#perpetually static character my ass | Explore Tumblr Posts and Blogs

hakasims · 3 years

Text

Shitty Luca Movie Recap, Episode 4

Can’t Watch Nina, Even For Luca?

Don’t Worry, Me Neither. Goodbye.

...

Ok, fine, I’ll talk about the damn thing.

So it’s a warm September night, and I’m in the mood for a Luca Marinelli feature. In my infinite wisdom I choose Nina. “It’s directed by a woman,” I reason, “and women know what’s up.” ‘What’s up’ in this particular case is code for ‘how to frame beautiful men for the female gaze’. Because women can be auteurs, too, and being an auteur means making movies about your own personal wank material.

Turns out, sometimes a woman’s wank material consists less of a gorgeous male form and more of fascist architecture. We’ll discuss the former in due time, but for now, what’s Nina even about? Well, at its core it’s a simple story about a young woman who doesn’t know what she wants, set against the backdrop of the Rome that is almost entirely empty due to most people leaving for the summer. This could have been a fairly straightforward coming-of-age film, but Nina is too indie and up its own ass for that. Literally nothing of note happens in this movie, and it’s all long static wide shots of empty streets, endless stairs, and domineering largeness of Rome’s most famous fascist buildings such as the Palace of Italian Civilization, the Sapienza University of Rome, Palazzo dei Congressi, and, most prominently, the Fountains Hall. (Google what they look like if you don’t know.) Now, I’m guessing those locations weren’t chosen by accident. They could have easily added to the creepiness of the movie — and I’m assuming creepiness was intended; otherwise how do you explain these hoverboarding nuns?

Anyway, the employment of the locations could have been atmospheric and thematic had the shots not been so bland. But they are. Bland, flat, and always looking the same no matter what is happening in the scene. Usually audiences are willing to sit through slow uneventful movies because of interesting visuals or characters worthy of attention, but Nina has neither. The titular character herself is tedious. Even her bad fashion sense is bad in a boring way that doesn’t tell you anything about her. Is she stuck in perpetual adolescence? Is she searching to get in touch with her sensuality? Who knows. The only thing I’m certain of is that she needs to learn to tuck her tops into her bottoms.

Nina spends her days giving singing lessons, going to Chinese calligraphy classes, eating cake, exercising and taking midnight walks in the empty city. She wants to go to China in September — it’s the closest thing to a goal she has — yet she’s done no preparations, and instead of learning Mandarin she’s studying calligraphy. And she’s real bad at it, too.

There are reoccurring visual elements in the movie besides the vast emptiness: stairs, white columns, a jogger, a red dress, animals… You’d think those were very straightforward symbols, but they’re used too sporadically and inconsistently to hold any meaning. For example, animals. Nina is tasked with both helping out in a pet store and house-sitting an apartment with a German shepherd (a good boy named Homer), a guinea pig and a tank full of fish. The instructions she’s given are absurd, like feeding the dog sleeping pills and putting the guinea pig on a diet. And then there’s a supposedly American TV show always playing in and out of diegesis about dogs living in cages and swimming happily in pools, and it looks and sounds like a video off the political section on the dog version of YouTube. It contains timeless classics like “You are a dog born in the age of consumerism” and “Depression is an evil illness now spreading amongst dogs of every breed, dogs belonging to every social class.” The butter commercial from Crazy Ex-Girlfriend could never. And I wish the whole movie was as surreal as this TV program but unfortunately it’s as bland and directionless as Nina herself.

And boy is it directionless. There aren’t any subplots in the movie, no cause and effect, no acts, no structure, no flow; only scenes that happen, and I can’t even find any reasons for the order in which they happen. The scenes also don’t start or end; they just interrupt each other, not leaving any emotional impact. For example, there’s a scene where Nina sees her future self. She’s on one of those midnight walks with the good boy Homer when she sees a couple being romantic. The woman is wearing a long red dress, and the man is in all black. The shot is wide, so it’s impossible to see their faces, but the woman is obviously Nina:

And the man is definitely Luca. I recognized his ass. I’m not joking, guys. It’s his ass:

Also I was later directed to the website of the photographer who took the set photos, and yes, it’s Nina and Luca.

I never forget an ass.

Anyway, Nina, who at this point hasn’t properly met Luca’s character, Fabrizio, sees herself from the future acting romantic with him, and doesn’t react. We don’t even know if she recognizes herself or him or whether it’s even a real scene or a dream. How are we supposed to empathize with a heroine who isn’t allowed to react to her environment?

Whatever, it’s time to talk about Fabrizio. He plays the cello and he’s obnoxious. That’s it. He first appears as a patron of Caffé Palombini, the real-world café Nina frequents (and buys her cakes at). She’s drinking her usual milk shake and reading. At some point, their eyes meet, but neither says anything, and then Nina gets up and runs after the good boy Homer who decided to take a little stroll by himself. She leaves all her things behind: her milk shake, her handbag, at least three books, a whole stack of paper for calligraphy, and her diary. It’s obvious she’s going to come back as soon as she gets the dog. And yet before her feet are even out of frame, Fabrizio gets up, goes to her table and fucking steals her diary!

His next several appearances are random and sporadic, and it looks like he’s stalking Nina, but by the time of his first actual scene she is following him for some reason. Obviously, he can’t let a woman outcreep him, so he ambushes her:

He tells her blankly, “You’re following me,” but I think this scene deserves better dialogue. Thankfully, we have a whole well of predator/maiden media to pull from.

