#closed hospital

[socialjusticeinamerica]

This is the price of the RepubliKKKlans abortion bans. The GQP wasn’t happy with just the South being like the Third World, they want to share it to the whole country.

[captainfern]

price’s the type of man to sit behind you and guide your hands while the two of you do pottery, resting his chin on your shoulder

and simon takes you golfing just to stand close behind you, hold the club with you, and teach you how to properly hit the ball

[stil-lindigo]

LINK

Israel immediately broke the ceasefire by the way.

[canisalbus]

Machete has parents?? I'm not familiar with their actual lore, so I've been imagining Machete as a desolate victorian orphan boy

Everyone has parents, he didn't materialize out of thin air (or evolve from a crumpled napkin).

But he lost contact with them early on and doesn't remember much of anything about them. Machete was a sickly kid and his family was going through a rough patch at the time, they were constantly struggling to find the time and funds to care for him. Child mortality was high and it was starting to look increasingly likely that he wouldn't make it. He was around three or four when they left him at the closest monastery that accepted foundlings and he hasn't heard of them since.

[latenightsundayblues]

Lawrence squirmed uneasily; the mere sight of the individual across the room had initially managed to knock the air out from his lungs and squeeze his heart mercilessly, a breath held tightly within his chest tinted with the taste of bile. His lips parted absentmindedly when his vision finally cleared itself seconds later and allowed him to take a good look at the man, who, unsurprisingly, was definitely not Adam Faulkner. It's just the new janitor. Gordon wasn't sure whether the pang he felt afterwards was one of relief or disappointment.

Although the uncanny resemblance still disturbed him greatly, he could now identify various signs that should've tipped him off to that sooner (other than Adam being, well, dead); slightly longer hair reaching the base of David's damp neck-- Gordon had managed to catch his name in the tag on his uniform--, a gnarly red line ripped along his cheekbone altering the path of the sweat drops rolling down his forehead and a sarcastic tone of voice without the intention of lightening the mood, but tainted with a certain degree of hostility. Gordon would've risked calling it defensive, even.

He tried not to think too much about the stranger as he drove back to his lamentably empty apartment, to no avail.

[armoricaroyalty]

Film Grammar for Simmers

What is film grammar?

"Film grammar" refers the unstated "rules" of editing used in movies and TV. Different types of shots have different associations and are used by editors to convey different types of information to the audience. Many of these principles were first described in the early 20th century by Soviet directors, but they're used consistently across genre, medium, and even language: Bollywood musicals, English period dramas, Korean horror movies, and American action blockbusters all use many of the same techniques.

Because these rules are so universal, virtually everyone has some internalized understanding of them. Even if they can’t name the different types of shots or explain how editors use images to construct meaning, the average person can tell when the “rules” are being broken. If you’ve ever thought a movie or episode of TV was confusing without being able to say why, there’s a good chance that there was something off with the editing.

Learning and applying the basics of film grammar can give your story a slicker and more-polished feel, without having to download shaders or spend hours in photoshop. It also has the bonus of enhancing readability by allowing your audience to use their knowledge of film and TV to understand what's happening in your story. You can use it to call attention to significant plot details and avoid introducing confusion through unclear visual language.

Best of all, it doesn't cost a dime.

The basics: types of shots

Shots are the basic building block of film. In Sims storytelling, a single shot is analogous to a single screenshot. In film, different types of shots are distinguished by the position of the camera relative to the subject. There are three big categories of shots, with some variation: long shots (LS), medium shots (MS), and close-ups (CU). This diagram, created by Daniel Chandler and hosted on visual-memory.co.uk illustrates the difference:

Source: The 'Grammar' of Television and Film, Daniel Chandler, visual-memory.co.uk. Link.

In film, scenes typically progress through the different types of shots in sequence: long shot, medium shot, close-up. When a new scene begins and the characters arrive in a new location, we typically begin with a wide establishing shot of the building’s exterior to show the audience where the scene will be taking place. Next comes a long shot of an interior space, which tells the where the characters are positioned relative to one another. The next shot is a medium shot of the characters conversing, and then finally, a close-up as the conversation reaches its emotional or informational climax. Insert shots are used judiciously throughout to establish themes or offer visual exposition.

Here's another visual guide to the different types of shots, illustrated with stills from Disney animated films.

This guide is almost 2,000 words long! To save your dash, I've put the meat of it under the cut.

Long shot and extreme long shots

A long shot (sometimes also called a wide shot) is one where the entire subject (usually a building, person, or group of people) is visible within the frame. The camera is positioned far away from the subject, prioritizing the details of the background over the details of the subject.

One of the most common uses of long shots and extreme long shots are establishing shots. An establishing shot is the first shot in a scene, and it sets the tone for the scene and is intended to give the viewer the information they’ll need to follow the scene: where a scene is taking place, who is in the scene, and where they are positioned in relation to one another. Without an establishing shot, a scene can feel ungrounded or “floaty.” Readers will have a harder time understanding what’s happening in the scene because on some level, they’ll be trying to puzzle out the answers to the who and where questions, distracting them from the most important questions: what is happening and why?

(I actually like to start my scenes with two establishing shots: an environmental shot focusing on the scenery, and then a second shot that establishes the characters and their position within the space.)

Long shots and extreme long shots have other uses, as well. Because the subject is small relative to their surroundings, they have an impersonal effect which can be used for comedy or tragedy.

In Fargo (1996) uses an extreme long shot to visually illustrate the main character’s sense of defeat after failing to secure funding for a business deal.The shot begins with a car in an empty parking lot, and then we see the protagonist make his way up from the bottom of the frame. He is alone in the shot, he is small, and the camera is positioned above him, looking down from a god-like perspective. All of these factors work together to convey his emotional state: he’s small, he’s alone, and in this moment, we are literally looking down on him. This shot effectively conveys how powerless he feels without any dialogue or even showing his face.

The same impersonal effect can also be used for comic purposes. If a character says something stupid or fails to impress other characters, cutting directly from a close-up to a long shot has a visual effect akin to chirping crickets. In this instance, a long shot serves as a visual “wait, what?” and invites the audience to laugh at the character rather than with them.

Medium Shots

Medium shots are “neutral” in filmmaking. Long shots and close-ups convey special meaning in their choice to focus on either the subject or the background, but a medium shot is balanced, giving equal focus to the character and their surroundings. In a medium shot, the character takes up 50% of the frame. They’re typically depicted from the waist-up and the audience can see both their face and hands, allowing the audience to see the character's facial expression and read their body-language, both important for interpreting meaning.

In most movies and TV shows, medium shots are the bread and butter of dialogue-heavy scenes, with close-ups, long shots, and inserts used for punctuation and emphasis. If you’re closely following the conventions of filmmaking, most of your dialogue scenes will be medium shots following the convention of shot-reverse shot:

To keep long conversations from feeling too visually monotonous, consider staging the scene as a walk-and-talk. Having two characters move through a space can add a lot of dynamism and visual interest to a scene that might otherwise feel boring or stiff.

