Your next partner could be the one you end up with either for the rest of your life, or for a very very long time, this seems very much like an “I’ve got what I want now, and I’m not risking it again.” You don’t need to risk it.

Now for how you meet! I’m seeing that this person may aid you in your leaving of the previous partner, whether it be that they were a friend of a friend, or someone with ties to either of you in some way, they have your back and are never letting go of it. I’m getting masculine (even if they’re not a man), protective energy from this next partner, they are absolutely doing their most to protect you from those things you’ve struggled with in the past, particularly that former relationship.

Setting the scene: It’s late, scary, you’re not even sure you know where you’re going, the car is packed with every bag you could find, your suitcases were hidden, but there were backpacks and carrier bags. You shoved everything in their while they were out, probably bedding another person with no thoughts in their mind — you were out.

You took a deep breath, not pausing for a moment, that freedom was only a few roads down from where you were currently parked. You shifted the hand break out of its stationary position, looking behind you with a shaky nod as you began to reverse out of the driveway. When they came back, you wouldn’t be there, no note, no item left behind. Your entire life was packed into the trunk of that car, and the only thing they would meet if they tried to contact you was the automated message of a blocked number.

You had done it.

With trembling fingers you moved your hand down to the middle of the car stereo, pressing a few buttons before finally reaching the number of a number one of your friends had given you, you needed to tell them you’d left, perhaps needed a place to crash, protection incase any of this backfires. They picked up on the first ring, their breath caught in the back of their throat as they listened to the sound of the nervous laughter erupting from yours. They asked you were you were, made sure you knew their address. Checked if you needed money, but you said you took all you could before leaving, just in the need of support. They’re impressed in all honesty, you left that asshole, and came prepared? They offer you a space in their bed, they’ll take the couch.

When you arrived at their place they gave you a very quick tour, helping you with bags and preparing a glass of… well, whatever you needed in that moment. You apologised for crashing, told them you’d find a new place as soon as you’re back on your feet. Little did you both know, you probably wouldn’t be ever needing to leave that house anytime soon, and they wouldn’t be on that couch for very long.

And there we have it. Now obviously it doesn’t have to be THAT dramatic. But you’re leaving a relationship of some slop that doesn’t treat you the way you deserve, possibly cheats. You find yourself mixed up in the life of someone whom always has their door open for those in need.

How you will know that it’s them: Hearing of them word of mouth before meeting in person, they may have their heart closed, or be apprehensive at first. They will do anything to help you get the justice you deserve, you both know of another from a friend, they may be your last chance of being able to fully leave (perhaps you wouldn’t if you had no place to go), your ticket to freedom.

PILE 3

Hello my pile number 3’s! Ok, so I’m seeing something very interesting first and foremost, you have multiple chances of meeting this person, like different choices you or they may make can lead to other times, but it’s like 99% set in stone. We do have the lovers and 2 of cups, so I’m assuming that this phenomenon is due to the fact that your next person is the person you’ll end up with overall.

I’m seeing that one or both of you may be quite guarded during your first meeting, especially if you are recollecting yourself from something mentally draining prior. I am getting the feeling that one of you will express interest in the other, but the other will feel that the person showing interest is either joking or just not being entirely truthful — there may be some insecurity here.

I have the feeling that this connection will be one in need of heavy nurturing, even at the beginning when you don’t really know much about each other. One of you can come off as quite direct, possibly making the most out of the conversation, like asking questions that the other isn’t ready to respond to. The card actually depicts a bread bowl, so you’re really trying to get everything out of this meeting. The person that appears guarded will either answer in short sentences, or just in ways that seem less and less revealing with everything you enquire.

The cards really aren’t giving me much information since this could happen at multiple different occasions since there’s many intervals for meeting, so sorry for the short reading, but let’s get onto some recognisers!

How you will know that it’s them: They may seem like they’re coming out of something rough, they may be withdrawn, possibly avoiding eye contact with you, they may feel like they have to compete for your attention, could be insecure over other people that they think are into you, lacking self confidence due to a situation prior, defensive, they’re interested but standing with one foot turned out like they’re preparing to run away, it will feel destined, like you’re going to fix one another.

Some occasions you could meet:

1) A celebration with friends or a group of people, a place you could make friends, a place of collaborations, a place with a lot of people and a lot of chatter

2) An atmosphere for improvement, hopeful energies around you, somewhere where a new beginning is to start, gardens, somewhere very earthly

3) Somewhere your intellect will be of use, a place where you may need to speak aloud or to a lot of people, a place your soul feels comfortable

4) Somewhere where justice is important, receiving answers and steady direction, a place you have to be leader of, a place in need of solving a problem

5) Somewhere heavy with betrayal or a painful ending, a place of survivors, a place of great loss and internal turmoil

#tarot #tarotblr #tarotcommunity #tarot witch #tarot reading #pick a card #pick a pile #tarotreading #pick a card readings #tarot blog

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bokettochild · 3 days ago

Note

Do you have some hcs for Legend? I'd love to hear your thoughts on him :)

So, so many of them!

he's far-sighted! Due to a lot of adventuring and focusing on the far away stuff, he's actually trained his eyes to always be focused on far away things, and so now he struggles to see things clearly close up. he has specticals for it (Impa took him to get some when they were in Labrynna together) but he rarely remembers to wear them, and doesn't like to out on the road to begin with, as he's worried they'll break. he tends to forget he's wearing them when at his house though, so Ravio's really the only one who sees him wear them more than he sees him without them.

he's totally a bit of a history nerd, because I said so. It was more just stories when he was little, but between frequently interacting with ancient artifacts and architecture, as well as time traveling himself, Legend's become somewhat fascinated with history. he likes having all the answers (as most Links do) but for him, that includes knowing where things came from, why they were made, and so on

he's also a horse girl, much like Twilight and Warriors, but doesn't travel with a mount because it's less convenient. While having a mount in a Zelda game DOES make avoiding foes much easier, it also gets frustrating when you have to go find them again after doing however many things (point in case, my BotW horses are scattered to the four winds All The Time). Legend, who frequently is getting up and dropped in random places, doesn't like that this would leave any of his mounts alone in the middle of nowhere and thus doesn't take his own horse many places as a result. Said horse is Puini (OoA manga) and is currently housed either at the castle or with his grandparents (OoS manga). He dotes on her exceedingly, and being around Epona now reminds him of her a lot. Being as she's a literal war horse though (trained for battle with a knight) he has an inkling she would't quite like the mares of the rest of his brothers and leaves her out of the conversation when they bring up mounts

he's the OPPOSITE of someone with claustephobia! I have this fic I'm writing in my head right now where the boys finish their adventure just to get collectively dropped at Lon Lon with no way home, and have to adapt to "normal" life. A chapter of said fic (if I write it) would likely focus on the fact that Legend literally grew up in dungeons, like, his games have the most dungeons of all the Zelda games, as well as some of the biggest focus on dungeons, and as a result, they likely feel more familiar to him than the open world (and oddly safer, since they're predictable and follow Rules that the outside world doesn't have). I like to think that small, narrow, dark places would actually be soothing for him, to the point that, in the theoretical fic, it freaks the rest out when they find out he keeps purposefully climbing into dried up wells for some space when he's homesick. Maybe it's the inner bunny instincts, maybe it's a pre-existing trait that influenced the magic that made him a bunny to begin with, but Legend tends to burrow, and feels safest when he's in smaller, darker places.

He loves puzzles. I think it was Squido who said that we should let the boys enjoy their adventures, no? Let them look back fondly and smile at some things? For Legend, I think the thing he loved most about adventures with the problem solving, and puzzles are the best sorts of problems because you're guaranteed that there IS an answer. So, for someone who grew up doing puzzles most of his life (dungeons), they're a familiar thing for him and a challenge for him to face without actually endangering himself. he likes mind puzzles and logic puzzles mainly, but picture puzzles are fun too for him

Apple snob. He knows all the apple types, probably bred two of his own apple breeds somewhere in his life, and he has opinions on all of them

Nature boy. Not like Wild and Hyrule who like to get lost in it, no, Legend just likes existing in nature. He grew up on Orchard Hill, so gardening and husbandry are something he was raised to before the hero shtick, and he finds a certain sort of peace in gardening/plants. Also, he travels a lot, so he spends a lot of time by himself out of doors. Granted, that's also where a lot of the bad stuff happens to him, but the good outweighs the bad and I think he genuinely would love to go hiking or do nature walk sorts of things if adventure didn't scoop him up every time he left the house

Really big dancer. Mostly because of Din, partially because of Marin, and Cadence definitely had an influence too. Unfortunately, his mental metronome is set to the music pulse of Octavio's magic so he sort of just...can't keep a beat well without a lot of time to adjust. Once he's got it though he's killer

He can play a lot of instruments, but I really like the idea that the violin is his favorite. yes, he's got that precious ocarina from the dream world, and he learned to play one of those first, but like the idea that Uncle Aflon or maybe one of his friends was a violinist, and Legend just got dead set as a kid on that particular instrument. It's also a very diverse and emotional instrument, which grants him a lot of freedom of expression he'd usually not allow himself

He didn't speak his first word until he was four. Uncle Aflon kind of accepted early on that he might be mute, but as it happened, he just didn't feel the need to use words to communicate, since what he wanted was either always evident or could be figured out without him having to speak much. I think he was likely either mostly silent as a child, using mainly sign or other nonverbal communications, but if you want to make it angsty, I also like to say that it could be because his throat got messed up by an illness he had when he was very small so talking was painful for him. I HC that that changed after he traveled to Labrynna, because the memaid's curse didn't just give him a tail, but also effected/altered his voice, making speech easier for him but also making it to where he can actually cham people with his voice if he's not careful (which perhaps contributed to him becoming a harsher spoken person because then the charm is less likely to slip through on accident if he's being a jerk)

Continuing the speech HCs, I think Legend's tendency towards speech is impacted heavily by wo he's around. if it's anyone he met prior to Labrynna, or in Labrynna, he defaults to mostly sign, whereas if he met them after, he tends to usually use spoken words

Legend' far more expressive and open with sign language, as tone is very important and easier to navigate for him. In essence, it is his first language and the one he's most comfortable with

That said, with people he's truly comfortable with, legend's just straight up non-verbal. he doesn't feel the need to speak and usually just uses facial expressions and exaggerated motions to express himself. Being able to shut down the speech center of his brain for a bit is a huge relief and since those he knows well know how to read him just fine like that, it doesn't make much of a difference either way

As y'all know, I champion the Fable and Legend are siblings HC, though I know it's neither cannon, nor likely to be cannon in LU (pretty sure JoJo confirmed it's not true). Still, I really really like the twins thing!