Though I personally believe this is the most appropriate line:

Fabrizio lets Nina know he has her diary in the dickiest way possible: he quotes from it to let her know that he’s read it. He then informs her that he’ll only give it back to her if she continues following him. And it’s not blackmail; “it’s an agreement.” What an asshole! I’m weeping for the dignified cuckoldry of Joseph.

And what was the purpose of that “agreement” plot point if the next time they meet is by chance? Quirky love interest writing, duh. So quirky that the accidental meeting happens when Nina is walking past a phone booth where Fabrizio is… doing a phone prank? I don’t know, I got nothing. Anyway, he’s annoyed their meeting is unintentional on Nina’s part, but he returns her diary, and I guess they start dating? He watches her sing once with what could only be described as a complete absence of emotions:

In the next scene she watches him play the cello after which they go on a date. Nina is wearing the red dress from the vision, but Fabrizio’s shirt is different. I fucking give up.

Their next (second?) date is a romantic dinner on Nina’s roof, and they’re dancing for entirely too long. She then tells him she’s scared of how much she’s enjoying his company, gives him a ridiculously chaste kiss goodnight and… completely ghosts him afterwards. And if you didn’t dislike Fabrizio before, you will now as he starts calling Nina at ungodly hours (including 5:30 am) and leaving her very whiny and increasingly more passive-aggressive, entitled, and accusatory voicemails. At some point he even leaves a voicemail for the fucking dog! He’s like, “Homer, I’m worried, meet me at the café.” Again, quirky love interest writing: extortion, phone pranks and a voicemail for a dog.

Fabrizio then lets Nina know he’ll be leaving town in three days in case she’d like to see him one last time or whatever. And she never fucking does! In any other movie she’d be chasing through the airport, but here she just drops him like he’s a well-tucked shirt! She tells the kid she’s befriended (she hangs out with an eleven-year-old boy the whole movie, don’t worry about it) that she’s afraid to be “like everyone else”, with a job and a boyfriend, so she doesn’t even say goodbye to Fabrizio. At some point she goes for a walk with the good boy Homer, and Fabrizio is also there, and they just miss each other. Even fate isn’t interested in that romance.

And then all the fascist buildings get covered in gigantic paper figurines, and the red-dressed Nina runs into Fabrizio’s arms. Because of course.

Nina is one of those movies where the main theme — a struggle to grow up — is obvious, but the rest of the elements are a mess only the writer-director could decipher. And I don’t really care. Again, I had to read Japanese postmodernists at university. What I do care about is the male form I mentioned at the start. I know I have no one but myself to blame for my expectations of how the director should have framed Luca’s body or face, but it’s one thing to frame him blandly and a completely different thing to isolate him as the only character (or actor) she’s deeply uninterested in filming competently. Everyone else in the movie gets their fair share of close-ups and decent lighting whilst Luca — whose name is literally second in the credits — gets, um, neglected.

This is his introduction:

These are literally all his close-ups:

Should I even count this last one? What’s with the lighting? Like, this is as well-lit as his face gets:

Oh, the shot is too wide and you can’t see his face properly? Well, tough poop:

Are you kidding me with this shit?

Nina may not be objectively the most terrible of the movies Luca’s been in: I’d argue both Mary of Nazareth and L’ultimo terrestre are worse, as is Slam, whose time’s a-coming. Nor is it the movie where Luca appears the least (The Great Beauty’s literal one minute of screen time is saying hi). But it’s the only movie I have no reasons to watch: it’s blandly shot, poorly structured, badly themed — and it’s actively obstructing Luca’s beauty and charisma. So no matter which film you’ll ask me to do next, at least in terms of the visual component of my posts, we have nowhere to go but up.

#luca marinelli #nina #nina 2012 #sh*tty luca movie recap

59 notes · View notes

ckret2 · 4 years

Text

"Why the heck does Alastor's hair look like that??" headcanon

Guess what trivial question I’ve put so much thought into that it turned into full-blown character analysis???

With deepest thanks to @arachnohoebia for illustrating the many stages of Alastor’s hair, because I'm a writer still trying to figure out how pen pressure works.

I headcanon that Alastor's hairstyle is not static, but rather that it goes through several distinct stages depending on his mood. This is based on the assumption that when he gives "sheer, absolute boredom" as his primary motive, that he's telling the truth; and this boredom, combined with his lack of focus & inspiration, is probably lowkey depression. He's in Hell, can you blame him?

So, without further ado:

Phase Zero: Starting Point

Alastor is bored and nothing matters. Life in Hell sucks. Nothing entertains him. Who cares about his hair? His coat's been tattered for the last thirty years and nobody's said anything. Whatever.

Phase zero is the default state before the Great Alastor Hair Cycle™ starts over, and a phase that can continue indefinitely before the cycle restarts. In this phase, Alastor has roughly shoulder-length hair, sometimes longer depending on how long he's been in this phase. It's all red and it's an awful, hideous shaggy mess. His ears have vanished behind a forest of red fluff. His bangs are always in his face unless he pins them back with cheap plastic dollar store hair clips.

Phase One: Dapper Dan

Alastor's zest for (after)life has suddenly been restored. Maybe he got himself recruited on somebody's doomed-to-fail get-rich-quick scheme, maybe he agreed to serve as bodyguard for a loser who gets in trouble every other day, maybe he offered to help out a princess with a dumb hotel—anyway, he anticipates the next five years of his life are gonna be an absolute riot.