Close Ups

Close-ups are close shots of a character’s face. The camera is positioned relatively near to the subject, showing just their head and shoulders. In a close-up, we don’t see any details of the background or the expressions of other characters.

In film, close-ups are used for emphasis. If a character is experiencing a strong emotion or delivering an important line of dialogue, a close-up underscores the importance of the moment by inviting the audience to focus only on the character and their emotion.

Close-ups don’t necessarily need to focus on the speaker. If the important thing about a line of dialogue is another character’s reaction to it, a close-up of the reaction is more effective than a close-up of the delivery.

One of the most iconic shots in Parasite (2019) is of the protagonist driving his employer around while she sits in the backseat, speaking on the phone. Even though she’s the one speaking, the details of her conversation matter less than the protagonist’s reaction to it. While she chatters obliviously in the background, we focus on the protagonist’s disgruntled, resentful response to her thoughtless words and behavior.

In my opinion, Simblr really overuses close-ups in dialogue. A lot of conversation scenes are framed entirely in close-ups, which has the same effect of highlighting an entire page in a textbook. The reader can’t actually tell what information is important, because the visuals are screaming that everything is important. Overusing close-ups also cuts the viewer off from the character’s body language and prevents them from learning anything about the character via their surroundings.

For example, a scene set in someone’s bedroom is a great opportunity for some subtle characterization—is it tidy or messy? what kind of decor have they chosen? do they have a gaming computer, a guitar, an overflowing bookshelf?—but if the author chooses to use only close-ups, we lose out on a chance to get to know the character via indirect means.

Inserts

An insert shot is when a shot of something other than a character’s face is inserted into a scene. Often, inserts are close-ups of a character’s hands or an object in the background. Insert shots can also be used to show us what a character is looking at or focusing on.

In rom-com The Prince & Me (2004) (see? I don’t just watch crime dramas…) the male lead is in an important meeting. We see him pick up a pen, look down at the papers in front of him, and apparently begin taking notes, but then we cut to an insert shot of his information packet. He’s doodling pictures of sports cars and is entirely disengaged from the conversation. Every other shot in the scene is an establishing shot or a medium shot or a close-up of someone speaking, but this insert gives us insight into the lead’s state of mind: he doesn’t want to be there and he isn’t paying attention.

Insert shots are, in my opinion, also used ineffectively on Simblr. A good insert gives us extra insight into what a character is thinking or focusing on, but a poorly-used insert feels…unfocused. A good insert might focus on pill bottles on a character’s desk to suggest a chemical dependency, on a family picture to suggest duty and loyalty, on a clock to suggest a time constraint, on a pile of dirty laundry or unanswered letters to suggest a character is struggling to keep up with their responsibilities. An ineffective insert shot might focus on the flowers in the background because they’re pretty, on a character’s hands because it seems artsy, on the place settings on a dining table because you spent forever placing each one individually and you’ll be damned if they don’t make it into the scene. These things might be lovely and they might break up a monotonous conversation and they might represent a lot of time and effort, but if they don’t contribute any meaning to a scene, consider cutting or repurposing them.

I want to emphasize: insert shots aren’t bad, but they should be carefully chosen to ensure they’re enhancing the meaning of the scene. Haphazard insert shots are distracting and can interfere with your reader’s ability to understand what is happening and why.

Putting it all together

One of the most basic principles of film theory is the Kuleshov effect, the idea that meaning in film comes from the interaction of two shots in sequence, and not from any single shot by itself. In the prototypical example, cutting from a close-up of a person’s neutral expression to a bowl of soup, children playing, or soldiers in a field suggests hunger, worry, or fear, respectively.

The Kuleshov effect is the essence of visual storytelling in a medium like Simblr. You can elevate your storytelling by thinking not only about each individual shot, but about the way they’ll interact and flow into one another.

Mastering the basics of film grammar is a great (free!) way to take your storytelling to the next level. To learn more, you can find tons of guides and explainers about film grammar for free online, and your local library doubtless has books that explain the same principles and offers additional analysis.

Happy simming!

[harmonictechnicality]

Memory Log: Day 52

part 1 here | part 2 here | part 3 here | part 5 here | part 6 here (ao3 link here)

After seeing his ink-smeared biography all over Eddie Munson’s arm, Steve becomes extremely motivated. Obsessed, even.

He assembles a makeshift army. Eddie’s Memory Soldiers, he calls it. Okay - he doesn’t call it that out loud, only to himself (because even Steve is self-aware enough to know how deranged this all sounds).

Steve compiles a ragtag group of Eddie’s friends to nudge his brain along faster. Band mates, theater dweebs, potheads that can carry a tune. All of them bring mixtapes on their visits. After two weekends, there’s already a fuckload of thrashy melodies for Eddie to choose from.

He lets them take the reins on this music-healing plan because there’s no fucking way Steve will be helpful in that department. It means less visits that include his presence, which sort of sucks, but it’s worth it. Worth it to get Eddie back to where he used to be.

Before Steve heads out for one of his morning visits, Robin interrogates him. Asks him the question he’s been ignoring for weeks.

“Steve… not to sound harsh, but why do you care so much?” 

Yeah. Why does he care so much? 

She quickly follows it up with, “I just didn’t know you two were friends now. So I’m just curious, I guess.”

They’re not friends. They’re lukewarm tolerators - tethered together by monster hunting and Dustin Henderson.

They’ve flirted, sure. But who doesn’t? Steve would flirt with half of the leggy cartoon characters that appear on Saturday Mornings if he could. So that’s a weak argument to assume they’re more than just friends. Tolerators. Whatever.

So he lies. To Robin. To himself. Lies so much that it sits in his stomach like motion sickness.

He answers the exact same way he’s been answering since day one:

“I’m just doing this for the kids, Robs.”

He’s pretty sure neither of them are buying that statement. He tries again. Stamps the words onto his confused brain. Considers writing them on his arm just like Eddie might do.

“I’m doing it for them.”

Eddie is always on his Walkman (Steve’s Walkman) now that he has skyscraper of cassettes on his desk. Pretty much every time Steve returns, Eddie is head banging. Won’t stop until the nurses scold him.

Or Steve. He’ll stop if Steve scolds him too.

“You can’t keep jostling up your brain, Munson.” Steve whips the headphones off of Eddie’s ears. “Gonna undo all of our hard work.”

“Our hard work?” Eddie attempts to grab the headphones back. Gives up as soon as their hands make contact. “And who might be included in this our that you speak of?”

“You know…” Me. “The doctors and nurses and your friends.”

“Right.”

This is how things have been going lately. Eddie teases him mercilessly and Steve bats it all away. Doesn’t encourage it for a second.

Which blows so hard because he wants to flirt back. Steve wants to know what Eddie feels like beyond tubes and bandages and hospital gowns. He wants way too much after watching Eddie fall asleep smiling that night. After finding out that Eddie scams his own mind into remembering Steve in technicolor details every day.