On the note of being twins! You know how sometimes, with twins, one comes out stronger than the other? Yeah, that was Fable. Legend's actually the smaller/weaker twin, though not by much. he was a very sickly baby though. Oddly enough though, despite being physically weaker than his sister, he actually got the stronger of the magic between the two of them! It might even be possible that the strength of his magic might have been the reason his body is weaker; because housing that much power can put a significant strain on a body. Either way, Fable and he joke about it frequently, saying that as he's got stronger Holy magic, he should have been the princess, and since she's physically stronger, she should be the one with the sword. He doesn't mean it though, and is only playing along. Fable kinda sorta really does mean it though)

It's less focused on by the fandom as a whole, but in case you didn't know: Legend is more than just a polyglot! In his games alone, we see that he can hear and understand not only most trees (not just guardian trees like the Deku and Maku trees, but the normal ones around Kakariko too), but also animals, spirits, and literally forces of nature! Heck, the literal SEASONS coo about how adorable he is when you meet them in OoS! That said, I think he learned pretty early on that this isn't normal. Uncle started getting really worried when he saw and heard Legend speaking to what seemed to be thin air on multiple occasions, so he learned to just not answer unless there aren't other humans/hylians around

Continuing the previous one, this does mean that Legend has to frequently resist asking for directions from various passing by birds and animals, and instead just bites his tongue and lets Twilight go off scouting because explaining that he can hear voices no one else can hear is just....ot the best of ideas

Despite the rest of the heroes' being under the impression that Legend was an only child, he actually has Middle Child energy. this is because he grew up with Fable, Ralph, the Oracles, and Ghanti bossing him around/messing with him, but he also helps look after his neighbor Gully, who I fully believe he loves the same way that Wind loves Aryll.

While I have Gully on the mind, I think Smith and his wife have mentally adopted Legend and all but see him as their eldest, since Bertha (Smith's wife), also had a hand in helping Aflon, newly appointed caretaker to an infant he knows nothing about minding, with learning about babies. Legend however, dense as he is, still fully believes they just put up with him for their actual son's sake, since Gully clearly adores him so much

This shows up a lot in my fics, but I like the idea that Legend loves the stars. Like, tehy're the same, always there, no matter where you go. he's traveled a lot and been tossed into random locations where everything is different, yet whenever he looks up, there the stars are, the same as always, just from a different angle. I think Uncle Aflon taught him the various constellations when he was small, and maybe when Legend was lonely in his adventures he started talking to them like they could hear them (and heck, if the seasons can hold a conversation, then why couldn't the stars?). Also, you know the thing about how if you're deep enough underground and you look up through a hole you can see the sky? Yeah, he's more used to night skies and stars than sunlight

Despite being a traveler, he's actually got a palish complexion for his skin tone, since he spends most of his time underground. He's also a bit sensitive to sunlight all around and gets a headache fairly quickly when he's out in it. He hates noon time and would rather be sleeping than awake when the suns at its zenith

I've seen this one around a bit, but I really love the idea that legend enjoys wearing his uncle's old clothes around the house when he's between adventures. he probably keeps Uncle's pipe tobacco and other things stored with the clothes so they still smell like him even after all these years

He's entirely unaware of the fact that being on regular speaking terms with the Golden Goddesses, the Fates, the Seasons, the freaking Triforce, and most royalty is uncommon for a hero. He's aware most people don't do it, but it's sort of jarring for him when he realizes that the other heroes' dealings are limited to mostly mortals, and lowly ones at that, and that when they do speak of the goddesses, it's usually with some sort of reverence. Meanwhile Legend will and has insulted Din to her face for picking on him about his height, gossips with Farore whenever they run into each other, and the only one he kinda treats with reservation/respect is Nayru because they sort of faught each other that one time and while it wasn't her faught, it still makes things a bit awkward at times

He tends to chew on things when he's restless/agitated. He's not even aware he's doing it half the time, and has chewed his sleeves, hair, and various tools at different times. The Chain have designated bowls (Sky got bored) and his has very clear signs of gnawing around the edges. Same with any wooden spoons he's given (although, being as Uncle raised him with manners, Legend does carry his own silverware at all times, and thus rarely needs to borrow from others (it's a medieval manners thing))

Unlike the stereotype of men when they're sick, Legend actually gets really quiet when he's sick. Hyrule's the same way and it's mostly to draw the least attention to themselves when they're not in fighting condition. Usually though, he tends to take the 'sleep through it' approach, which is really a very poor choice, but as far as he's concerned, it's worked until now so he's not changing it

I think Legend's a very physical person, someone who likes to be able to touch and feel various things, and generally enjoys the idea of physical affection, but in reality balks at it because it usually catches him off guard. That said, he do be touching all the stuff and animals.

Gets weird about dodongos. he knows that the majority of them are threats, but there's always a part of him that wonders if some of them are like Dimitri, and it can be tricky for him to fight them at times

The early Zelda games are sort of wack honestly, but the fact that he's technically a telepath gets brushed aside way too much, y'know? Like, Legend regularly has conversations with Zelda and Sahasralah from miles away, IN HIS HEAD, and only uses certain stones to strengthen that connection, not forge it to begin with! Now, he might just be receptive to telepathy, maybe it's a twin thing (I have a WIP about that) but I think it'd be really funny if he's just sitting on that little skill and never brings it up because linking up (lol) thoughts with someone can be very overwhelming when your brain is already moving a thousand miles a minute, and trying to process thoughts and feelings that aren't his own gives him a migraine. So he just.... doesn't. Unless Zelda reaches out first or he needs to tell her something important.

He's terrible about self care and remembering his own needs, but will, can, and does scold others for doing the same. He doesn't even care that he's a huge hypocrite, not much anyway

Magpie. Boy loves his shiny things. Like, he doesn't technically need everything he has, and he knows most of it will never be used, but if it's pretty he keeps it anyway

I feel like Legend'a also got a bit of food insecurity. When he was a kid, freshly thrust into his first adventure and with the kingdom turned against him, he didn't actually know how to find his own food and ended up going hungry a LOT during that first adventure (which might have stunted his growth a bit). Since then, he's made a point to not only educate himself on what's safe to eat and what's not, but he also taught himself how to preserve and prepare long lasting foods, which he keeps a huge stockpile of. He also doesn't trust any food he hasn't watched be prepared unless it's made by someone he trusts, and even then sometimes his anxiety/paranoia gets the better of him. There were a few neighbors who tried slipping something in the meals they gave him under the pretense of taking pity, when in reality they planned to turn him over to the knights, so he's always cautious now

He's actually less wary and guarded outside of Hyrule than he is inside of it. Lorule is an exception because it's a version of Hyrule, but any other country is used to a very different version of him because Legend isn't always suspecting foul play in other kingdoms who have nothing to gain from his death.

He cannot handle blood well. Yeah, he's a hero, yeah, he fights a lot, and yes, he's frequently injured in battle or dungeons, but watching his Uncle bleed to death left him with a kind of hemophobia and he tends to have mini panic attacks/breakdowns when exposed to large amounts of blood. He hates it, but can't control it, and hasn't found a way to overcome it at all

After spending a long time at sea after Koholint, trying to find his way home, Legend actually really dislikes the taste of fish. He had to rely on his mer form a lot getting home, and fish has been ruined forever because it was his only choice for food, and eating it raw (mer) did make him sick a few times (he's still hylian at his core) so now he tends to get queasy when eating fish, just on reflex

He's a dead ringer for his late mother, to the point where people who knew her sometimes double take

I know Warriors is supposed to be the pretty one, but considering Legend's canonically had forces of nature comment on how pretty he is (I think it was Summer specifically, but it could have been one of the other Seasons), I think he's got a type of beauty that, at the least, appeals to the supernatural/magical beings. He's unaware of this though, although he'll always say Fable is one of the most beautiful people in the world, all while unawares of the fact that they're nearly identical looks-ways

He likes to doodle. Drawing more so, but e enjoys both depending on what mood he's in

Logically and artistically minded. Numbers bother him though (something Ravio, who is the reverse, definitely abuses)

He's one of those people who genuinely will be happy if you get him a candle. He's got everything anyone could need, but something that smells nice, offers minimal light, and he;s always running out of? Oh he loves them. He's very picky about what scents he'll accent though because his nose is very sensitive

He cracks his knuckles and rolls his shoulders a lot when he's bored/tense/stressed- basically all the time LOL

he uses sewing/stitchwork as a way to try and relax himself after a long day. it works half the time. the other half his thread gets tangled and he gets very worked up LOL

Secretly admired Sky's skills in embroidery, but doesn't have the patience to practice anything complicated

he loves to teach people things, but constantly assumes people won't listen, so he tends to break things down to bare basics rather than going into the nitty gritty like he enjoys.

Such a big sweet tooth

Genuinely hates the feeling of fur. Twilight's pelt bothers him, not just because the guy who turns into a wolf is literally wearing a wolf's skin, but also because the feeling of fur, treated or no, displeases him most of the time. He only likes fur when it's on something alive and moving, and even then, he's picky about it

Has a extreme fear of dogs. It's both from being chased by the soldiers' dogs, but also various dog-like things in the Dark World. Wolfie used to make him very uncomfortable before he realized it was Twilight

Fall boy. The other seasons would be offended if they knew he had a favorite, but I think his little apple farming, leaf crunching, bright color enjoying self would just adore the fall.

he LOVES the rain. His arthritis acts up something awful when it rains, but when it's not too bad he enjoys being out in the rain. That said, he HATES thunderstorms, less because of being struck by lightning (LA) and more because of the storm the night that his Uncle died

He's actually not fond of heights. He doesn't panic, but he's used to being very low, or even below the ground, so being very high above it unsettles him.

He tends to sleep curled up, he's not sure why, he just does

He's got VERY sensitive ears, both to touch and sound

Buck teeth <3

Also, freckles. He doesn't spend much time in the sun, but he does tend to freckle when he has. It also brings out some natural highlights in his hair, but he's not aware of that because it's not happened since he was small

Tends to sound like he's talking down to everyone, but in reality he's just never sure what all most people know about any given subject

Has such a soft spot for kids

He's a god-father to Bippin and Blossom's kid, and he adores that little munchkin, bordering on spoiling them.