He gets a nice hair cut, it's only a few inches long now, he dyes it the same shade it was when he was alive, he starts slicking it back into his preferred 1920's hairstyle. (In the 1920's, the style for men was pretty much universally "short and slicked back with oil," with hairstyle variations mainly depending on how boring the particular slicked style was. I prefer imagining him with finger waves, personally. Just because they look cool.)

He even trims the awful hair tufts previously hiding his ears so you can actually see them. He looks nice. He looks classy. He's sophisticated as hell.

At any time he feels sufficiently inspired, he can hop from any other phase straight back to phase one.

Phase Two: Slipping Standards

Things are still pretty nice, but his initial new enthusiasm for his latest source of entertainment is wearing off.

The roots are starting to grow back in red, but whatever, he can touch the roots up later, you can only really see it along his hairline anyway because he's still got his hair slicked back. Most days. Some days he can't be bothered with pomade. Some days he's like "yesterday's pomade is still in my hair, it keeps most of my hair back, it doesn't look too bad" like who cares, he's the radio demon, he's been wearing the same frigging coat since the thirties.

Phase Three: Slipping But Like, More

That hilarious get-rich-quick scheme he was helping someone else with went belly-up faster than he anticipated, and it WAS funny as fuck, but now he's bored again and has nothing to live for.

He's completely given up on slicking his hair back. His roots are about as long as his dyed tips. His ears are slowly vanishing under chaotic bursts of fluff that stick in every direction, it's perpetual bedhead around his ears. He's like whatever whatever once it grows out a little bit more it'll look fine around his ears again, it always does.

Phase Four: tbh this is all of us at this point in quarantine

His damn bangs are always hanging in his eyes. In a fit of frustration, he just hacks at his bangs with a pair of scissors. It trims off all the dyed bits and the bangs now look terrible. Because they look terrible, from now on he's always fussing at them with his fingers, trying to get them to look a little nicer.

It doesn't help. But he can see and that's what matters!

Phase Five: ~*Canon*~

His ears have vanished behind his hair again, like a well-trimmed tree disappearing under a sea of kudzu. The hair on the back of his neck is long enough it keeps trying to get under his collar and it's driving. him. crazy. In another fit of frustration, he grabs a razor to buzz it all off, but he doesn't have the sustained attention span for that, so he just flips up his hair, shaves the bottom half of the back of his head, and leaves the rest untouched. Now his hair isn't rubbing his collar and the long part will hide where he shaved his head! It, like, doesn't though, his hair hangs in the back weird and keeps exposing bits of his half-assed undercut.

This is the phase he's at when we're introduced to him in canon.

Phase Six: Honestly Just Sad

Alastor is bored and nothing matters. Life in Hell sucks. Nothing entertains him. Who cares about his hair? His coat's been tattered for the last thirty years and nobody's said anything. Whatever.

Ultimately his bangs will grow over his eyes again and he'll trim them again, the rest of his hair will get long enough to reach his shoulders and he'll hack the ends off. No dyed hair will remain.

And from there, he'll have returned to Phase Zero. Sometimes he'll pin his bangs back so he can see. Periodically he'll hack off more hair in weird ways to keep it manageable. But he's not leaving Phase Zero until something inspires him to jump back to Phase One and give it a proper cut and dye.

#alastor #hazbin hotel #headcanons #fanart #meta

52 notes · View notes

theexistentiallyqueer · 5 years

Text

"but he murdered people”

This is a post about Goro Akechi, murder, its aftermath, trauma, and two things that are in real short fucking supply around here: critical thinking and empathy.

Listen, I’m a veteran of the Dragon Age fandom. If you want to talk about toxic fandoms, they’re your Bible. As far as your Judas Iscariots and Nebuchadnezzars go, I was one of them. I’ve seen it, I’ve done it, and I’m done with it. It’s exhausting to carry that much rage inside of you, to live it actively every second of every day, and to inflict it on other people and laugh about it. So I’ve been disengaged, largely, for a few years.

And now I’m in the Persona 5 fandom and find myself enthusiastically appreciating Goro Akechi, because who doesn’t love complex, morally flawed, ambiguously gay-coded characters? Shit, maybe you’re not on board, but I’ll sign right up. I’m a relative newcomer, despite being a longtime Persona fan and playing P5 around when it came out, because I didn’t engage with the fandom then. I jumped back in with the Royal announcement and absolutely saturated myself in this vibrant fan space. Invested in the idea of Akechi being explored as a fully fleshed-out character, I find myself following Goroboys. Which is great! Because so far, they’re all great! Nicest bunch of people you could ever hope to meet!

Except there’s Discourse. There’s always been Discourse, I find, but this is my first exposure to it in this fandom. This weekend was my first week of seeing Goro antis active, seeing people I follow, people I like and appreciate and some I considering genuine friends, actively attacked and harassed because they like a fictional teenage character who killed some other fictional people in a fictional world where you, playing as the main character, have the ability to perform a metaphysical lobotomy on people who literally can’t consent. Here I thought the only people who hated Akechi were white cishet men who saw his rage against a parent and said, “Nah, too bitchy for me,” because they’re too afraid to look in a mirror and see Masayoshi Shido’s fascist, misogynistic mug staring back.