But it feels wrong. Deep down, there’s this part of Steve that worries that Eddie only likes the scribbled notes, the good qualities of himself. The non-prickster qualities.

He doesn’t scribble the bad qualities on his arm. Eddie lets himself forget about those every night. 

So it seems wrong. Unfair to let Eddie only remember the good parts of him and take advantage of his weak mind.

Life was a fucking breeze before Steve cared about not taking advantage of people. Shit, he used the world’s biggest advantage-taker before all of this evil wizard nonsense.

“Quiz me, Harrington.” Eddie insists.

So Steve does. Steve goes down the list of questions. Things that Eddie’s memory typically hesitates to recognize. 

Music helps Eddie remember his childhood memories the best.

That’s the biggest discovery they’ve made over the last fourteen days. Tapes that include songs from the early to mid 70’s have the biggest mental impact on his memory skills. Every day, he recalls more moments from his past.

Winter birthday parties. Recess and tire swings. Nineteen chickenpox. A pet hamster named Sterling.

“Can’t believe Wayne trusted you with a living creature.” Steve sneers.

“Never said he did.”

He always gets fuzzy with stuff from the late 70s though. And the early 80s is just a jumbled-up shit show. That’s when Eddie really starts failing his quiz.

“What year did you get the tattoo on your chest?”

“You mean this one?” Eddie pulls down the wrinkly hospital gown, exposing way too much of his collarbone. “Or this one?” He pulls the fabric down even further.

They must’ve finally turned the heat on in this place. Or maybe Steve’s sweater is just extra itchy, scratching his skin all splotchy red. He rubs furiously at the collar, spreads the flush all over by accident. 

His eyes dart up to the fluorescent lights. Away from Eddie’s chest. “Um… the… creepy guy.”

“You’ll sprain your neck looking up like that.”

“Good thing I’m in a hospital then.”

“Okay - seriously, what’s up with you?”

“Nothing.”

“Sure.” Eddie snorts. His heart monitor beeps faster. Steve hates that laughing must be a bit painful for him. “And he’s not some creepy guy. He’s a creepy demon. Please respect the body art and get your facts right.”

“Fine.”

Not flirting back makes Steve feel like he could break out into hives. He has a fucking stockpile of pickup lines. He hoards provocative catchphrases like a horny pack rat. Talking is becoming increasingly difficult when he can’t banter back the way he wants to.

“Don’t remember what year I got it.” Eddie admits. “Sorry.”

Steve pulls his focus away from the ceiling and scribbles that down:

Eddie still can’t remember when he got his tattoos.

“Gee mister,” Eddie imitates a very masculine Shirley Temple voice. “Am I failing the pop quiz already?”

Eddie remembers who Shirley Temple is (weird, but okay).

Eddie does a really shitty impression of Shirley Temple.

Steve just keeps writing. Not even writing words anymore, just moving the pen to stay focused. Stay distracted from flirting.

The energy starts to feel swampy and stiff as he continues to give short responses with lifeless enthusiasm. Steve can tell that Eddie is picking up on the weirdness too. 

He’s so fidgety. Drumming his fingers, twisting the one ring he’s allowed to wear on one of his less busted fingers. Bobbing his knees and kicking off his blankets. 

Eventually, Eddie puts his (Steve’s) headphones back on and closes his eyes. A nonverbal surrender. A borrowed Walkman instead of a white flag. Why does it feel so shitty to see that he is just as defeated as Steve?

Once Eddie is asleep, Steve peaks over at his arms.

The notes are still there. Fading, but there.

It shouldn’t jab him in the heart the way that it does every time he checks, but christ. It’s so fucked up.

Slowly but surely, Eddie is gaining pieces of his past, but never his present. Why the fuck is that? Steve is so selfishly pissed about that because he’s a main role in Eddie’s present life. 

He’s the one that’s here most days. He’s the one that listens to Eddie’s rants and incessant complaints. He’s the one that calls the nurses when Eddie is too prideful to admit when he’s in pain.

Steve should be remembered without smudgey reminders and foggy recollections.

Steve should be un-fucking-forgettable.

After an unhealthy amount of moping, he comes up with an idea. Well, Dustin comes up with an idea, actually. Steve bribed him with nougat and R-rated movie rentals to construct a gameplan.

“And you need Eddie to remember your favorite sweater…why?” Dustin’s mouth is full of chewy candy as he asks.

Steve chucks a raisinette at his dumb hat. “I thought we agreed this was a no questions asked request.”

“You suggested that.” Dustin points at Steve. “I never agreed to it though.”

This is the part Steve despises. If he admits it to others, he has to admit it to himself. And while he’s come a long way since that first day with Eddie, he’s not there yet. His pride can only take so much vulnerability before it fractures completely. “Just… I’m testing a theory I have on his newest memories.”

“Right. And what theory would that be?”

That he thinks about me in kissable ways. “That he remembers more than he gives himself credit for.”

Dustin chugs back his soda and scrunches the can in his grasp. “Okay. Well, the mixtape theory is working decently well with older memories, right?

“Yeah. Definitely.”

“So maybe it can work with newer memories too.”

Steve is lost already. “Meaning?”

“Find songs that relate to you.” Dustin shrugs like duh. He must sense Steve’s hesitation, so he sputters back into his brainy explanation. “Think about it: you’re there all the time -”

“Not all the time, but -”

“Shut the hell up. You’re there all the time, so he must remember the essence of Steve Harrington.”

Steve fake gags. “Don’t say essence, that’s fucking gross.”

“Will you stop interrupting? Jesus christ.” Dustin yells, scrunching the soda can even more with his irritation. “Just make a mixtape with stuff that relates to you. Get his current memories to stick with lyrics and shit.”

Steve twists his mouth to one side. Then the other. “That’s…”

“Genius?”

“I was gonna say worth a shot, but sure.” Steve agrees. “We’ll go with your conceited analysis.”

Dustin finally picks up the raisinette from earlier. Throws it back at Steve. “You should be nicer to me. I possibly just solved your dilemma.”

“I should be nicer to you?” Steve tosses the raisinette into his mouth, despite its questionable duration on the floor. “Dude, you’re never nice to me.”

“Yeah, but it’s affectionate hostility.”

“And that makes it better?”

“Basically, yeah.”

“Fine.” Steve rolls eyes, offers a hand to Dustin. “Thank you for the hostile affection.”

Dustin accepts the handshake. He���s overly smug about it too. “You’re very welcome.”

Memory Log: Day 53

Right away, Steve determines it’s a Kathy Day. Eddie is a verbal nightmare already, whining about the dead batteries in his tv remote.

“I’ll get Sam to grab some batteries when her shift starts.” Steve reassures the bitchy entity possessing Eddie Munson’s body at the moment.

“Why don’t you just get the damn batteries?” Eddie bites back. “You have legs, don’t you?”