Imma end it there because it's late and I need to be up early, but I hope this satisfied your curiosity a bit!

Thanks for the ask! I appreciate the chance to talk about all these ideas!

#asks and answers #linked universe #linkeduniverse #lu legend #ketto's brainfarts

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fizzyrodeo · 22 hours ago

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WARNING ABOUT THE NEW HELLUVA BOSS SHORT...

It's a waste of fucking time. What do you mean all we get from Loona is "i want to spend more time with my dad" and "i don't think the world would like the real me" which is shit we ALREADY KNEW ABOUT HER, and the rest of the five minutes are about some mr-rogers-ass mofo (sorry mr. rogers) saying goodbye to a bunch of random kids/adults (who are by the way in no sense a parallel to loona, so we can't derive any context about her time in the orphanage or the intricacies of her personality from them). Blitzø was barely in this short, he wasn't even relevant aside from like 10 collective seconds of it being clear he loves Loona and feels bad for not having much time for her (again, shit we ALREADY KNEW).

I know the shorts are supposed to be fun filler to tide us over, but it's not fun that the main show takes way too long to give us character development/focus (especially if that character is a woman) and the shorts don't even give us so much as more worldbuilding (which is what Helluva Boss was supposed to be for in the first place).

At this point I can say that the Ben 10 (reboot) Alien World/Webisode shorts were conceptually better than Vivziepop's. Isn't that crazy, that the extremely childish reboot cartoon that had a pretty small fanbase of people (not just kids) who actively liked it, had better writing and balanced focus than the indie show written by a team of adults that is now backed by one of the biggest streaminh companies in America?

#vivienne picked the wrong day to upload #i'm already pissed off at poor writing today lmao #helles belles was the only good short we've gotten so far #ain't that a damn shame #helluva boss #helluva boss loona #helluva boss blitzø #helluva boss critical #helluva boss criticism #vivziepop critical #vivziepop critique #vivziepop criticism #vivienne medrano #vivziepop #vivziepop helluva boss

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tofics · 3 days ago

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I finally made time to listen to this and I am so glad I did. Let's dive straight in, shall we?

This was my very first time hearing your voice, and I feel the need to point out what a pleasant voice you have, Alex! And I do mean this in the most sincere way, coming from someone who can be very very picky about what voices to listen to. I know this wasn't the point of the podcast, but I had to let you know :)

I took notes while listening, so I'll just be going through them and kind of sort them into something more tangible as I go.

It was awesome getting to hear so many "behind the scene" thoughts from you about your writing. There were a couple of small things you mentioned that I wanted to comment on just for the fun of it:

Something that draws you to a fanfiction is if characters are canonically written. It's funny you should say that, because your characters are some of the most in-tune-with-canon characters that I have ever read. I've mostly consumed your Dean stories, and even in an AU setting (I'm looking at you, Smoke Eater) he is 100% Dean as seen on the show. As far as fanfiction goes, that puts yours on a pedestal imo.

You considered doing something with Dean and Yellowstone for the Jacklesverse Bingo. (insert gif of me hysterically crying and hyperventilating) I've only just started watching Yellowstone this year and I am obsessed. I think you would have fried all my synapses if you had gone down that road, in the best way possible 😁

Hearing you talk about your friends on Tumblr and knowing you've included me in that group felt so so special! I'm so proud to be able to call you my friend on here. 🥹🫶🏼

But now! On to the actual topic of the episode :)

First of all, I found it very interesting that despite your own heritage, you grew up with a white reader in mind. Just goes to show how predominantly a white person is and has been the main character in so much of media that that's what your brain defaulted to.

I also thought your discussion about what makes an OC an OC and where a reader insert stops being a reader insert suuuper interesting. Because that's a genuine question! Where does a blank slate stop being a blank slate, and how much character do you have to give to the reader role in a reader insert fic for the story still to work, right? I loved to hear your take on it, especially where you said that writing reader inserts is basically like writing OCs without giving them a name. - I had never thought about it that way!

But of course, you're right. Because a reader that is an active participant in a story can't be a completely blank slate. They have to be assigned certain traits, not necessarily body-wise but character wise - if you're doing more than a drabble, imo. For there to be dialogue and a story that feels full, that feels alive, the reader has to have some sort of character to be a character.

Which brings me to my next point: projectability is always a thing of perspective and the ability to put yourself into someone's shoes. As far as fanfiction goes, the reader insert genre tries to make that as easy as possible by offering a mostly blank slate (that is very often white-coded, unfortunately, but that's not the point I'm trying to make in this paragraph). I have seen people complain more than once about the character!reader being unrelatable because of certain character traits and/or backstories that were assigned to them, and I wonder: people, where has your media literacy gone? Do they not teach to adapt to a person's perspective via literature in schools anymore? Must all media cater exactly to your every taste, down to each very nuance?

And I write all of this distinctively separating characteristic traits from body traits. I am not at all talking about the lack of ethnic representation within the x reader genre.

I love how you give personality to your reader characters, Alex. Especially when it comes to your own representation. You said in the podcast that you were worried about how the traits you assigned to your reader in the Midnight Espresso-verse would be received by your audience and that you received great feedback. I want to reiterate that by saying how despite myself not having the same background as you, I could absolutely relate to the plus-size aspect of the reader, as well as her love for cooking. You said it so beautifully in the podcast, that this version of the reader is one that came from the intent of Dean having a (Latino) girlfriend that nurtured him in the same way he nurtures the people around him, and I fully 100% could relate to that as well :)

Which might be my very complicated and long way of saying: Please do not worry about how much the reader can adapt to the traits you're giving to the character!reader. If most character!readers have been predominantly white for the longest time and so so many people that where not white made it work, then so can we white folks when we are given a reader that does not fit all of "our" typical criteria.

It made me very happy to hear that you're seeing more and more diversity within the SPN fandom these days. I've spent most of my time in the PPCU fandom this past year and all across it, but specifically in the Joel Miller fandom, there have been too many racist instances. It's great to hear that it's going better in other fandoms!

Which brings me to my next point - the anon request you got that led you to writing Unravel Me 👀 Wow. I haven't read it yet. It was on my TBR list anyway, but hearing you talk about how it came to be and how much thought you put into it (understandably so) it's now an absolute must-read for me. (Sort of unrelated but still related: I've seen your playlist covers for the story, and - wow??? A masterpiece??? Visually, I mean?! The EFFORT. I'll be speaking about this in a second, but I needed to mention it now in case I forget! Gorgeous!)

Another point that had me thinking a lot was the question about how much of an immigrant's identity should be kept and how much should be adapted to the country they've moved to also captivated me. I know US politics in regards to immigrants are ""problematic"" atm to say the least, and it's been a widely discussed topic over here in Germany for years now as well, especially with the heavy influx of immigrants over the past years. I can't imagine how complicated it must be, figuring out a sense of self that both fits to where you live and still keeps the core parts of who you are and were before coming to said country.

I want to wrap this up by saying how incredibly impressed I am every single time I hear/read about how you prep for your stories. I think you are by far the most in-depth fanfiction writer that I know. You put so much research into it, and not just for The Honorable Choice, but everything you put out. I'm struggling to find the correct words to properly express how admiring I find it, especially for a story like The Honorable Choice where you take on the perspective of someone of a different ethnic background than you.

You are an inspiration, Alex. Truly.

Thank you for welcoming me into the writing space when I came back. Thank you for answering every question I had, and thank you for the work you put into all of your stories.

To you, to your talent, your inspiration and work ethic, and to many more stories to come! 🩵

Racial & Ethnic Representation in Fanfiction

[🎙️ Podcast Interview]

Hey, friends! Sandra and Kasey, the lovely hosts of @idlingintheimpalapodcast — the podcast for all things SPN and fanfiction — invited me back on the pod for an interview on a topic that's very close to my heart…

With @rubyvhs, we talked about the fun moments and challenges about reading and writing fanfiction that represents specific racial and ethnic cultures, being bicultural/multicultural, the immigrant experience, and much more.

I offered my own experience as a Latina POC writing in the fandom space, specifically Supernatural and The Boys (and adjacent Jackles fandoms).

Check it out here: ⤵️

youtube

Interview Timestamps –

(Plus fic recs, SPN writer/reader shoutouts, and more! Links to all the fics we mentioned are at each time stamp.)

2:54 – When did you start writing fanfiction, and when did you join SPN fandom?

⟡ You can check out my first author interview with Sandra and Kasey over here. We chatted about Dean Winchester and Jensen Ackles’ early roles, the best and worst seasons of SPN, the joys and pains of writing Soldier Boy, and much, much more. For all the timestamps of key moments, fic recs, and SPN writer shoutouts, see this post (you'll find the link to the video there too).

6:18 – What is your ethnic, racial, and cultural background? (And how me and Sandra bond over “food and family” ties between Hispanics/Latinos and Italians.)

13:05 – The immigrant experience in America, what you take with you from the “Motherland,” the struggles of bicultural identity, my personal experience being a second-generation child of an immigrant family, and Sandra’s experience as a first-generation child of Italian immigrants.

16:58 – What do you look for when you’re reading fanfiction? (Canon-compliant, AU, romance, etc.) Does the length of a story matter?

19:52 – Bonus: The merits of drabble writing vs. long-fic writing.

25:54 – Have you ever actively searched for fanfiction that represented your ethnicity? (Whenever I do, it’s like finding gold.) Plus, the challenge of writing reader characters, the “gray area” of writing reader characters like OCs.

32:38 – The inherent “bias” of reading and writing reader characters as White. The concept of diversity being “cool” in popular media, TV shows, and movies is still pretty new.

36:36 – Why I started writing reader characters that might have a specific body type, race, and/or ethnicity.

Examples:

⟡ Midnight Espresso – Dean Winchester x Plus-size Latina!Reader

⟡ If I Stay – Dean Winchester x Plus-size!Reader

⟡ 10 ‘Til Midnight – Professor!Dean Winchester x Plus-size Grad Student!Reader

⟡ Unravel Me – Soldier Boy x Afro-Latina!Reader

⟡ The Honorable Choice & Outlander – Cowboy!Dean Winchester x OFC

40:14 – The fun challenges: like giving Dean a partner who takes care of him as much as he takes care of others in Midnight Espresso.