Are you awake yet? Have I woken you up to the fact that Persona 5′s premise is a wish-fulfillment fantasy of “what if I could make the person who took advantage of me when I was a teenager apologize in front of the entire world by using an alternate fantasy dimension to completely violate their brain”?

I see my friends saying, “Wow, it’s amazing how people who hate Akechi can’t leave people who like Akechi alone,” and within an hour they have replies saying MURDER IS MURDER as if they know what murder actually is.

We’re about to get real personal up in here because maybe, only then, will some of you people take the hint that your behavior borders on actively bullying other people on the internet over a fictional character.

Ready? Here goes.

Murder is your mom picking you up from summer camp three weeks after your ninth birthday, driving you to your grandparents’ house, and telling you that when daddy was at work today, someone tried to steal the money, and they had a gun. Daddy was brave and Daddy died.

Murder is blacking out when you’re nine years old and coming to to yourself two houses away on a neighbor’s swing set with crickets chirping in your ears and the crushing reality of never seeing your father again turning your brain into static.

Murder is asking your mother if she asked for the death penalty, and your mother telling you, in a pleading voice, that she didn’t because he was mentally ill and it didn’t feel right. Murder is feeling angry afterwards because you feel like something was taken away from you, and something should be exchanged for that. Because that’s how fairness works, right? If you steal candy from the store, you have to give up your allowance for the next five months.

Murder is realizing you’re an atheist at fourteen and driving past the cemetery where your father’s remains are interred, and having the gut-punching, soul-suffocating realization of what never ever ever actually means. Murder is building an internal cosmology where forever means my atoms and yours, creating new life in perpetuity as the comfort you drag out of the west’s cold, uncaring atheism that never found its own poetry.

Murder is your first two years in college, when you discover social justice and realize the world is bigger than your own life experiences, and that violence at the bottom is a reactionary symptom against violence at the top. Murder is understanding the fact that the man who killed your father was himself a victim of a racist, ableist, capitalist society with a morally bankrupt healthcare system, and that every single one of those things is in and of itself is more hateful than the act of your father bleeding out in the parking lot, in the ambulance, on the operating table.

Murder is your mother confessing to you in college that your father was physically abusive of her and that she had threatened him, only weeks before he was killed, that she would leave and take her daughters with her if he didn’t change. Murder is knowing that your father ran after an armed robber because he was raised by a Sicilian father in a household overflowing with toxic masculinity, and what killed your father wasn’t a man with a gun: what killed your father was the patriarchy whispering in his ear, This theft emasculates you.

Murder is looking your own mother in the eye and telling her that one day you want to visit the man who killed your father and open your heart to him, because all you can think is, He didn’t plan this. He can’t have wanted this. What must it feel like to kill someone without intending to and then have to live with that for the rest of your life with no one to help you? Murder is the sound of betrayal in your mother’s voice when she responds, disbelieving.

Murder is spending years wanting to at least write to him, and then forgetting, and then going back, because you are a fluid, impermanent, imperfect person with your own flaws and failures and mental issues that hold you back from being the paragon you want to be. Murder is throwing yourself into the left and embracing prison abolition so hard it hurts, because you know that if the state can lock up someone who doesn’t “matter,” the state can lock up anyone.

Murder is throwing away or selling every childhood thing you ever possessed because you are not by nature a sentimental person, but never giving up that doll you were gifted, the doll you coveted and wanted more than anything else, three weeks before your father was shot and killed. You have no pictures, no mementos, no nothing, but she sits at the top of your bookshelf to this day, a weighty child goddess, the symbol of your torn and labyrinthine childhood.

Murder is having to see a bunch of petty-ass people using actual trauma that real life people have experienced and continue to experience to directly and repeatedly harass your friends online (and yourself, indirectly, by tagging their hateful shit) because you and your friends like a fictional fucking character who, by nature of being fictional, did not actually murder any real existing people.

Murder is building your entire identity around how you sympathize, deeply, with the person who killed your own father, because that takes hard work and deep empathy and the ability to see past a lot of bullshit just to get to that point, and having some fuck-ass anons act like none of that matters because there is (apparently, I must assume) some omnipotent god of justice saying “Fuck you and everything you’ve been through” that apparently only these bullies can hear.

Murder is seeing fandom moralizers talk about murder like they understand it. Like they’ve read this, plus the last ten-plus paragraphs, and decided they know best anyway because mommy and daddy always told them Criminals Are Bad and walked wide-eyed and innocent into a social network overrun with TERFs, exclusionists, and a rotten segment of the political left that acts like some extras straight out of The Crucible.

I have never once been triggered by anything relating to my father’s murder. I cried at the Resurrection Stone scene in The Deathly Hallows, I cried when I completed when I completed the DA2 DLC Legacy after the end of act 2. When I see a parent die, I have an emotional reaction, because it’s familiar.

But the Akechi antis who all say “but he killed people!”, The Akechi antis who say “murder is still murder”?

The murder of my father is still murder. The man who killed him, his murderer, is still regardless a human being, the man who killed him deserves sympathy and compassion and understanding and respect and, above all, a chance.

I am a living example of what’s left behind when someone is murdered. You can walk into the mausoleum where my father is interred, face his headstone, and let the earth open up beneath you and drop you into hell.

So most sincerely, from someone who lost their father to gun violence, to armed robbery, to murder: Stop fucking using our lived experiences as your justification to harass and bully people online for committing the Grave Moral Sin of just liking a video game character.