“You have eyes, don’t you? Of course, I have fucking legs.” Steve can play it this game. Doesn’t want to but he can be just as obnoxious if Eddie keeps going with his attitude. “Please don’t pull this Kathy shit today.”

That simultaneously shuts them both up for a while. Steve begins flipping through one of the outdated magazines on Eddie’s desk, avoiding the escalated atmosphere. At this rate, there’s no fucking way Steve is going to bring up his mixtape. Kathy/Eddie will probably smash it. Roll over it with the wheels on his imprisoning hospital bed.

Eddie clears his throat, speaking softer than he did at Steve’s arrival. “You know… you were sort of a Kathy yourself yesterday.”

Eddie remembers Steve’s weird mood from the day before (needs to check Eddie’s arm notes to make sure he didn’t write that down).

“Yeah well… I’m allowed to be the pissy one sometimes.” Steve doesn’t look up. He just keeps pretending to read the fossilized magazine in his hand.

“Whatever you say, Harrington.” There’s another pause. Just as awkward as the last one. Their dynamics today are clashing harder than their music styles. Eddie breaks through the awkwardness once again. “So… what’s on the brain agenda today?”

Eddie remembers their pop quizzes.

Right. The quiz. The quiz that Steve has no intention of administering today because he’s supposed to give Eddie this stupid mixtape. 

And look, Steve is pretty good at avoiding shit - homework and phone calls and extended family members. He’s good at dodging shit too, like the relentless one-night stands that can never seem to take a goddamn hint.

But this situation is different because Steve would clearly like to avoid the potential weirdness of giving Eddie Munson a gift. However, he’s innately aware that this particular gift could be helpful. Maybe more to himself than to Eddie, but who knows? If Eddie gets his memory tank back on track and Steve gets someone that reciprocates his affections? 

The payoff might be worth the weirdness.

“I actually wanted to contribute to your…” Steve gestures apathetically at the stack of tapes.

Eddie looks over at them and then back to Steve. “Oh you mean, Munsonopolis?”

“Boooo.” Steve heckles him immediately for that.

“You think of something better then.”

Steve thinks about this way too hard. “The Ed-pire State Building.”

“Boooo.” Eddie imitates Steve’s heckling.

“Better than yours.”

“Says who?”

“Says anyone with a sense of humor.”

“Brave of you to call that a sense of humor.”

“What can I say?” Steve clicks his mouth twice and does the most douchey finger-gun bit, blowing out the nonexistent smoke from each index finger. “I’m something else.”

Eddie bites down over his lip, hard enough that it goes white for a second. Doesn’t take his eyes off of Steve while he bares down.

“You sure are, Steve.”

Oh shit - did they just mindlessly segue onto Flirtation Boulevard without even trying? Is it really that natural with Eddie? Damnit, Steve needs to get his mind on the task at hand.

“Here.” He walks over, lays the tape on Eddie’s lap.

“Is this another one from Gareth?” Eddie flips the tape over, studies the back. “Cause I already assured him that I remember the concert we went to back in ‘84.”

Eddie remembers one of his closest friends.

“No, this one is actually…” Just fucking own up, Steve. “Well, I made it.”

Eddie’s eyes do that sequin thing again. Almost turn into disco balls. “You made me a mixtape?”

Ugh. “Don’t get too flattered, Munson.” 

“Too late.”

Steve was afraid that might be the case. So he does his damndest to channel Dustin Henderson. Provide a scientific explanation to his crush-driven theory. “It’s just an extension of our little music experiment. Some stuff that will help you remember me.”

“And why exactly do you want me to remember you?” Eddie does the same lip biting thing from before. He bites harder, and the color stays white even longer this time.

Steve involuntarily glances down at Eddie’s arm, giving himself away.

“Oh.” Eddie stops biting his lip, swiftly lifts the blankets over his arms. Hiding what Steve already knows is there. “Look… that’s just -”

“You don’t have to explain yourself, really.”

Eddie looks down, nodding in agreement. “Right. But it’s not-”

“Eddie.” Steve places a firm hand on Eddie’s shoulder because he can’t. He can’t listen to whatever Eddie is about to confirm or deny. “It’s okay. I mean it.”

He’s not ready for it, for whatever barricade that’s between them to come crashing down. Steve didn’t bring the proper tools to shield himself from raw emotions or desperate declarations of true feelings. And from the way Eddie goes breathless and tense under Steve’s shoulder-grip, he doesn’t think Eddie has the proper tools for that either.

“So you uh…” Eddie peers down at Steve’s hand. Catches a glimpse then abruptly looks away again. “Do you want me to listen now or…”

God no. Steve releases his grip at that thought. “Wait till I leave.” 

“Got it.”

The rest of the visit goes both fairly smoothly. There are only a few lingering particles of awkward tension left behind. It doesn’t bother Steve, not necessarily. The whole day has been kind of all over the place, just like Eddie’s Literary Behavioral Scale. So this uneasy atmosphere is to be expected.

They talk about movies while Steve packs up his things to leave. Eddie asks about all the new movies that have come out since he’s been in the hospital. Steve tells him to make a list of the ones he’s interested in seeing. Tells him that they’ll have a marathon at his place once they’re released to vhs. Eddie says he knows a guy that sells bootlegs before the vhs release date, but Steve shoots that idea down so fucking fast.

It’s not their usual banter, but that’s okay. At least they're talking. Getting along. Tolerating one another at a lukewarm temperature again.

“Steve?”

“Yeah?” Steve is met with the most anxiety-ridden face. Eddie’s whole forehead is covered in wrinkles, like that one fancy dog breed that his next-door neighbor used to have. There’s no shimmer in Eddie’s eyes, no disco balls. It’s all just dull. Fearful.

“Sorry if the arm thing made you...” Eddie trips over his words. He pinches the skin between his eyes, makes his even more forehead wrinkles. “I don’t know what’s the word I’m looking for.. Uncomfortable, I guess.”

“Don’t worry. It didn’t.” It made Steve a lot of other things: gutted, determined, confused, sulky, smitten. But no. Worried did not make Steve’s grocery list of Feelings.

“Don’t forget to tell Sam about the batteries on your way out.”

Eddie remembers bitching about the batteries.

Yeah, Steve’s memory isn’t the faulty one here. Even so, Steve reassures him:

“I won’t forget, Eds.”

Day 56:

Wayne had a couple days off from work and took over Steve’s Wednesday and Thursday shifts in the hospital. It’s probably for the best - especially since Steve decided to do the most high school shit ever, and gift Eddie a fucking bouquet in the form of radio hits and plastic.

He’s breaking out from the stress, just marinating on what Eddie’s thoughts might be of the mixtape. It can’t be good. None of the songs are his typical riffs of eternal damnation or whatever. But it certainly sounds like Steve Harrington in a Speaker. So it better help him picture Steve dressed in the tackiest, most burnable sweaters imaginable, goddamnit.