45:28 – The BIG challenges: like writing Soldier Boy being himself with a “person of color” (POC) in this new series, Unravel Me. What even is a POC? Where do you start with Soldier Boy, the Sandra-proclaimed “bowl of fishhooks?"

51:38 – Is there ever an element of fear when you publicly post a story that represents your culture, which is something very personal to you? What happens when you get haters in the comments?

1:05:33 – When and how did you begin to break out of the “ingrained biases” in your writing? (AKA: Always assuming my own characters are White.)

1:08:04 – When did you decide to explore writing plus-size!readers?

1:13:20 – What has your experience been in writing a race/culture outside of your personal experience? The Honorable Choice and Outlander, a western AU where Dean Winchester falls in love with a Native American Lakota Indian. (Shoutout to @jacklesversebingo!)

Plus, the ethical responsibility to “do no harm” when you represent different cultures, and answering question of not only can I write this, but should I write this?

1:32:42 – What advice would you give a writer interested in writing about a culture outside of their own that they don’t have first-hand knowledge of? How can a writer avoid cultural appropriation if their goal is cultural appreciation? How important is a sensitivity reader/beta reader for this effort?

1:40:35 – Final thoughts on diversity and representation of culture in fanfiction, whether it’s your own or someone else’s:

“Write what you know. Write what you can research. Write what you’re interested in. Remember that words have power, so be careful how you use them.”

1:45:30 – Sandra and Kasey’s outro: The importance of representation and diversity in fandom.

I hope you enjoy the ride!~ 💜

💗💗💗 Shoutouts to some of my beautiful friends and lovely readers who've supported my attempts to explore ethnic and cultural diversity in my writing:

@luci-in-trenchcoats @lamentationsofalonelypotato @waynes-multiverse @rizlowwritessortof @roseblue373

@tofics @deanwinchesterswitch @deanbrainrotwritings @deansbbyx @waywardlatina

@supernotnatural2005 @wayward-dreamer @spnwoman @waywardxwords @mostlymarvelgirl

@chevroletdean (shoutout to your 500 follower fic challenge at around 19:52 😘) @siampie @bettystonewell @wvffles

@iprobablyshipit91 @my-stories-vault @littlesoulshine @thatonewriter15 @jessjad

@deans-spinster-witch @winchestergirl2 @kazsrm67 @chernayawidow @jackles010378

@jollyhunter @leigh70 @foxyjwls007 @beakaleak32 @alwaystiredandconfused

#lovely moots 💕#podcast interview #racial and ethnic representation in fanfic #spn fandom

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hummingbird24220 · 1 day ago

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Weighty Concerns

Sanji x Reader

This is just a fun little hehe drabble. Lemme know if you like it! Enjoyyyyy!

Dinner on the Sunny was lively as ever. Luffy was inhaling meat like it owed him money, Zoro was nursing a bottle of sake while pretending not to listen to Usopp’s exaggerated tales, and you were sitting peacefully next to Nami, who was enjoying her orange slices with a wine spritzer.

Sanji was flitting around the table like a graceful waiter at a Michelin-starred restaurant—serving, complimenting, and doting. His eyes sparkled every time they landed on you, which was a lot, and it wasn’t long before he set a perfect plate in front of you and slid into the seat beside you.

He leaned in a little closer than usual. “So, uh… just out of curiosity,” he began casually, chin resting on his palm, “how much do you weigh?”

The table quieted.

Even Luffy paused mid-bite, which was more impressive than stopping time.

You didn’t miss a beat. With a delicate smile and a calm sip of your drink, you replied:

“Unless I’m sitting on your face, my weight should be none of your concern.”

Silence. Then—

“BWAAHAHAHAHA!!” Usopp nearly fell off the bench.

Chopper choked on a rice ball. “S-Sitting on his—?!”

Nami covered her mouth with one hand and pointed at Sanji with the other. “Oh my god, you broke him.”

Zoro spat out his sake and actually wheezed, banging a fist on the table.

Brook was crying ghostly tears. “Yohohoho! May I perish again—what a line!”

Franky was already yelling “SUUUPER!” like it was the greatest quote of the century.

And Sanji? Oh, Sanji.

Face scarlet, mouth hanging open, nose gently leaking the beginnings of a blood fountain—he blinked once. Twice.

Then, in the quietest, most reverent tone, he whispered:

“…I would like to make your weight my concern.”

The table exploded again.

You just picked up your fork with grace, a little smirk on your lips. “Then I hope you can bench press the weight of a mountain, sweetheart.”

Sanji fainted.

Zoro leaned in and muttered, “If he proposes before dinner’s over, I’m walking into the sea.”

You just laughed, enjoying your food like nothing happened while Sanji slumped down his chair, fading out of consciousness.

Sanji was out cold—cheeks flushed pink, little hearts circling his spinning head like satellites.

Luffy leaned over and poked him with a chopstick. “Oi, Sanji, you dead? Can I eat your plate if you’re dead?”

“No, Luffy,” you said sweetly, never looking up from your food. “He’s just… processing.” You twirled your fork, smiling slightly. “Let the poor guy reboot.”

Chopper had rushed over to check his pulse. “He’s fine! His heart’s just going crazy! I think he’s overheating—wait, is he… purring?”

“Oh my god,” Nami groaned, rubbing her temples. “I told him to stop asking women their weight. This is the fourth time he’s tried it.”

Franky wiped a tear from behind his shades. “That was romantic as hell, bro. That line? Top ten pickup lines in Sunny history.”

Brook nodded solemnly. “May I write a song about this moment? ‘The Weight of My Heart Is the Weight of Your—’”

“NO,” Nami, Usopp, and Chopper said in unison.

You finally looked over at Sanji, who was blinking awake, a dreamy look in his eyes like he’d just had the best fever dream of his life. “I... saw the light,” he mumbled. “And it was shaped like your thighs.”

You tilted your head. “Feeling better, loverboy?”

He slowly sat up, straightened his tie with the poise of a man reborn, and took your hand—dramatic as ever.

“I swear to you,” he whispered, staring into your eyes with all the intensity of a telenovela lead, “one day I will be strong enough to carry you. No matter your weight, I’ll do it—without wobbling. Even if you do flatten a mountain.”

Zoro rolled his eyes so hard you swore you heard a crack. “God, just marry her and get it over with.”

“I would,” Sanji said without hesitation, eyes still locked on yours.

You raised an eyebrow. “Only if you can handle the weight of commitment, too.”

The entire crew howled again.

Luffy laughed so hard he fell backward off the bench.

Brook played the first few romantic notes on his violin.

And as the dinner continued—with laughter, teasing, and a new running joke at Sanji’s expense—he only had eyes for you.

And you? You finished your plate, stole one of his cigarettes, and blew him a little kiss.

“Better start training those legs, curly-brow.”

He fainted again.

----

The battle had gone sideways—fast. It was supposed to be a routine island skirmish. A cocky warlord’s henchmen, some poorly constructed golems, and one annoyingly strong lieutenant who had decided you were the biggest threat on the field.

"Guess word spreads fast," you muttered after punching a crater into the ground where his partner used to stand.

But before you could react, a flash of light—then BOOM.

He got behind you. A wicked grin. Then a kick that sent your body rocketing upward like a cannonball.

“(Y/N)!” voices screamed from below.

The world spun. Clouds whirled around you. The air thinned.

And then— Gravity took you back.

You were falling. Fast. No wings. No footing. No fancy powers to slow your descent.

Your scream split the air. Arms flailing. Panic rising in your chest like a tidal wave.

From the ground below—Sanji saw everything. His cigarette fell from his lips.

“…Tch.” He slammed his feet apart into the earth, a faint crack forming beneath his heels. He slapped both thighs like a sprinter prepping for launch, jaw set tight, eyes hidden in the shadow of his hair.

The wind kicked around him like he was conjuring a storm. He didn’t move an inch.

You saw him—just barely—his figure steady like a statue. Like a promise.

“SANJI!!” you screamed as the ground neared. “I’M GONNA—!”

WHUMP.

He caught you.

Full weight. Full velocity. Body-to-body impact. His knees dug into the dirt from the force—but he didn’t fall. Arms locked around you like steel. Chest trembling. But still upright.

You clutched at him, breathless, your hair tangled in all directions, your heart in your throat.

He looked down at you with wide, gentle eyes and said—softly, almost like a secret:

“You’re not heavy at all.”

The words made you choke.

“Y-you idiot,” you gasped, voice cracking as your arms tightened around him, “I told you I crush mountains!”

“And I told you,” he smiled faintly, “that I’d carry you. No matter what.”

Tears stung your eyes before you could stop them—fear, relief, the overwhelming sound of your pulse still thundering in your ears.

Your lip trembled. “Sanji…”

But he just leaned his forehead to yours, eyes softening completely.

“Besides—if I get crushed under anyone, I want it to be you.”

You punched his chest weakly. “That’s not romantic!”

“Yes it is.”

“No it’s not!”

“...I thought it was kinda hot,” Usopp called from somewhere in the distance.

Zoro, wiping blood off his blade, just muttered, “If he drops you now, I wouldn’t blame him.”

“SHUT UP, MOSSHEAD,” Sanji barked.

You were still trembling in his arms, but your laughter bubbled up anyway. You couldn’t help it.

Eventually, your breathing slowed.

Sanji didn’t let go.

He didn’t even wobble.

Back on the Sunny, hours after the battle ended and wounds were patched, things had finally settled. Mostly.

You were still buzzing. Not from adrenaline—no, that had drained hours ago—but from the fact that Sanji had caught you. Stuck the landing. Carried you like a champ with full dramatic flair and a whispered line that lived rent-free in your chest.

“You’re not heavy at all.”

Pfft.

Liar.

You were a mountain-smasher. A walking natural disaster. You could crater boulders with a punch.

And yet… he held you like you were weightless.

Which is exactly why you knocked on the door to the men’s shared quarters later that evening with a wicked glint in your eye.

“Come in—” Sanji’s voice called from inside, and you swung the door open, hand on your hip.

He looked up, shirt halfway unbuttoned, cigarette dangling from his lips.

You stepped in slowly. “So… earlier today.”