Between the fact that the American government is keeping real people in concentration camps and a bunch of strangers on the internet liking a twiggy teenage anime boy who used a fantasy world to kill people who don’t exist, which one is actually important to deserve your moral outrage?

You’ll die eventually; fascism won’t kill itself.

#persona #persona 5 #p5 #goro akechi #if you tell me you're sorry for my loss i'll literally hunt you down and eat you #this one goes out to the goroboys #pour one out kids #real tired of having a bunch of dungeon dwellers insinuate that i #a person who has experienced firsthand the trauma of losing a loved one to murder #am apparently delusional for liking a character who murdered people #you people probably all think tony stark is the best avenger #you probably watched the game of thrones finale and thought dany going mad queen was good writing #you probably think ''split'' is a good horror movie #you probably thought lala land should have won the oscar #you probably like ed sheeran #this is rebloggable fyi

123 notes · View notes

moonlightchess · 4 years

Photo

On Lesser Ghosts, my perpetually in-progress novel, a cast of current characters:

Brandon Graham: 30 years old, police investigator for the Dorset Police Department of Dorset, Vermont. The sole survivor of serial killer Seth Morgan, active throughout the bulk of the 90s and all the way through 2003, when he was captured shortly after a 15-year-old Brandon escaped his nightmarish year of captivity in the Morgan house. Casually alcoholic, gay, entirely jaded and weary of the world, but stronger than he appears at first glance. Recently assigned to the case of Cora Tycho, a promising young physics student from the Lower Prince area of Vermont who has gone missing.

Dr. Casey Tycho: 30 years old, and Dorset PD’s newest medical examiner. A British expatriate originally hailing from north London, Casey is the antithesis to the human disaster of Brandon. Sharp, extensively educated, responsible and diligent, he wears silk-lined suit vests and ties to work and has been sleeping with Brandon for six months in an arrangement that Brandon refuses to acknowledge as any sort of relationship. He’s quietly accepted this, both out of respect for Brandon’s boundaries and because being black and openly gay in a small Vermont town may not be the most desirable situation. His sister Cora has gone missing, and he hates how little he wants Brandon on the case, but he knows better than anyone how unstable the man can be.

Sara Graham: Brandon’s younger sister at 27 years old, a folk musician and “crafty mess” by her own admission. Bright, curious, extroverted and warm, much of her life has been dedicated to worrying about her brother. She makes beaded jewelry and pottery on the weekends, collects coffee mugs, and is a driving force in Brandon’s life, though he occasionally wonders if she doesn’t resent him at least a little for the way his kidnapping and subsequent fame as Seth Morgan’s sole surviving victim dominated her younger years. The two are very close, and she’s determined to not allow him to lie down and give up on the Cora Tycho case, no matter how much tension and distance it’s created between he and Casey.

Sasha Prescott: Brandon’s boss, police chief of the DPD. Tough as nails, but she harbors a soft spot for Brandon in spite of his sporadic displays of instability and recklessness in the past. Especially protective of Casey, having long since come to the conclusion that Dorset’s black community is small at best and they have to stick together - the disappearance of Cora, a young black woman in her town, has been keeping her up at night. Her hawk’s stare and firm hand keep the entire department in line, but this also means that she has a constant target on her back.

Kris Alden: A mystery. Was with Cora Tycho on the night she went missing during a camping trip in the woods. Claims he went home early, a result of stomach problems. Not much intel on him yet.

Audrey and Stephen: The forensic lab techs, working directly under Casey. Odd, dreamy types, ensconced in their own little world much of the time. May know more than they’re letting on.

Read the first few pages below!

🔍🔍🔍

09.12.19:

A burning and industrious early-morning sun insisted upon bullying the pleasant warmth of Casey’s skin into something too harsh to ignore as Brandon groaned, rolling over onto his stomach in bed. Beside him, Casey stretched, languid as an enormous cat, his sleep likely having been far more restful. Still, his smile was tender as he reached for him, and the scent of coffee brewing from the kitchen suggested that he’d already been up once to make it for him. The sweetness of the gesture hurt, and he curled away from his touch. “Too fucking hot.”

“It’s only going to be about seventy today.” Because of course Casey knew the day’s predicted weather already, of course he was as on top of it as he was everything else in his life. Casey, with his autumn-brown skin and gentle, fox-gold eyes like candlelit amber, of course he was ready with coffee brewing and the forecast on his phone. They were the same age, thirty, but Casey was one of those rare people who had been an adult since twelve. He’d probably delighted in collecting school supplies for a new year when none of his friends gave a shit, he was the type of person who always knew where his keys were. He had a set-in-stone laundry day, which had blown Brandon’s mind when he’d first learned of it. Even now, at six AM, he smelled like fresh fucking bread. Literally the worst human, Brandon had long since concluded, but the sex was fantastic.

Wordlessly, he rolled over for his first cigarette of the day, ignoring Casey’s softly disapproving sound behind him. He briefly considered reminding him of his total lack of access into his personal life, that whatever happened between them sexually meant ten kinds of nothing outside the bedroom, but Casey had never pushed or questioned his boundaries. He kept his distance as Brandon rolled naked out of bed, ambling to the window to shove it open before disappearing into the bathroom without further comment. He gave him time to shower before following, tapping his fingertips against the glass shower door with a quiet, “Hey.”

“Yeah?”

“Want company?”

“Oh, uh. No.”