But like, why is he breaking out from thinking about Eddie Munson? Absurd. All of it. The feelings and the acne. His weird little crush is making him regress into adolescent woes and it’s pissing him off.

After popping the zit and crossing his fingers that it’s not outrageously noticeable, Steve sucks in a deep breath, and heads into Eddie’s hospital room.

“There’s my favorite Material Girl.” Eddie lowers the headphones, smiles bonus-level wide.

Steve’s gulps. His face feels like a fucking toaster. “I take it you listened to the tape?”

“I didn’t just listen to the tape.” Eddie picks up the Walkman and smacks it against the side of his head. “I practically absorbed that bubblegum bullshit. Think some of it is still stuck in my teeth.”

Steve plays along, hoping that his face will return to its usual complexion. “You should see a dentist about that.”

“With what insurance?”

“That’s fair.” Steve slides his hands into his jean pockets. He’s so rigid. “So?”

“So?”

“Final conclusion?”

“Oh, I hated it.” Eddie says bluntly. “In a very stick-that-syringe-in-my-neck kind of way.”

“Shocker.” Steve actually expected a meaner response than that.

“Why did you put so many songs on there that use Girl in the title?”

“Hey - it’s not my fault that all of the rich poster child songs are about women.” Steve gets defensive about that one. Honestly, it’s true. There needs to be more music about wealthy guys with genetically flawless hair. Somebody needs to get on that shit so Steve can have more songs that apply to him.

“Whatever you say, man.” 

“So did it…” Steve is still standing. Hovering a bit. “Did it help?”

Eddie sticks out both of his arms, flipping to reveal his forearms to Steve.

They’re blank, besides the usual tattoos and contusions. They’re as blank as Eddie’s arms can be at the moment. No more Steve Cheat Sheet to be found.

Steve exhales all of his relief. “And you remember me?”

“Remembering you was never the problem, Steve.”

“It wasn’t?”

Eddie shakes his head. “But if I ever allowed myself to forget, I…” He taps rapidly over the Walkman. Steve’s Walkman. “I just didn’t wanna risk starting over.”

“Oh.”

“With you.”

The metaphorical arrow, the one Steve has alway seen on department store Valentines Day cards, goes straight through his chest. Eddie aims the words with you directly for Steve’s heart. Punctures that wall he built up after Nancy Wheeler.

The monitor connected to Eddie is beeping faster again. It’s not like that day Eddie was writhing in pain. No, it’s a different tempo.

It sounds like his nerves are conducting the pattern. He’s nervous. Steve is making him nervous.

Or Steve’s lack of response is making him nervous.

But how does Steve respond? Is this Eddie giving him permission to flirt back again? To keep driving down the detour of attraction, take the scenic route?

Eddie’s heart monitor is screaming, ‘say something, Steve.’

But Steve’s archive of failed relationships is screaming, back, ‘don’t fuck this up, dickhead.’

Steve tries to meet the two in the middle. Say something inviting yet keep it simple.

“So… do you wanna make fun of the shitty soap operas together?” 

Steve puts a little emphasis on the together part, hoping it’ll tame the monitor. Make the tones evenly paced. He lets his hand tap once against Eddie’s arm. Right over his newly blank wrist. So clean. No more scribbles.

“I don’t know, I’ll have to check my schedule.” Eddie teases with his words, sure. But his hand lifts up. Tapping Steve back. Twice. “I’m a very busy man, you see.”

Steve shoves him away, laughing as he does it. “You’re ridiculous.”

“You’re not wrong.”

His monitor is ballad again.

One of Eddie’s (many) doctors walks into the room during their third hour of mocking the Home Shopping Network. Eddie has developed an elaborate backstory that they’re all cyborgs who are taking civilian money to grow their army of killer robots. Steve is surprisingly on board with this theory after the second hour. Some red headed lady twitches her eyes way too much to be human.

The doctor runs a few tests, looks over Eddie’s chart, the typical procedure. However, at the end of the visit, he decides to put Eddie on a new medication for his headaches. 

Headaches…

Steve flips back to that first day he started visiting Eddie. Finds the note he passive-aggressively took back then:

Eddie has a headache (that’s not a memory thing - he’s just told Steve a thousand times now).

He fans through the other pages as well. At least two-thirds of them mention Eddie complaining about headaches. How did Steve miss this? How could he be so stupid? He was too busy fantasizing about Eddie’s chest tattoos and making shitty mixtapes, that he glossed over something so significant.

Dustin wouldn’t have missed this. Robin wouldn’t have missed this. Nancy definitely wouldn’t have missed this - hell, she would’ve already cracked the Case of the Missing Memories by now. 

Steve is the wrong man for this job. Not enough brainpower to fix a broken brain.

“Uh oh.” Eddie says. “Where you’d go, Harrington?”

Steve glances up to see Eddie pointing his finger at Steve’s head. “Just.. thinking.”

“Share with the class, please.”

Steve struggles to make his voice sound causal about this. “I should’ve known about the headaches. Paid better attention.”

“Are you joking?” Eddie asks. “Because if you are, we need to work on your delivery.”

“Not joking, no.”

Eddie’s tone is mildly annoyed, still gentle though. “Stevie… that guy gets paid a shitload of money to figure out my problems. Truly - the reason there’s no pot of gold at the end of the rainbow is because it’s going straight into that guy’s pocket.”

Steve snorts. It’s even funnier to visualize because the doctor is kind of short.

“What I’m saying is, it’s his job to have a big brain.” Eddie’s eye contact is sharp. Broken bottle to his neck sharp. “And your job is to be my eye candy. Sit there and look cute while I try to not hack up my dinner.”

Steve’s hearing went crackly at all of the compliments. “Eye candy, huh?”

“Pretty much.”

Steve no longer has an excuse not to flirt back. Eddie has his mixtape; his arms are bare. He’s obviously encouraging it, even with the knowledge that Steve is a spoiled brat. He likes Steve, not just the good stuff. Eddie is still willing to pursue this even with Steve’s bad qualities.

So fuck it. Steve is gonna delve into his stockpile of pickup lines. He’s gonna rummage around his hoard of provocative catchprashes. Be the horny pack rat that he was born to be.

“Is the sitting part of my job description mandatory?” Steve leans forward, elbows resting on his knees.

“Oh, I’m very lenient on that detail.” Eddie’s voice drops lower. “The cute part… not so much.”

“So you’re only keeping me around for what? My great hair? My symmetrical bone structure? My biceps, maybe?”

“Definitely not your humility, that’s for damn sure.”

They share a smile as Steve gets up, inches closer to Eddie’s bed. He reaches out and pinches the sleeve of Eddie’s hospital gown between his fingers. He cautiously rubs it over a few times, waiting to see Eddie’s reaction to this droplet of affection.

Eddie catches Steve’s wrist with his other hand. Mirrors the rubbing motion Steve set in place with the material.

“Hey.”

“Hey.”

Steve nudges Eddie lightly. “Is this okay?”