He blinked. “Are you alright? You didn’t re-open a wound or—”

“No, no. I’m fine. Just…” You gestured vaguely. “Been thinking.”

He gave you a smile that could melt steel. “About what, mon amour?”

You closed the distance between you and him in three strides.

And straddled his lap.

Sanji froze.

His cigarette fell out of his mouth.

You leaned in close, your face inches from his, breath warm on his skin. “You said I wasn’t heavy…”

His pupils dilated. “Y-yeah.”

“And that if anyone were to crush you, it should be me?”

He swallowed hard, nodding slowly like a man walking into the gates of heaven—or hell, depending on how long he could survive this.

You leaned forward, placing your weight down fully. Fully. A challenge.

“So,” you purred, eyes sparkling, “let’s test that theory.”

A beat of silence.

Then another.

Sanji’s jaw tensed, lips parting just slightly. His voice dropped several octaves into something dark and reverent.

“I have never been more ready to die.”

Outside the door, Luffy was whispering, “Are they fighting in there?”

“No,” Nami said, sipping tea. “They’re working something out. Spiritually.”

Zoro was already walking away. “I don’t get paid enough for this.”

Inside, Sanji had one hand on your hip, the other braced on the chair’s armrest like it was the only thing keeping him tethered to earth.

You tilted your head. “Still not heavy?”

He looked up at you like you were the moon itself.

“You could flatten me into the afterlife and I’d thank you.”

You broke into laughter, and before you knew it, you were both clinging to each other—laughing, panting, and definitely igniting a flame that wouldn’t be put out anytime soon.

#one piece #x reader #reader insert #sanji #luffy #nami #nico robin #tony tony chopper #usopp #fem reader

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applebees4prez · 1 day ago

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I totally agree that the shameless writers made fun of queerness and used it as a joke but I also think it was sorta awesome for ian and mickey to not have been what straight writers see as “stereotypical gay” and how they often write it. I don’t think Ian and Mickey are any less gay because they don’t go to drag brunches and don’t belt to Britney Spears. I don’t think they are less experienced or in touch with their queerness because they don’t fall under so “stereotypical things” that was kinda the whole point of the show and I actually felt it was offensive a few episodes till the end of the season and threw away their entire dynamic for stuff like “gay men can’t be friends with other gay men without having sex” as if that made sense to them. As if they have to be like everyone else. I also agree….I really wish Mickey had a different coming out and different upbringing but he was 18/19 when he came out and people treat him like he was a 60 year old with a wife and 12 kids who came out later in life and missed out. Or they see Mickey only having dated Ian as less queer. And idk that’s just not true for me. But now im the one ranting lol.

i should clarify, i think i phrased it wrong, the post was more about the homophobia of the shameless writers. it’s not that mickey and ian aren’t stereotypically gay, it’s that they aren’t allowed to be. it’s very common in media these days to have characters who “just so happen to be queer” which is still important but it’s now taking precedence over characters who are culturally queer.

with the way shameless does this, it’s very harmful because they’re actively being homophobic. they make it seem like they’re in on the joke because they have their gay characters saying the homophobic stuff, but they’re not. this isn’t progressive, it only further contributes to the bigotry aimed at gay men.

it’s not that i think of them as “less gay” for not doing stereotypical things, it’s more that i feel like they weren’t allowed to do those things. because the writers look down upon gay men, part of ian and mickey’s characters as gay men stem from homophobia.

i’m not saying at all to change their characters completely to make them completely flamboyant or anything. part of the point is that i think it would actually make sense for mickey’s character to at least try doing some things he would consider “too gay.”

like i said in the post, a huge part of mickey’s storyline revolves around homophobia both internal and external. by the end of the show, he’s still homophobic. in the post, i brought up that he literally says “i hate the fucking gays with all their meh and their bleh.” by the end of that episode, his viewpoint hasn’t changed beyond singing rain on me with ian. this clip actually shows that he might like pop music and doing stereotypical things, but he doesn’t allow himself too until this point.

whereas ian feels more confident in and has more ease accepting his sexuality, he still struggled to come out. when lip found his magazines he was scared, and when he had to come out to mandy she ended up being his beard because he knew they were in a very bigoted area. though not to the degree that mickey did, ian also dealt with internalized homophobia and deserves to show his pride.

the thing about mickey is that he always kind of seemed older than he was due to the fact that he had to grow up so fast. it also makes a lot of sense that the first ever romantic connection he made was so important to him, as it was probably the first real connection he ever made. the love between him and ian has always been incredibly real and profound, despite all of the times they’ve fought and/or been separated. both of these result in him settling down at a young age, which i think is a great choice personally because it allows him to have the comfort he was deprived of growing up.

#gallavich #shameless #ian gallagher #mickey milkovich

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goldensunset · 3 days ago

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been trying to find a way to word this for a while but. in my opinion (aka this is just me rambling so don't fight me) a principle of really good writing is mastering the art of narrative threats, and what you actually want them to mean. if you put your characters in danger, you gotta ask yourself- do i want the audience to be merely curious, or actually afraid?

curious- it’s obvious that the storyteller is almost certainly not going to deliver on this threat. of course the main character in this children’s show will not die halfway through season one. of course they’re going to get that important thing back. the story wouldn’t work otherwise. so the question becomes not what, but how? is our hero going to successfully convince their enemy to change their mind? perhaps the shy side character is going to suddenly show a side of themselves they never have before and come up with a brilliant plan?

'fake' danger like this falls flat when the writer is trying so hard to legitimately get you scared but any observant viewer with an understanding of solid narrative structure knows a tragedy wouldn't work here. this type of situation is best executed as less like a threat and more like author and audience watching the scene together going oooh i can’t wait to see them get out of this somehow! like idk. it doesn't have to be about fear it can be about fun or tension or epicness! it's gonna be so cool to see them solve this puzzle and get out of this trap!

afraid- the storyteller very well could deliver on this threat! it would make perfect narrative sense for this important secondary character to die during this season finale, it would make it so much more fascinating to lose the thing everyone's hope was riding on here, it would be thematically fitting if these guys could never go home, etc. and the story as a whole has been serious enough- whether outright or implied- for a tragedy like this to fit in. so you get people going oh snap this could very well happen the danger is absolutely real.

imo it's best when you don't make it too obvious- it really could go one way or another. they might get out of that scrape fine but also if they didn't we can still imagine a working story. when the audience can foresee two different possible narrative directions and both are equally compelling and satisfying in their own way, and they therefore don't have a clue which way it could go? that's the good stuff. that's when the crazy anxiety and tension starts

(obvious disclaimer that you have free will etc etc you can do whatever you want in stories, including delivering on seemingly weak threats to catch the audience off guard. but that's shock factor. which is something different from what i mean by a threat, or rising tension. but you have to really really know what you’re doing if you go for that, otherwise it feels frustrating and unsatisfying

like from my own experience. if a character gets killed off at a weird time it's so offputting that i will be distracted just waiting for the part where they magically come back, just waiting for the story to make sense. and whether it comes or not, it's hard for me to pay anything that's actually happening at that point. unless what happens then is the story appropriately dealing with the emotional aftermath. so like if you don't give people time to prepare at least give them time to heal)

the reason i like say all this is that a well done threat is what's going to evoke the most emotion out of me. if a character is actively dying i am going to shed the most tears if i am willing to believe they will actually die and stay dead. or even if they do come back, that the writing is good enough for this event to still have material or psychological consequences for the foreseeable future. if all hope seems lost in a narratively appropriate moment i can feel the weight of everything on me just as much as the characters do. otherwise it's like hmmm so melodramatic but we all know where this is going nowhere so it feels cheap. i love serious emotions and danger but you have to use all that correctly or else it weakens itself!

#peach rambles #anyway this is why a certain game devastated me like 4 different times and why i consider it peak writing

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nanenna · 2 days ago

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The more I thought about this the more I liked it. I was also thinking about Jason/Danny (and Red Hood/Phantom) more so! Strap in!

So part of why everyone just accepted Phantom was a heretofore undiscovered evolution of LBM (which are pure ghost type, btw) was because only Professors give out pokedexes. No one has one! Oh, Sam's parents offered to get her one... if she accepts the Cleffa they got for her. Sam went with the boys to the Amity Park gym and got a LBM.

And then the trouble trio met Jason, who does have a pokedex (ooooh fancy pants rich McGee over here). So he tries to register their pokemon because that's the whole point, right? Except Phantom comes up as completely unknown, so he gets to write it in himself! Danny, of course, makes a bunch of nonsense up that Jason copies down faithfully and I feel bad for whatever professor has to read all that. (A lot of pokemon have descriptions that just don't make sense, written by ten year olds -_-)

This leads into how Danny is the Red of this AU. He knows nothing, doesn't really learn/study pokemon during the whole thing, catches a bunch of legendaries, gets all 8 badges and wins against the local Pokemon League. He has such anime protagonist energy. Poor Jason, on the other hand, got maybe 5 badges at most but due to getting blown up and nearly dying never finished his grand poke-adventure.

Which brings us back to the present because I was thinking about Danny and Jason meeting again. Danny never really wanted to go into being a trainer as a job when he grew up. He went on his adventure partly because it's just what kids his age do and partly because his besties really wanted to and he wanted to go with them. He did have fun, that's undeniable, but it's not his future. So after graduating high school he ends up in Gotham going to Gotham U on a Wayne scholarship. He remembers his friend Jason Todd who said he couldn't fight the Gotham gym leader because his family runs the gym and well... Danny misses his friend.

So Danny goes to the gym to watch the acrobatic show and also maybe ask about his old friend. Who's helping run the the place. Just because Jason can't be a trainer/one of the performers at the gym without a flying type pokemon doesn't mean he can't help with back end stuff. So they meet again, catch up, tell their stories.

Jason backstory time: he still got adopted into the Wayne family by Bruce. (For his own protection when with the Waynes in public he's Jason Wayne but when he was out on his adventure he was Jason Todd.) So for the Waynes it's expected that when you're young (<30) you help run the gym, be a trainer or a performer (before Dick it was just aerial shows by the pokemon, now the trainers are performing acrobatics with their birds, running obstacle courses, etc.), then when your energy starts flagging you move into helping run Wayne Enterprises (which technically is separate from the gym but since WE does so much charity work and helps fun the Pokemon League in general it's eh... kinda a gray area).