There was a pause, and then Casey’s silhouette nodding silently, turning to go. He was unique in that Brandon never felt so much as a semblance of guilt about bluntly rejecting the affections of anyone but him, and now it felt sharp. The hot spray of water went needle-harsh against his skin, but he still ignored the coffee Casey had left on the counter for him, as well as the text blinking on his phone. Eat something. Don’t be too late for work, Sasha will have your ass. Even now, he did his best to take care of him as much as Brandon would allow, but he rationalized that he’d never promised the man a damn thing. In fact, he’d made his limitations abundantly clear on the first night they’d tumbled, panting, into bed together, roughly six months ago. The problem was, there was another man. He was persistent and jealous, and he was always around. He was sitting on the edge of his bed right now, in fact. Late forties, moon-pale skin and sleek, ink-black hair, his deceptive youthfulness undercut by the coldness lingering in his dark eyes.

Seth waited, silent, watching Brandon dress. The most attention he ever paid to his honey-blonde mess of hair was a quick tugging of his brush, and the woodsmoke cologne his sister had given him for Christmas last year was left mostly unused on the dresser. His morning routine had long since boiled down to a quick shower, shave, and brushing of teeth and hair before throwing on whatever happened to be clean regardless of its fashionable implications. Today, Seth watched him button up a loose black Oxford over a pair of battered jeans, before embarking upon a ten-minute search for his keys because he wasn’t Casey and never would be.

A light drizzle began to dissolve the heat of the day like sugar in warm coffee once he was on the road, clouds going dense and dark with the sweet threat of a proper rain. Sasha had already texted him - 9:10, Graham. Late again. Casey had tried to warn him, but then he always did, and Brandon never listened. Elgar helped to swallow Sasha’s nearly tangible contempt for his time management skills as he drove, and beside him, Seth settled into the passenger’s seat to stare thoughtfully out at the increasingly heavy rain.

10.4.2003:

This far north into Vermont, where Seth’s house teetered on the border into Canada, winters descended early and lingered long. The ceiling-to-floor steel and rebar support pipe Brandon had been handcuffed to by the wrists for the past two weeks had absorbed the seeping chill, and Seth had only dressed him in a filthy, tattered wifebeater and a pair of old blue flannel pajama pants that smelled suffocatingly of mothballs. He woke every few hours with numb, stinging toes, shivering and dripping. The handcuffs Seth had restrained him with had to have been ordered from somewhere - there was no soft pink fur lining to suggest an intended use of foreplay, and instead they were solid in a deadly way, a way that thunked every time he slid them locked with a firm sense of finality.

A fever burned through his bones overnight near the middle of October, and finally some part of Seth seemed to awaken to his basic human needs. He was provided a deeply itchy wool blanket that felt woven from canvas and sandpaper, but it did the job of keeping him warm. Every few nights, his worn boots would thud down the basement steps to offer him a plate of cold, congealed noodles that he’d clearly been keeping in the fridge. His wrists went raw and scabbed with the endless scrape of the cuffs, his knees cramping in their bent position. Stretching his legs was possible, but uncomfortable. The days began to melt together, the constant darkness of the basement transforming time into a static thing. He slept when the wave of exhaustion became too much to fight, he woke and watched the shadows when sleep eluded him. He lost all sense of night or day, the passage of hours.

Three weeks deep, the frantic hope that he’d be found began to fade. The basement began to feel like his place, and he began to forget what it felt like to not fall asleep hugging a metal pipe. Seth was strangely reassuring, an exponential effect that seemed to correlate with his slow acceptance of his situation. As time dissolved and desperation waned, Seth’s approval bloomed. Sometimes, now, the noodles were warm and slick from boiling water, fresh. His blanket was replaced with a less abrasive one, albeit filthy. At fourteen years old, Brandon learned that life began and ended here in his cold, dark basement. The memory of the day he’d been taken seemed irrelevant now, the faces of his parents to whom he’d clung so desperately in those early days.

“I know that you don’t understand.” Seth’s voice was soft, gentle more often than not, sedately erudite like a classics professor on vacation in the woods for the holidays. He was quite articulate, expressing himself fairly eloquently whenever he came into the basement to speak to him. “It sounds trite, like something Keats might have written, but believe me when I say that this is your chrysalis phase, Brandon. It’s tight and uncomfortable and emerging will be a painful struggle, but I want you to trust me. I know it’s asking a lot of you right now, but I also know that your eyes are open and you’ll get there. I trust you already.”

He wore a lot of high-collared fleece sweaters in earth tones and he kept his silky hair longish, framing his face in a soft sort of way that left him mild and relaxed to the eye. Brandon learned to crave him, the only human voice, presence, that he’d experienced in a month as the end of October approached. He couldn’t express this yet, but Seth would smile down at him, bending at the knees to wrap him in a new blanket or to offer him the day’s plate of noodles. Sometimes the blankets were splattered with fresh bloodstains and sometimes the noodles were wrapped around bullets of sausage that tasted blandly wrong, but he was there.

Once, shortly before Halloween, the burgeoning bond between them inspired him to blurt, “I wouldn’t say anything, you know. You could just let me go, you wouldn’t even have to drive me home. I’d never tell anyone, I understand your work here--” because Seth had often referenced his cryptic “work” without elaborating. “I won’t try to stop you, you could just--”

Seth’s open hand slammed into the side of his head, smacking his skull into the metal pipe with a gut-churning clang. The world exploded into white fire, his vision briefly going dark as his brain struggled to retain consciousness. A thick, hot ooze of dark blood began to gush from his nostrils, but he was too resigned at that point to so much as scream. Instead, he moaned softly, sagging forward as his head began to throb in time with his heartbeat. The agony was blinding, but he didn’t pass out, which came as something of a disappointment.