And before he can even get a response back, Eddie’s face starts turning grayish-green. 

This happens. Eddie throws up biweekly, so it’s not a big deal at all. It’s just that Steve is usually not laying on the moves when Eddie is about to blow chunks. Honestly, it knocks Steve’s astronomical ego down a few notches.

He probably deserves it.

Eddie is really sick. He pukes three more times, and he starts running a fever after the second time. He’s all clammy and curled into a pillow, clutching it with shaky fingers.

It’s all side effects from the new medication apparently. Yeah, Eddie’s head is no longer splitting open, but his body is rejecting all of the cardboard hospital food.

Steve keeps an eye on him, not that he can do much about it. He gets a styrofoam cup of ice chips so Eddie can chew on it whenever his temperature spikes. He wipes the sweat off Eddie’s temples because one - it’s a nice gesture, and two - it gives him an excuse to be nearby.

The shivering is driving Steve crazy though. He’s so on edge just watching Eddie like this. Eddie keeps making jokes like ‘at least I’ll remember your stupid worried face in the morning’ or ‘damn, my past better be worth all of this.’ And Steve will chuckle halfheartedly each time.

The heart monitor is all jumpy now. Even, uneven, even, uneven. If Steve focuses on it for too long, it starts to sound like he’s driving by a highway collision. A pileup of beeps and tones.

He gets another cup of cafeteria coffee. Hopes the bitterness and chalky creamer will be enough to muffle his hearing. Steer his mind to an empty exit lane.

“What? No coffee for me?” Eddie is under an extra blanket now.

Steve scoots his chair even closer to Eddie’s bedside. “What’s the point? You’d just puke it all up.” He’s pretty lousy at supportive words, isn’t he?

“Aren’t visiting hours almost over?”

“You trying to get rid of me, Munson?”

“Never. Just figured you needed to catch the bus or whatever.”

Eddie remembers Steve taking the bus.

“Robin finally gave me my car back.” Steve conveniently leaves out how he demanded  for it to be returned to him. “So, I’ll stay until they kick me out… if that’s cool with you.”

He places his non-coffee holding hand over top of Eddie’s open palm. It’s sort of instinctual. Doesn’t give his mind a moment to wonder if this is crossing a line. 

Holding hands in a hospital doesn’t mean romance. It never has. People do it all time, no one bats an eye at them either. It’s just a gesture of helpless support. It’s what people do to signify, ‘I can’t heal you with medicine, but I can warm your under-circulated skin just a little.’

But when Eddie’s fingers curl around his own, Steve’s stomach swells like its romance. It swells with hot air, helium maybe. It swells and stays swollen. Stays thermal and full.

“Looks like I’m gonna have to pay my eye candy overtime.” Eddie’s face rushes all pinkish-red. Almost as if he’s trying to combat his blush with humor, but it’s not working. He’s all the colors now. And with or without them, he’s attractive.

“You don’t pay me at all.”

“You got me there.” Eddie shakes a frizzy curl in front of his cheek. A poor effort to hide his flushed face. “I’m a terrible employer.”

Steve traces the grooves of Eddie’s palm lines. Pretends that they form a railroad track. “The worst.”

Once his fever finally breaks, Eddie falls asleep. His body unfolds, his fingers uncurl. It’s a heavy sleep, one that makes him all languid and soft. Any traces of bones are questionable now.

And even though Steve is about to pass out from exhaustion, he doesn’t move his hand from Eddie’s. He’d rather give up his whole arm than move it.

Sam peaks in just before Steve nods off. She lets in the bright hallway light, not too much though. Not enough to wake Eddie. Honestly, not a lot of things wake Eddie up these days.

“Sorry.” Steve yawns. “I overstayed my welcome.”

She shrugs, checks the fluids in one of Eddie’s IV bags. “You know, you can stay the night, if you’d like.”

“Really?”

“It’s pretty late… you shouldn’t be driving on the highway at this time of night.”

“Won’t I…” Steve reworks the phrase. Tries to be less selfish about it. “Won’t you get in trouble for letting me stay?”

“Oh no.” She winks. “Because I never saw you here.”

Steve smirks. “Got it.”

“But if I did see you here,” She gestures her head to the door on her right. “I would tell you there’s extra pillows in the linen closet over there.”

Sam deserves a fucking raise. Steve would become a goddamn patron of this hospital just to give her more money. Let the godsend of a woman retire early for christ’s sake.

“Thanks, Sam.” Steve whispers.

“Thank you for keeping him company.” She whispers back. “He’s lucky to have someone like you.”

Steve doesn’t know if that’s true, if Eddie is lucky to have him, but he nods anyway. Gives a gentle wave as Sam heads back out of the room.

He sets the pillow next to Eddie’s leg, keeping their hands connected as he dozes off. Steve falls asleep the same way he used to fall asleep in class. All bent over in his chair, one cheek flattened out on the desk. It’s very reminiscent of that.

Only better because he’s with the guy that makes his chest swell, even when he’s being sarcastic or melodramatic. Even when he’s cobwebbed himself into a maze of cords. Even when he’s bitching about batteries and Steve’s vomit-inducing fashion sense.

Steve thinks maybe he likes the undesirable traits of Eddie Munson just as much as the desirable ones.

And once he’s knocked out entirely, the rhythm of his heart matches the beeping monitor hooked up to Eddie’s chest.

Day 57:

It’s been a long time since Steve has had a decent dream. And this dream he’s in right now? It’s fucking luxurious.

He’s at the hair salon, because of course he is - it’s his home away from home. 

His head is reclining back in that giant sink thing. The one that’s like a soup bowl for hair or whatever. The stylist is shampooing his scalp, scrubbing all of those foamy products into his roots. This is Steve’s favorite part of getting his hair done, he always feels blissed out of his mind afterward.

They keep washing it for the whole dream, digging their nails into his head, dunking water over his hair every so often. It’s downright perfection. A dream he could stay stuck in forever. 

The scenery of the dream flickers out, but the sensations linger as he gains consciousness. His squints both of his eyes open, immediately greeted by too much brightness, too much sunlight. Steve shuts them again, soaking up the remnants of his dream. The hair scratching that’s ongoing even though he’s awake.

Awake.

Steve is awake and can still feel all of that salon paradise. His brain finally wakes up enough to realize it isn’t a dream. It’s Eddie’s hands in his hair, combing it thoroughly.

Fuck, it feels so good too. Steve wonders if Eddie is aware of what he’s doing or if he’s also in that suspended place between awake and asleep.

It doesn’t matter, not really. It all feels way too incredible to care about the logistics. Steve nuzzles deeper into the pillow to hide the happy little hums that keep escaping through his mouth. 

Eddie doesn’t stop. He keeps moving his hand around. Twirling strands and releasing them. Ruffling strands and smoothing them. Massaging the pads of his fingers in all the right places. Every bit of it is dreamy. Better than the dream Steve initially believed to be unbeatable.