Since getting adopted Jason thought of that as his future, but after he failed to finish gathering badges, let alone challenge the League, he feels like that was the first in a long list of failures. His team didn't have any other flying types, why would he? He had his Robin, who was going to evolve into a Dark Knight just like his dad's (his dusk stone was stolen). Except that didn't happen and now his Robin is a Red Hood, and he lost his ability to fly. After everything they've been through Jason can't imagine leaving his best bud behind, so no being a trainer or performer at the gym. And as for the family business? Tim's the one who's actually good at it, and Damian keeps insisting he's going to take over some day.

Jason's just been... kind of drifting ever since coming home. Haunting his own life rather than living it.

Reconnecting with Danny helps. A bit is living through Danny vicariously a little, asking him about getting all his badges and challenging the League. Most of it is being the only friendly face in a new city for Danny. Danny keeps wanting to spend all his time with Jason: having him show him around, show Danny all his favorite spots, hang out with him, go out clubbing or mini golfing or to the movies. It wakes Jason up, gets him living in the moment instead of just drifting while grieving the plans he had for his life.

Then Danny suggests they go finish Jason's grand adventure anyway. Jason wouldn't be the first adult to do it, he won't be the last. Jason... genuinely considers it. He doesn't want to go alone, and Danny says of course he'll go with Jason. They talk about it and Jason realizes he doesn't want to go when all the little kids are going (during summer break) so Danny offers to take a gap year and they go after school starts back up so there's way less kids. Jason also realizes he doesn't want finish the Justria League, he wants to start over and do it right. Good thing Danny is taking a gap year. They can just go to the next region over, or they can travel far away, maybe Kalos or Galar.

So they go. They leave as friends and come back as boyfriends. UwU

When they get back is when the first egg appears. And it's like "who laid this????" Out pops a LBM. Danny knew it! Congrats Phantom, you're a mama! Or is it Phantasma's? (Ew, no! Phantasma is not the mama, no thanks!)

This leads to problems though, because there are more and more eggs. Will you 2 knock it off? What are Danny and Jason supposed to do with all these LBM running around?

They end up moving to Amity Park so they can donate Phantom's eggs to the gym. Danny wants to cry, why does all this pokemon stuff keep pulling him in? He wants to be an astronaut, not a pokemon trainer!

Except Jason's the one who already knows how to help run a gym, knows how to care for pokemon, and his companion is now a ghost type...

So Jason ends up working at the Amity Park gym (and eventually becomes the leader) while Danny commutes to the nearest college to finish his degree and live his dream.

DCxDP Pokemon-ish idea

Just a silly idea I've been kind of batting around while my hands are busy at work. Everyone is normal humans, their alter egos are their pokemon. So for instance: John Jones has a green Martian for his companion pokemon. The Kents give their children a Superboy or Supergirl for their first pokemon.

The Waynes traditionally give their child a Robin regardless of gender. Robin is the Eevee of this AU because there are several forms it can take. For instance: Dick's Robin evolved into a Nightwing and Tim's Robin evolved into a Red Robin. (This implies Bruce used to have a Robin that evolved into a Batman, which is of course what Damian is aiming for.)

Now obviously Danny's companion is Phantom. Not a Phantom, just Phantom. That's right, he's that kid that caught Zapdos thinking it was a Fearow. Danny comes home with his first pokemon showing it oof all "I caught ghost pokemon!" and showing off his brand shiny new legendary. He's ghost/ice type and knows all these cool moves! (I cannot be arsed to go find attacks that fit Phantom.)

Anyway! All that just to be backstory for this DeadonMain story idea: Phantom and Red Hood like each other, so it's up to them to get their trainers to hook up.

#nenna rambles #dpxdc #dc comics #batman #batfam #pokemon au

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wackywatchdotcom · 2 months ago

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Rewatching episode one, I noticed that when Ragatha and Jax are talking to each other about Jax having a key, Pomni flinches away from, and lifts her arms to protect her face and head, when Jax toys with the key and catches it near her.

I wonder if she is that jumpy around others normally or if it's just when she's in a stressful situation (like suddenly being trapped in the circus) what do you think?

OK. ok. you mention this. and ive never said anything about it but i have genuinely noticed this almost every time ive seen that scene. i think about it a LOT but i havent been able to figure out my thoughts on it. but i think about it genuinely a LOT...

(i went on a huge tangent abt her thats like. only sporadically related to this specific moment SORRY. it was hard to address this moment without discussing a LOT about her i feel)

for the sake of clarity in the event someone reading this is unfamiliar, what this ask is referring to is this:

with the way that she so quickly dissociates and HARD (not that most people Never experience dissociation or smth, but its the intensity of it and how quick into this situation she starts dissociating is like. it makes it seem like its smth her body and mind are Used To Doing) she REALLY gives off the feeling that she had pre-existing mental health problems (i struggle to place anything TOO specific with the limited information we have but i feel like theres definitely a few things she has going on) before she even got to the circus, and like she COULD just be a naturally jumpy person, but with the dissociation thing and general distrust towards others, it feels like her jumpiness is also related to these issues

while her being naturally nervous is sort of implied and clear (though i think the extent of it is exaggerated by the circumstances of the pilot in particular) there ARE a few other examples that stand out to me

i THINK this can largely be passed off as her just being on edge from the horror adventure, but i this is IS notable that she reacts genuinely pretty strongly to what is a relatively minor 'jumpscare.' it happens later too w kinger pressing the tape recorder

in general she seems VERY easily startled by people, and frankly it reads a lot like it stems more from people being near her than just things happening abruptly. she notably doesnt jump hard when the angel arrives- she DOES get scared, but she isnt necessarily startled. she DOES react very strongly to ghostly, but i think its notable that she seems to find his visual appearance frightening and debatably not necessarily startling, but thats not really 100%. the times she reacts the strongest have to do with people, which imo ties HARD into her not trusting people

episode 2 breaks down her distrust of people well, and i dont think its a self consciousness thing. it seems more that she just doesnt tend to find people trustworthy- if something bad was happening to her, she would sooner assume theyd let it happen rather than help her. it could be argued that its partially a guilt or projection thing with ragatha, but im not actually so sure. pomni seems to be ashamed of leaving her behind, but particularly through ep 2 she doesnt seemed Plagued With Guilt by the way she acts towards ragatha, which implies that the dream didnt have to do with her projecting that shame in a way shed assume ragatha would turn back on her, too

it instead seems to be that she doesnt trust ragatha just... in general. the 'im not a child' thing, while a legitimate problem for pomni to have with ragatha (i love ragatha, and from my place in the audience i know her concern is genuine, and that she truly wants to encourage pomni, and is trying, but from the perspective of people around ragatha, its not an unreasonable assumption that shes JUST being infantilizing and belittling), does illuminate how pomni is seeing ragathas attempts at cheering her up- that it comes from a place of seeing pomni as immature or generally unstable. that pomni is incapable of managing herself and needs to be coaxed. it implies pomni doesnt see ragathas attempts at help as genuine. combined with her dream, that ragatha would allow the worst to happen to her even when she was asking for help, makes it very clear that, even with the 'nicest' person in the circus, pomni just... doesnt really trust her

(it is worth noting that pomni DOES seem to genuinely want to help ragatha in the pilot. she DID try to find caine. but she bolts at the first opportunity. she does care about people, but when stressed, she operates on keeping herself safe first and foremost, that she needs to do anything to get out of a bad situation even if that means leaving someone behind- and with her dream, it does seem that she generally assumes other people operate similarly, or otherwise in their own best interest)

this does, of course, improve by the end of eps 2 and 3. the funeral, and ragatha offering to include her, and how the others talk about abstracted players (combined with her conversation with gummigoo, someone who she has to assure has genuine friendships with those around him despite the lack of a true reality for them to be based upon), are able to convey that oh, these people do actually care about the people around them. theyre being genuine. they arent just looking out for themselves and thats it- they care when bad things happen to each other. and theres no true reason for me to be an exception. which is ALSO why i dont think its a self consciousness thing, she seems able to reason that shes not an exception to the intents of others, so much that when she cant assure herself that others' intents hold her safety as any sort of priority as well, any trust goes out the window. she WANTS to help if she can, but esp in the pilot, as far as shes concerned, its everyone for themself when shit gets bad, including herself

ep 3, she seems more trusting of ragatha- she has neutral and positive interactions w her, rather than assuming a lack of sincerity in it. but its not just ragatha, actually, because even before her talk with him, you can see it in how she interacts with kinger as well

she initially tries to help him run, which isnt too out there- with how she genuinely DID initially try to help ragatha, it doesnt require her to go out of her way to grab him and RUN. she can run AND take him with her. she can help without putting herself in extra danger. but then she DOES go back, which is one of my favorite and imo underrated pomni moments. because THIS is what i think actually highlights an improvement in how she sees the others before her apologizing to ragatha or taking kingers hand. because she puts herself BACK into (percieved, since its not actual sure WHAT the angels intentions were her) danger in order to get kinger away too