A month and a week passed.

09.12.19:

Dorset’s PD’s station was one of the lingering bastions of old-school police architecture, all museum-high ceilings and wooden desks arranged in rows. Brandon wove his way between them on his way to Sasha’s office, set high above the ground floor grunts and their ancient desktop computers. He’d always respected the way she’d left the glass panels that made up the front wall of her office intact, leaving her visible to her officers and techs alike. She was typing on her own laptop when he tapped his fingers against said glass, waving him inside. A still-steaming paper cup of Two Brews sat on her desk, littered with loose papers that themselves were littered with her scribbled notes. My office, whenever you decide to show up, she’d texted him.

Sasha Prescott was forty-four years old with dense, dark curls clipped short and precise. With her high cheekbones, full lips and velvet-dark skin, she could easily have been a model even in her middle age, dominating an industry obsessed with youth. And dominate it she would have - there was a carefully cultivated air of laser focus that she wore like armor wrapped around her, her narrow, jewel-black eyes piercing through lies and alibis like a hot knife through butter. She and Brandon’s mutual respect had led to a highly efficient and successful working relationship over the years, and they both appreciated that neither was in any way interested in developing any sort of personal friendship outside of work.

Now, he dropped into the Quaker chair in front of her desk and considered making an attempt for her coffee, which she didn’t appear to have started drinking yet. Her signature plum lipstick had not yet stained the rim, but she zeroed in on his intent with her standard razor perception and shook her head. “I will literally stab you,” she said casually, and he let his hand fall to his knee instead.

“What’s up?”

“First off, roll in here late again and I’ll write your ass up. Secondly, we have a delicate situation in our laps right now and I want some input on how to deal with it.”

Arching an eyebrow, Brandon kept his tone as nonplussed as possible. Too much visible interest might have convinced Sasha to change her mind, one of her stranger quirks. “I’m listening.”

“Cora Tycho is missing, as of somewhere around midnight last night.”

He nearly rose to his feet despite his resolve, an icy fist punching straight through his ribcage to seize his heart. “Casey’s sister?”

Sasha confirmed this with a short nod, her lips pressed tight. “She was out camping with a friend near the Lower Prince quarry. Her friend, Kris Alden, fell ill shortly after they ate dinner and decided to go home. Cora wanted to drive him, but there was no one available to take her back once he was home and he claims he felt guilty about making her miss some super-moon or whatever the hell it is, told her he could make it home on his own. She never came back from the woods, the Alden kid shared a class with her that she skipped this morning and no one has been able to reach her via call or text. It’s not enough to assume that she’s officially a ten-fifty-seven just yet, but people are starting to worry. She’s never been someone to just bail on everything like this, Kris described her as very thoughtful and responsible.”

“You’ve already sent someone out to talk to him? Does Casey know?”

“Not yet. That’s actually what I wanted your input on - obviously he’s not getting anywhere near this case, but given the personal nature of your relationship with him what are your thoughts on his capability to handle the work environment in general as it’s investigated? Should I just send him on a vacation until this is cleared, or is he frosty enough to stay professional here at the station while his sister is missing? You know him better than any of us.”

Brandon’s brain reeled. “Personal nature? I don’t know what sort of relationship any of you are under the impression that we--not that any of you should have any impression of our relationship, I mean. Shit. We’re not in a relationship! I barely know him!” His voice was raising in pitch while he remained completely unaware, his knuckles going white around the armrests of the Quaker chair. Sasha exhaled sharply through her nose.

“Jesus. Do I need to send you on a vacation too? Get your shit together.”

“Fuck. Okay.” Pinching the bridge of his nose between his thumb and forefinger, he exhaled. “Casey is one hundred percent able to handle working while this is being solved, but that doesn’t mean he should. I doubt he’ll let you send him on a vacation, but try anyway. He doesn’t deserve to be here all day, trying to focus on other shit while half of Dorset is trying to figure out if his sister’s body is rotting in the woods somewhere. He should be with his family.”

“I’ll do my best. I’m giving this girl until tonight to turn up, and then I’m issuing a gloves-off ten-fifty-seven.” Sasha’s voice went to iron, and it occurred to Brandon that she cared for Casey as much as anyone at the DPD did. He was the lifeblood of the forensics labs, their unflappable new medical examiner whose lingering British accent left over from a youth spent in west London had a way of soothing even the most panicked and horrified relative of one of his corpses.

“I need you to go into far more detail about the supposed “nature” of my relationship with Casey, up to and including just how the hell you even knew about it at all. Not that it’s anything. At all.”

“Would you kindly climb off my dick, Graham? I’ve got enough shit on my plate right now.”

“Sasha.”

“Settle down. No one else knows anything, even though according to you there’s nothing to know. It’s just that a lifetime of police investigation have left me a highly observant person--”

“A lifetime? You’re in your forties, don’t start writing your memoirs yet you drama queen.”

“...And as such, I’ve noticed you two leaving work together occasionally, showing up around the same time in very deliberately separate cars but sometimes accidentally wearing each other’s shirts, things like that. Things only I would ever notice, I promise. No one else has mentioned anything to me, and you know they would if the rumor mill was running about it.”