Being Eddie’s own personal petting zoo is way better. Miles, light years better. Is there any form of measurement longer than lightyears? Because it’s bigger and better than that too.

Eddie tugs a little harder, just once, but once is all it takes to make Steve melt. He open-mouth sighs into the pillow, hoping the fabric mutes the neediness of it. There’s drool on the pillow and it’s unclear if it’s from when he was asleep or if it occurred just from that one hair tug. 

“Steve?” Eddie’s voice still sounds coated in sleep. “Is this weird?”

Steve shakes his head no, still unable to lift his face from the pillow.

“Should I stop?”

Steve shakes his head much faster. Absolutely not. Stopping should be banished from Eddie’s vocabulary. The word ‘stop’ should be homeless as far as Steve is concerned.

Eddie tugs again, more firmly this time. The tug goes straight to Steve’s dick, which yikes. Humiliating. Yeah, it’s morning and this shit happens, but not this kind of boner. Not one brought on by hair salon fantasies and a metalhead with magical fingertips. This can’t be the reality of Steve’s life right now but somehow, it is.

“I think I combed through all of that cake-up hairspray.” Eddie talks as his hand continues to roam around Steve’s scalp. “Feels like cashmere now, so you’re welcome.”

Steve sighs again, pretty sure it’s much more audible this time because Eddie laughs.

“Embarrassing.” Steve mumbles. That’s all he can muster out without becoming a puddle of humiliation.

“The sounds you’re making?”

Steve nods.

“Oh that is not the adjective I would’ve gone with.” Eddie claws his fingers all the way down to Steve’s neck. “Not even close.”

Steve is all hormones now, all slurred speech and thoughtless words. “So good, Eddie.”

“Oh my god.” Eddie whines, sounds breathier than Steve. “You cannot say my name like that when I’m in a tissue-thin gown.”

Steve wants to sneak a peek, see if what Eddie is suggesting holds any truth. He resists, only because he’s trying to sort out his own tent-pitching problems at the moment.

He gradually lifts his head off of the pillow, back cracking as he straightens his spine out after hours of being shaped like fucking tetris piece. It’s the last thing he wants to do because it means Eddie has to take his hand out of Steve’s hair. But as Eddie pulls away, his knuckles brush against Steve’s ear, awakening this newfound urgency to not let this moment fizzle out.

Steve hops up onto the bed, sitting side-saddle next to Eddie. He looks through Eddie’s eyes, the ones that remind him of shimmery dresses and the backseat of his car on prom night. He looks through to find a reason to stop his actions. Stop his need to touch Eddie’s jawline or thumb over his lips. He’s searching for a reason to stop and finding none whatsoever.

“Do you remember me?”

“You’re Steve Harrington.” Eddie kind of stutters as he says it. “Hometown Slut extraordinaire.”

The nerdy bastard is never going to let that one go.

Steve gives a quiet laugh, leaning in to his impulses. He slides his thumb over Eddie’s bottom lip, curving around, mapping invisible outlines. A blueprint for his imagination when they’re apart later. “Am I reading this wrong?”

Eddie’s gaze is glued to Steve’s lips as he shakes his head no.

“Good.”

Steve uses his free hand to lift himself up, get closer. Breathing in the same stale oxygen, sucking up the same early morning courage, existing in the same dizzying climate.

He can feel Eddie exhale softly over his skin when there’s a knock at the door.

Steve has never stood up so fast in his damn life. Gets a head rush that’s so overwhelming that his vision speckles out momentarily. 

It’s Sam. Thank god it’s only Sam. But also, screw god for interrupting what almost happened just now. Not cool, sky man.

“Just a heads up,” she starts, shutting the door behind her. “You have another visitor that just arrived.”

Right. It's the weekend.

Steve and Eddie say it in unison. “Dustin.”

Sam hums in reply. “I can stall him for a couple minutes. Give you time to sneak out the stairs that are tucked in the back hallway.”

“You’re the best.” Steve says. “I’ll be quick.”

She leaves, cracking the door on her way out.

Both of them just look at each other for a moment. There’s no time to even discuss the events that just took place. No time to recover the kiss that is already sneaking out the back hallway stairs.

Steve nervously whistles. “So…”

“I’ll see you Monday?”

“Monday.” 48 hours apart seems insane. “Yeah.”

Steve hurriedly makes his way to the door - refusing his horny impulses the opportunity to kick back in and ruin everything. “See you later, Eds.”

Eddie licks over his bottom lip - the one Steve mapped out with his thumbprint. “Later, sailor.”

Um. What?

Steve’s eyes go large. “What did you just call me?”

“Go.” Eddie flashes the wickedest grin. “We’ll talk all about your ocean of flavor on Monday.”

This can’t be happening. “Ocean of -”

“Get out of here already!”

Steve flings himself out of the room, sprinting down the hall. Does Eddie actually recall Steve working at Starcourt? How can that be possible? Steve doesn’t remember seeing Eddie outside of school ever. 

Plus, they’ve never even talked about his job at Scoops Ahoy. Family Video? Sure, that’s more recent. But Scoops? Steve tries to forget just about everything from his time at that seaside shithole.

Goddamnit, this is confusing. The hair foreplay. The almost-kiss. The nautical nickname. Confusing is an understatement. Steve needs to go back to high school and learn a better word for what this is. Confusing isn’t cutting it anymore.

If Steve can make it till Monday without spiraling into a bucket of nerves, he deserves a fucking trophy.

And a kiss on the lips.

Mostly the second option (although a trophy would be nice too). 

[cuepickle]

I literally cannot stop watching House MD right now please send help

[kedreeva]

hello i’m sorry, i’m so sorry (I’mnotsorry) but has anyone written about the scars Steve is definitely going to have in a thin ring around the base of his throat from the demobat’s tail?

Those aren’t just bruises, in the first image you can see raised, damaged skin. Abrasions at the least, from the demobat gripping and shifting and sliding as it tightened its grip. Filthy abrasions, too, being from the Upside Down. Animal injuries are dirty. I have scars from YEARS ago that were small scratches at the time, discolorations now. I was scratched by a goose once when I was 10, and that minor injury remained lashed over the back of my thumb for well over a decade. I have thin, pale discolorations of my forearms right now from over 8 years ago, made by a the slip of a bird’s foot. A small circle between my pointer and middle finger from when I was bitten in high school, 20 years ago by a rescue parrot while I was helping out. Animals, even our mundane ones, have bacteria of all sorts that can become minorly infected and cause healing to take longer, to cause scarring to form. I can’t even imagine how much worse an injury from something in the Upside Down is.

I’ve seen fics where they talk about the one on his side, but these are the delicate ones I want to see mentioned. These are the ones I want to see Eddie touch with reverence for the horror of it, with respect for the fear that had come with them. The ones I want to see Steve draw in a too-quick breath when they’re touched, because he remembers the rough tail wrapped around his throat, dragging him down to his death, strangling the air from him. The one that bit him hurt him, this one made him panic, if only briefly. This one made him vulnerable to the others. These are the ones everyone is going to see, day to day. The ones he has to live with constantly instead of only with himself. The ones he’s gonna touch, himself, absently.

and i’m just curious if anyone else has written about them, or if I’m gonna have to do it myself

[oshiawaseni]

“Are you alright? Can you stand up?” The day Katsuki upheaved the status quo!