(theres probably a case to be made that ragatha didnt seem to be in immediate danger- she was in pain, that much was clear, but kaufmo had ran away by then. but even still, pomni couldnt have known kaufmo would shift gears and start chasing her instead of ragatha that first time. and i dont know if she actually knew death wasnt possible here yet. which isnt very flattering for pomni but also people do not act in flattering ways under extreme stress, esp given a predisposition to not trusting others, which ill elaborate more on in a second here- not that pomnis abandonment was ok OR that it was like evil of her or smth. shes just a person. there is no way she was prepared to know how to act correctly in this situation, and she didnt)

theres also this

which is SUBTLE but highlights a genuine increase in trust even before their heart to heart. now that she knows the cast (save for jax, who she seems to react to the harshest, which is worth noting imo) are not acting solely in their own best interest, that they WILL consider the wellbeing of those around them including her, that their concern for one another is genuine (which is concerning that she even assumes that to begin with, which ill circle back to momentarily), she very clearly has way more faith in them and the idea that she should stick around the others for safety

and of course, ive said it before, but her taking kingers hand has little to do with her enjoying holding hands. its her knowing that, if kingers wrong, this is going to end very, very badly. if holding their breath isnt the solution theyre BOTH going to get possessed, and who knows how theyd get out of that situation. but she decides in that moment that her trust in the others isnt ONLY about looking out for them and believing that theyre sincere in their concern for her. but that she is willing to let the others put her at a potential massive risk. getting possessed was a blatantly immediately traumatic experience- and she lets kinger put her at risk of it happening again. THATS why she holds his hand, at least symbolically. she doesnt like contact. but she can brave something that she doesnt like, she can let him lead her into and through something potentially horrific, because shes deciding to trust him and the others, that theyre not just people she can interact with without fear of ill intentions, but that theyre people who she is going to coexist with. the best thing she can do for herself and the others is trust them and work with them actively

anyway that got off-track, the point being that her having to have these ideas instilled in her at all through shared experiences and trauma implies that, while these issues with distrust may have been exacerbated by the stress of everything, they didnt come from nowhere. these are problems she likely already had to some degree. its great that theres been improvement but that improvement directly implies thesse were improvements that needed to be made to begin with. and the fact that the person she gets repeatedly most startled by is jax. who, even with episode 2, she explicitly doesnt trust. in the pilot, at least, her distrust is more vague (i think the dream sequence in ep 2 IS what highlights it best) so her flinching from jax can be passed off as related to a general lack of adjustment to the new environment and situation shes in. but it happens again with jax in episode 3 (and, notably, she pauses afterwards but it takes a moment for her to relax even knowing its just jax), after shes adjusted somewhat, and after shes gained some trust with everyone except for jax (given his absence from the scene at the end of ep 2). it also happens when barons voice plays abruptly next to her

point being that imo, she IS naturally jumpy. she says herself that she doesnt handle jumpscares well, which somewhat implies this even outside of the circumstances of the circus. but with how she reacts to things, it feels like her general jumpiness is far, far worse when it comes to people she doesnt trust (be it because jax is Like That, or because shes not familiar with baron). the way i see it, then, her distrust extends to perceiving physical threats easily around people she hasnt ensured are safe to be around. she IS able to gain this trust in people, but she seems to automatically place the intents of others as being Potentially Unsafe from the jump, especially under stress. she can jump back from it fairly quickly for what its worth, but to be honest, it seems more like she operates on some general, everpresent level of hypervigilance thats just sometimes worse based on the situation

and frankly i dont think we know enough about her as of ep 4 to fully determine if there IS a reason for this. because someone can have a reason to be this jumpy around others, or they can just... be nervous and dislike people moving suddenly near them. combined with the dissociation thing, though, im inclined to think the circus did not cause this, just made it more extreme with more unpleasant stakes. there is hardly any time between her entering the circus and this happening. she hadnt even seen kaufmo yet in that very first example, but she was already on alert for a physical threat, and i just. i think about it all the time...

i think the main takeaway from all of this is that i think she isnt necessarily jumpy like that all the time, but i think trust is not a given with pomni, and her jumpiness massively depends on how much she trusts people near her and the situation shes in to not be a physical threat to her. its definitely worse in the circus, but i think it was probably still something present in a different context in the real world, too

#ask #tadc #tadc pomni #circus discussion #i have no clue if this is like. cohesive at all but i feel like theres a LOT going on w this aspect of her character #but a lot of it isnt definitive #the best i can do is point out what things seem related and which aspects of her character seem related to this #im jsut hoping i didnt miss anything or misremember smth bc if i type this many words abt smth and forget smth vital that changes things #or if i incorrectly attributed things together that dont actually make sense to be connected #ill die badly #if it means anything. and this is more speculative #i think that pomni probably had either some relatively prominent mental health problems. genuine trauma. or both #prior to entering the circus #though i actually dont think the definitive answer of which one or any specifics in general about it matter much #so much as the fact that shes like that and thats. just how she is at this point in her life #from a writing perspective i dont think its quite relevant to know the exact reason if we can deduce that she is the way she is now #it informs who she is now but in a more vague way where knowing an exact why stops mattering #esp in comparison to the idea that she CURRENTLY is having to cope with the things happening NOW #not that the context doesnt matter at all but it likely wouldnt change much abt how shes written #if we get more insight on her wrt this i dont think its going to be descriptive #i think the show gives snippets of their human lives for the purpose of humanizing them and emphasizing the fact #that they did have very realistic human lives before all of this and that cant really be removed from them #it influences who they are today #but knowing about it in extreme detail esp with pomni wouldnt add much and would effectively be redundant #anyway!!! sorry or your welcome for the 2k word response to your ask #not sure if thats what you were hoping for or not HAHA #...and not sure how much of this makes sense honestly ive been working on it for 3 hrs now #so if its a little messy its cus im trying to keep track of everything ive written over 3 hours despite distractions #BUT it was fun to answer!!! i think about her every day #gif

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shima-draws · 7 months ago

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Question for no particular reason if someone, not me, hypothetically wrote a fix it fic where Izuku goes back in time to save a young Tenko, would you, the audience, prefer that to take place BEFORE Tenko kills his entire family with Decay or AFTER

#I actually am curious bc like. The fix it fics I have seen with this premise all take place AFTER Tenko kills his family #And I do feel like it would be more fun to write from that point forward #But if it were before. Tenko would still have his sister and his mom and his grandparents and his DOG. You know?#And the plot hole that comes to mind is why wouldn’t Izuku go back to before Tenko killed them all #If he has the ability to time travel anyway he’d want to save Tenko’s family too right?#But Izuku taking Tenko under his wing or placing Tenko in the care of another hero is also so good……#AGHHH. AGHFHDH. DECISIONS. I MEAN HYPOTHETICAL DECISIONS.#If it’s after Tenko uses Decay I could probably figure out some way to fill that plot hole. Maybe Izuku just couldn’t go that far back #If it’s before tho that would also be fun bc Kotaro would face repercussions too 😏#Thoughts for after the poll ends I suppose 🤔#BNHA #MHA #Anyway I’ve come to respect and appreciate Shiga as a character and a villain a lot more #But GODDD I wish he became a hero. I wish someone had saved him #Izuku would have. Hence the time travel. Lol #Shima speaks

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riteliso · 2 days ago

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Yeah, sure, I bet. Very convincing. You like a fucking dweeb and that's EMBARRASSING FOR YOU

First you get ditched for a tall chick then you get ditched for fucking communion wafers you are PATHETIC.

ALSO ADORA COMMUNION WAFERS ARE NOT THAT DELICIOUS

Wow, didn't know they'd put "being a bitch" in the elementary curriculum, the times they are a-changing, is that what we swapped cursive out for?

Okay, what to say:

Why IS she like this? She's so excited to fix every problem that everyone else has, but when it comes to the problems that matter to her on a more personal level, she just ignores them whenever they aren't currently clawing her face open.

There's a prompt, she has a reason, but she is quite outwardly and borderline enthusiastically neglectful towards Catra.

And Catra sucks, and just wants to hurt her, but it's almost uncanny how Adora is so capable of ignoring it. We know that she cares, we've seen the whole series, so-- What's going on here?

Well, might be as simple as a trauma response. Forget the bad, ignore the good, because it hurts to remember that, too.

Might be a period of mania or practically shock where the less she thinks about her past the better.

I don't honestly fully know. Those are the options where Adora can do them and also be an unapologetically good person anyways.

The alternatives are she's trying really hard to NOT care that she left Catra behind. And failing. That this is a new start and what happened before just doesn't matter.

But then Catra would be right about something and let's face it Catra isn't right about anything

See this is her while she'd still cheat at board games like Quacks in Quedlinburg. Later she evolves and realizes that it's more fun if you win when you did it honestly

"How does this bitch keep tying everything into board games and goth chicks it's almost never relevant"

It's always relevant and you're made of straw

Scheming's a tough job when you're scheming against someone who knows you. All it takes is a little eye contact and my girl covers her belly-button so I can't suddenly stick my finger into it

God she's got it on lock

Here's Adora's problem here, right? She plays by the rules, but she's loud, brash, and RESPECTS those rules. Like some kinda loser.

The easiest way to get AROUND any rule is to LOOK like you're respecting it. That's why you can walk into just about any staff area and nobody's gonna give a shit unless you have the confidence of a closeted sardine.

If Catra followed the rules she wouldn't still be here. Again, it's a fundamental difference from how these two characters have survived up to this point. The rules were made to keep people like Adora up, and people like Catra down. Most of them were probably made EXPLICITLY for that reason, because most of the rules they grew up under were likely made by Shadow Weaver.

Here we see the base traits of our characters outlining how they will plan and behave within the scenario we've put them in.

These characters are fleshed out and VIVID enough that we are at the point where writing them becomes easier, because you don't have to DECIDE what they do, it's clear to the writer what they would do in any given moment.

That is always the goal when writing a character. Once you get to that point, it becomes WAY easier, and WAY more fun.

Jokes aside she really is living her best life messing with her girl

God, can you imagine falling for a man who's RIGHT about things??? FUCKING IDIOT WHY DO YOU THINK MOST CHICKS CHASE THE HIMBOS

He really is right every step of the way here and still impressively patient and loving. He clearly establishes his boundaries, respects his own autonomy, and isn't willing to be walked all over, even by those he loves.

Bow's kinda fuckin spectacular honestly

a) wow Catra we're really going for the throat here I respect it and b) WHY ARE YOU SO CROSSEYED

Also in the audio it's more brutal she doesn't go "Is this love" she goes "Is this what love feels like" implying you never even had a SPARK

BRUTAL

ALRIGHT SO

Here's how we're doing things, right? We're gonna go one episode at a time, and I'm gonna give my thoughts whenever they come up. This is a train of thought type beat, alright? Unlike my usual grandstanding authorial and analytical self, this re-watch is purely for the rant factor. If you don't know me, and you just happened upon this thread because you like reading she-ra rewatches, hello. I'm a writer from Canada who found she-ra in 2025 and is currently on her sixth watch through. From that, hopefully you can discern that I like this show, even if I'm likely gonna criticize parts of it. We good to go? Good. We start with S01 E01.

RIGHT, THE SWORD PART 1! A zoom in, with an angelic singing being drowned out by digital bloopy fright zone vibes, and then Adora being a fuckin dweeb as her leitmotif plays in a decidedly crystiline synth-y tone.

Now, what do we learn from this? This, aside from one gripe I'll have more to speak on later, is an excellent introduction. With the music alone we're essentially taken from the beauty of the planet, the overwhelming dread of the fright zone, and then into a hopeful tune that isn't FREE from these sort of digital themes in the music, but is very defined and separate FROM them.