“Fine. Whatever. Any more intel on Cora?”

Wordlessly, Sasha slid a manila envelope across her stately desk. Opening it, Brandon was confronted with a glossy photo of a beautiful young woman, all sparkling honey eyes and rich dark skin like a sunset’s sweet glow, thick black hair meticulously oiled and wrapped and beaded into immaculate dreadlocks that she’d pulled back with a sky-blue silk scarf for her senior high school photo, Cora wore her brother’s beauty as elegantly as he did. They shared the same royally rounded nose and high cheekbones, full lips and dimples. His chest ached, and he brushed his fingertips against the photo thoughtfully without realizing he was doing it. Sasha had compiled everything - her academic records, notes on her hobbies and habits, her generally expected whereabouts on any given day. She had no legal record to speak of, her profile speaking to a bright, clean-cut girl with a gleaming future in physics.

“She was a student at NVU,” Sasha supplied. “Is a student. Solid grades, a quiet type, well-liked by her peers but not known to be a partier. Close with her family, especially our Casey. Loved to cook, according to reports. She entered several baking competitions last year, even won a couple. Played the violin all throughout high school, but turned down a suggested spot on NVU’s student orchestra. Said she didn’t want it to interfere with her study time, according to the orchestra leader I called. She seemed laser-focused on her goal of working for NASA someday, had a whole vision board about it on Pinterest.”

“I’ll start with Kris Alden. I’ll head out to his place today.”

“Start with Casey. I don’t want him to hear about this on the news, and my official statement on the case is going live tomorrow morning.”

“Shit. Okay.” Scooping the file up under his arm, he rose to his feet. “I’ll go talk to him, he down in the forensics lab?”

“With Audrey and Stephen. See if you can get him alone, he won’t like his techs seeing him break down in front of them if he reacts poorly.”

“How the hell else do you expect him to react to the news that his sister is missing?”

“I’m just saying, let’s be conscious of how difficult this is going to be for him. You’re not exactly known for your tact, but you have the best shot at holding him together here. You know as well as I do that the longer we go without finding this girl, the less of a chance we have.”

Brandon paused at her office door. “I don’t know,” he said quietly. “Took me a year to get out of that basement.”

He hated the way her gaze softened, and so he made his way out without a goodbye to make a point, ignoring the irritating hiss of her compressed-air door mechanism that refused to let him leave with a satisfying slam. The forensics lab and department morgue was located in the basement of the station for obvious reasons, a narrow elevator depositing him into the DPD’s underground two minutes later. The temperature dropped by a few degrees once the doors slid open, the stone all around them cooling the air. He couldn’t hear the rain anymore, down here, and he found Audrey and Stephen hunched over a severed hand on a sleek chrome examination tray in the lab.

Audrey was tall and willowy, twenty-six with ice-blonde hair wound into a messy braid that she’d draped over one shoulder, so pale and slim that there was something ghostly about her, especially when taking into consideration her gray eyes so light and translucent they were nearly colorless, like a mirror or a deep-sea creature. She wore a white lab coat over a pair of black jeans and a loose, baggy gray sweater - she wore a lot of gray, black and white, and she always looked like a spectre, an overcast ocean. The selkies would have accepted her as one of theirs upon sight. Stephen was only barely as tall as her, with a much friendlier face, soft freckled cheeks and tanned skin suggesting a childhood spent outdoors working off baby fat. He had peanut-brown curls tumbling over his forehead and round, intelligent hazel eyes, a sharply defined mouth and an easily cheery demeanor. Oddly enough, he and Audrey were quite close.

“Hey guys. Anyone seen Casey?”

“Down in the morgue.” Audrey pointed to her feet, indicating the sub-level beneath them. “He left this hand with us and told us to collect data samples and disappeared. He’s been down there all morning.”

“Do you know whose hand it is?”

“Pretty sure it belongs to that wheat farmer who turned up in the hospital last week missing one. I mean, how many hands could there be unaccounted for in Vermont right now?” Stephen grinned, snapping his gum. He took a kind of morbid glee in his work, something Brandon had always suspected Audrey shared with him.

“Left hands, to boot,” Audrey added, shrugging. “How are you, Brandon?”

“I’m fine. I’d love to stay and um, look at the hand with you guys, but I’ve got to talk to Casey. Have...fun?”

Stephen’s grin widened. “Oh, we will, friend.”

“I hate the way you say things.”

Stephen’s laughter followed him back into the elevator, which delivered him to the bottomost floor of the DPD headquarters. Casey was there, bent over his own work, having forgone his stiff lab coat in favor of his neatly tucked-in dove-gray button-down, black silk tie, charcoal dress vest and matching creased slacks. His leftover British sensibilities were evident in his crisply classic style, always semi-formal and expensive even when he dressed “down” in Burberry cashmere sweaters and custom-tailored jeans. He looked so unflappable that Brandon’s faith in him was stirred anew, and he approached with more tenderness than was normal for him. His aura alerted Casey to something amiss upon impact, and he narrowed his eyes at him before saying a word. “Don’t see you down here often, love.” The last word slipped out before he could stop it, and Brandon watched him flinch minutely, almost imperceptibly.

#wip #nanowrimo #murder mystery #writing #gay #lgbt #mystery #cw: murder #cw: horror #cw: serial killers #forensics #my writing #lesser ghosts

11 notes · View notes