These panels of Katsuki learning Izuku was the only person still unconscious and fighting through pain and restraint to see him are honestly among my favourite Katsuki scenes and it was probably right here when I first realised how deeply he cared for Izuku and when the reality of this ship really hit me. 

Something so fundamental had changed in him. It was like he had fully accepted Izuku into his heart, accepted his feelings for him and no longer wanted to leave his side anymore. These hospital scenes perfectly encapsulate how much he now loved and valued Izuku. 

Ever since the moment he thought he might lose Izuku, Katsuki became overwhelmed with urgency to be by his side and to apologise for everything but Izuku was in a coma and so Katsuki had no outlet for those feelings. He expressed his worry for Izuku with anger and feral rage, it didn’t take much to look past that. All I could see was his love. It truly was the birth of a new Katsuki. Except rather than new, it felt more like something long buried was waking inside Katsuki that had simply always been there. 

Sadly, these renewed feelings towards Izuku he was finally embracing were only met with Izuku running away from own feelings towards Katsuki, leaving them behind in a bid to not bring Kacchan more pain from getting involved in his fated fight against AFO. When actually... it was far more painful for him that Izuku left him behind... 

Bkdk’s feelings for each other, that should be bringing them closer together, sadly have a tendency to tear them apart. It’s a recurring dynamic of theirs. AFO using Izuku and Katsuki’s feelings of closeness with one another to punish them and physically ripping them apart as a result of those feelings is another huge example of this. And then there is the river incident.

There is kinda an uncanny parallel that can be found between this scene and Katsuki’s hospital scenes when he finds out Izuku can’t stand up. Izuku responds to Katsuki’s distress with kindness, and Katsuki responds to Izuku’s distress with anger... but what’s at the very core of both reactions is unmistakeably the same...

Katsuki fell in the river and was so moved and intimidated by Izuku’s kindness, he didn’t know how to process that feeling. Take this exact scene they had, but place it in another manga. It’s actually what should be the beginning of falling in love with someone, not pushing that person away. I think that is why Katsuki’s mind often goes back to this scene. 

While he is regretting his actions from this point on in their history, I think he also came to realise that his love for Izuku started right there, in that river. It was the moment Katsuki acknowledged Izuku’s kindness and strength that is different from his own… though cherishing Izuku and his caring, gentle heart only really caught up to him when they made it into high school together, somewhat cleared up his misunderstandings and grew close again.

This is a major reason why I think these two will be the canon couple. It’s clear as day that they both love each other to pieces, but the way they’ve handled this love for each other has been so repeatedly bad. Even fate doesn’t allow them to discover how much they both affect each other. It has me believing in the day their feelings will connect and this pattern of running away from what’s right in front of them will at long last come to an end. That they’ll open their hearts to one another, feel what they each want to give and accept it completely.

[prism-forgone]

i think my favorite part of snowgrave is when noelle says she can still hear kris's voice even when they're down during the berdly fight. nothing drives home that it's not kris giving the commands, just you, quite like this little moment.

[feels-of-wheeles]

Getting sick on top of chronic pain and fatigue should be illegal.

[mattodore]

new questionnaire photos <3

[razables]

just finished the metroid prime trilogy. i am feeling so normal about it all.

[strawbebbiesart]

Haunted // Love Affair With A House 🏡💌

[pinkestlittlebutterfly]

Here’s what I’d do if I made a Servamp hospital AU except that I have no plot, only vibes. 

Mahiru – head nurse in charge of one of the wards, often working the shifts no one else wants. He’s beloved by some patients for being genuine and kind, annoying to others for his no-nonsense-attitude, and adored by young doctors for providing useful advice. In his locker there’s a stash of necessities for patients with no one to bring them – toothbrushes, phone chargers, a small selection of candy…

Kuro – nursing assistant, unwillingly provided with a job by his housemate and head nurse Mahiru. He spends most of his work day either complaining or hiding in the bathrooms, but is kept on the team for the soothing aura he exudes. Sometimes he lets terrified kids borrow his Nintendo Switch. 

Hugh – cardiothoracic surgeon. He is absolutely brilliant at his job, but struggles with the parts of surgery that require a bit of physical strength. Though he cares deeply for his colleagues he’s known for his very specific demands regarding surgery preparation, and occasional bouts of arrogance that are rumoured to be an attempt at compensation. Working with Tetsu has made him mellow out.

Tetsu – surgical nurse, and everyone’s favourite. Among the surgical team he’s deeply appreciated for the help he provides with physically demanding tasks, like positioning patients, and being gentle and careful despite his strength. Hugh insists on having Tetsu assist him whenever a challenging surgery is coming up, even if he has to stand on a step to mitigate their height difference. 

Lily – paediatrician who excels at handling fussy children and difficult family members. Outwardly he appears sweet and saccharine in advocating for those in his care, but he knows his rights well and will happily manipulate, lie or go behind a parent’s back should he find it necessary. He’s often called in for patients with suspicious bruises or injuries, and works closely with Misono from clinical forensics. 

Misono – specialist in clinical forensics. He’s known for his meticulous, court-proof documentation, which not a single lawyer has managed to get dismissed yet. Though he can’t work long shifts and used to be called in for consultations only, he has recently campaigned to establish a small outpatient department he can run some days of the week. He works closely with Lily from paediatrics. 

Mikuni – former member of the security team, now working in administration. Thus, he spends most of his days annoying anyone unlucky enough to catch his attention, preferably Jeje from radiology or Shuuhei from hygiene management, and seems to know everything about everyone. Sometimes Lily or Misono still call him to handle issues they’d rather not involve the actual security team in. 

Jeje – radiologist who has not seen the sun in months. He chose his job specifically to avoid contact with others, but must frequently leave the dark, little room he likes to stay holed up in to help out with punctures and other interventions since no one else has hands as steady as his. He’s often visited by Mikuni from administration or Lily from paediatrics, who bring him vitamin d supplements. 

Tsurugi – leader of the security team, infamous and mysterious to anyone who hasn’t witnessed him in line for lunch at the cafeteria yet. He only answers to one of the higher-ups among the administration team. Whether it’s a problem that security lies entirely in the hands of the administration is an ongoing discussion among the medical staff, but no one knows whether Tsurugi is aware of it. 

Shuuhei – head of hygiene management, living off coffee from spill-proof reusable cups. He’s said to be pedantic, but that’s what makes him good at his job. Though it’s a thankless endeavour, he works tirelessly to make sure everyone knows when to use which disinfectant and how to properly put on rubber gloves. Only the resident microbiologist seems to take him completely seriously.