This isn't gonna be one of those things where I praise literally every single fuckin thing so keep your panties on, I'm not gonna full-on overanalyzing avatar this shit, but the most important parts of a story are the beginning and the ending.

Now, when I say that, I am speaking pragmatically. Every part of every story is important-- but when it comes to what people remember, what they love, what they never shut up about-- it's the start and the end. You need to nail the take-off and the landing, people will forget the turbulence from the rest of the trip.

Now, what does THIS bitch's intro tell us about her? Well, a lot, honestly. Most of what we know about Adora at this point is she plays by the rules, but she is a notably goofy person. She's goofy, but she's unwilling to goof-OFF too much.

And while we get a taste of the rivalry they have instantly, with "That's low, even for you." "You know nothing's too low for me~"

We instantly see that that is not the CORE of their relationship.

I'd like to praise the voice direction in this show for the first of many times here. The voice actors do amazing work in this, and the direction can be felt throughout.

"Come on, you look stupid hanging there" can obviously be a seen as a strange first line to show the warmth these two share, but the inflection from Catra's voice actor, AJ Mikalcha, makes it read as downright sweet.

Also don't get used to me using names of the crew besides ND Stevenson because I'm so awful with names I was still calling Catra Katara half the time on my second re-watch and I was like 90% of the way to realizing I kinned her at that point

Also don't make fun of me for kinning Catra there's no RESPONSE to people making fun of you for kinning Catra THAT DOESN'T MAKE YOU SEEM MORE LIKE FUCKING CATRA OKAY

Anyway, the following scene makes it clear that this is not a one-way dynamic. The two banter, and it's clear Adora knows how to get under Catra's skin and annoy her as well. This is notable in a few places MUCH further on, but it is a difference worth highlighting NOW.

Once Adora leaves, Catra's primary goal is still to get under her skin. She's angry about it, she's mean about it, but she's still just doing what she's always done. The relationship between the two doesn't actually change as much as the context does. I'd say the relationship itself doesn't change much until the final season, at a scene I'm sure I'll have a lot to say about.

On the flip-side, Adora's goal when it comes to Catra is simply to fight her off. But that's not all there is. At points, it's clear that Adora holds some sort of REVERENCE for Catra, and while Catra is very capable of very mean things, don't get me wrong, Adora sees Catra as more of a threat than she realistically is.

At a few moments I'll point out she also relishes in getting under Catra's skin, but admittedly those are few and far between.

People have gone over this introduction billions of times, so I won't BORE you to death with it, but Shadow weaver's introduction does hint at a lot of what we'll learn later. I think it's very notable that while Shadow weaver brings a dark gloom that encompasses both our leads, her vile tendrils only dare to touch Catra. We learn the specifics of the dynamic these three have later, but it is a very unique and terrible situation to be the least favourite of an abusive guardian. Especially if you are repeatedly reminded of that fact.

I'm not gonna go over all the body language shit I've seen other text posts about it there's plenty of them a lot of focus in this show goes into tiny details where characters are constantly reacting to the world around them, and very rarely do we get lame stretches where anyone's face is just frozen and unflinching while they listen to someone else.

with all due respect to the setting at this point in time the bright moon rebellion is so pathetically anemic it's the two teens, some movie night lesbians, an immortal princess queen, and a bunch of fucking trees.

And you'd think the one carrying the team would be THE IMMORTAL PRINCESS QUEEN, BUT NO, ITS THE FUCKING TREES DOING ALL THE GOD DAMNED WORK

This introduction is fine. I don't particularly like it, nor have any strong feelings about it. It establishes the relationship between glimmer and her mother, but besides that it doesn't honestly do much. And don't come at me with "Uh, all it needs to do is establish that relationship?" Yeah, no shit, but we just had a better introduction to our other lead characters. And yes, those are the MAIN leads, the sort of heart of the show, but that doesn't mean that the other characters are unimportant. Glimmer's development later on is truly interesting, and Bow becomes a massively inspiring character. Fun jokey times are fine or whatever to show that they're immature and don't know the first thing about war, in contrast to our full-blown child soldiers raised from birth in the fright zone, but we really don't learn anything particularly INTERESTING about our best friend squad compadres in their intro, nor do we really see any of it until episode 2, to be frank.

This is something we don't actually see much of-- Catra has this ideal of being a conqueror, but it's very clear that she doesn't want that. Her threats are vapid and aimless-- She can enjoy some chaos, sure, but a shit-stirrer isn't gonna use that feces to build brick shithouses that they never intend to fall.

I think this should have been elaborated on more, personally. Catra is comically terrible with authority, and her plan, as stated later, is to wait it out until her and Adora are the ones calling the shots. But we don't really see what she thinks conquering even looks like, and it's not clear whether that's that she hasn't even imagined it and just likes evil words, or if she genuinely wants to rule with Adora as her Queen.

I gravitate towards the first, but that's partially because I wake up and post shit like "I want to destroy the world and rule its dust" and then forget I posted it when someone likes it 5 minutes later. If she do, in fact, as studies point toward, "be just like me fr," then I fully understand. If not, then I'd like to understand.

aw :(

Fuckin dweeb pulling the "my mom doesn't want me hanging out with you anymore" card

HA! Ah, what a bitch. Anyway, she's lashing out, but it's also quite tragic. A lot of people seem to think Adora IS, in some way, a people pleaser, but in reality she just has such an ingrained and violent sense of justice that she wants to right every wrong she has ever and will ever come across. She believes her validity is tied to what she can provide to the world, and she's got a natural sense of charisma, so it's natural for someone who refuses to blend in and naturally tends to put people off like Catra to have this view of her.

In reality, Adora is just-- a good person. And people LIKE good people. She's not a good person with an asterisk-- a good person with terms and conditions-- someone who falls into the definition of a good person while feeling and being treated like something else. Catra is the "a tomato is a fruit" of good people. Adora is just, like, a 1 dollar costco hotdog of a woman. An inarguable good treading water on this earth, no matter how hard it tries to pull her under.

Imagine falling for a brat with mad hops, like a fucking 50 foot vertical, you say you're too tired to play their favourite board game and they go hang out on your neighbour's roof, couldn't be me. Get fucked I guess

Yeah this is sad. Empathy is very much a learned skill, and people who don't learn empathy don't GET happy FOR people. Catra's not a complete person yet. She's not ready to be. That doesn't happen for a really long time, during an exceptionally long manic spiral. We'll get there, calm down, don't think about how far away that is and how much I've already yammered on.

Anyway, if you find yourself getting jealous or annoyed instead of getting happy for people, consider empathy isn't what you thought it was, and that you might still need to work on yourself.

fucking porno framing. Immensely sexual image, really. These bitches violently gay I suppose, I think I'm picking up on that during this sixth re-watch.

Buddy you got no idea how many problems those two already have you literally lose your little tiara at some point I think it ends up in the middle of a tree in space or something it's kinda unclear

Adora elbows her square in the nose during this so to everyone accusing Catra of physical abuse I just want it to be clear that Adora started it :/

Actually I'd like to retract that joke immediately because I know how people get about these two

My feelings are that they are literally child soldiers who were likely raised sparring each-other.

I was raised sparring other children and I ended up fine! Not for war, for Karate. And I didn't end up fine. And neither did they. Anyway, my point isn't even specifically that because this is sci-fi fantasy it's ridiculous to hold real life standards to it, it's more-so that because it's sci-fi fantasy there's extenuating circumstances that are going to affect how these two characters treat each-other. I'll go into hotter takes later, I'm sure, and get people to send me plenty of death-threats, but I'm gonna go into the nuances of exactly what forms Catra's abuse takes, and how it differs given by the separate circumstances we're shown the two in throughout the show.

my girl when I'm tryna live my best life playing as blue toad in mario 3d world

also holy shit we're only like halfway through this I am an AGONIZING yapper jesus fuck

Okay, what to say about lighthope-- well, their first words are "balance must be restored," far before they say Adora's name, so it somewhat lays out their secret priorities for us there. Besides that, I dunno, they got circuits on them? I don't have particularly strong feelings about lighthope, nor their introduction. I think they serve the setting and are written well, I just subjectively am not a sucker for the way they be. Their friendship with Mara is cute tho

I was gonna point out this is cute and how often I do this exact brat tactic but instead we data moshin, nothin wrong with a little data moshin, I'm down

This is the only reason she even wears a ponytail I'd stake my fuckin life on it

Once she leaves the fright zone that thing's fucking vestigial like a tailbone or having "any pronouns" in your bio when it's pretty clear you're very much a "she/they" type of bitch by now

glimmer why don't your windows have glass

or alternatively

how the fuck do you open and close that window

you can absolutely fucking hear her from this distance what on earth are you trying to pull

you a pillow princess tho how many of those arrows are just hitatchi magic wands attatched to a stick with duct-tape after the series ends do you think

The fuck you mean BOTTOM drawer we lookin at left and right here

or is this similar to my pillow princess comment and she's just addressing him and giving him an order

"Bottom; drawer."

It's established later on that he's a tech wiz but at this point in time they don't really give us much to lead us to the fact that he made that fucking thing

she's a freak

yes it's very sweet that she sleeps this way but I don't think it's some bdsm powerplay thing or anything like that, which would honestly be more tolerable, I think she's just like that

like how the way I'd sit in high school was to get two chairs and face them toward each-other then sit cross-legged across both

even if there weren't enough chairs to go around

people would sit on the FLOOR because I wanted to sit criss-cross-applesauce across two chairs, they wouldn't even ask for one of my chairs

also since I was sitting, again, cross-legged, it would have made more sense for ME to sit on the floor

I mean I think I got asked ONCE for one of the chairs and I just said "fine" but besides that people just let me sit on my fuckin throne

She really is kinda dumb, though. Like I ain't complaining, it's a character trait, but like obviously even if just you get in trouble Catra's gonna get blamed, you've seen it like at least once a month for your whole entire life

Mind you, can't really have Catra for the next part, because Catra's reaction to Bow and Glimmer wouldn't be "just let me have the sword" it'd be murder

oh wow we hit the image limit looks like we're doing TWO SEPARATE POSTS FOR THE VERY FIRST EPISODE YEE-HAW!!!!! THIS IS GOING TO TAKE ME FUCKING FOREVER

#spop #she-ra rewatch #she ra and the princesses of power #live watch #she-ra

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