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peaktora · 3 months

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𝐁𝐄𝐃𝐓𝐈𝐌𝐄: 𝐃𝐑𝐀𝐆𝐎𝐍 𝐄𝐃𝐈𝐓𝐈𝐎𝐍˚◞♡ ⃗ dad!satoru gojo

𝙧𝙚𝙫𝙞𝙚𝙬 ┊ instead of sleeping, satoru and your daughter argue over what to name her stuffed dragon.

𝙘𝙤𝙣𝙩𝙚𝙣𝙩 ┊1.9k words. established relationship (#married). the toddler dialogue is purposefully not structured correctly since it’s words from a toddler. fem!reader. intended lowercase. warning: you will wish you had a kid with gojo after reading this.

𝙖𝙪𝙩𝙝𝙤𝙧𝙨 𝙣𝙤𝙩𝙚.┊this was gonna be a basic thought post, but i got more and more interested in the concept and was like “y’know what? fuck it, ima just make this into a full fic.” so here we are with a more full look at dad!gojo <3.

satoru mumbles, "but i think he likes being called spike,” and it's obvious that he's sulking. you don't even have to look up from your book to confirm it.

“well, you don't know him like i do!” your daughter replies, tucking herself into your side.

you flip through the picture book's pages fast, just getting brief glances of its colorful illustrations. unicorns, dragons, knights, and princesses decorated the pages. after turning the last page, you sigh and put the book down on the nightstand. despite the fact that the book was designed for toddlers, it actually looked interesting. you just know you would love to read it to your toddler. you can imagine yourself reading it to her, seeing the excitement on her face as she explores the world of fantasy—her absolute favorite genre.

but unfortunately, that image in your head will have to wait for another day, because her attention? is completely taken by the debate between her and her father.

how the argument started is beyond you. just ten minutes ago, you and satoru were snuggled up on your daughter’s bed, trying to read her to sleep. and now? satoru and her are in a heated debate over what to name her stuffed dragon. it's tough not to be amazed at how something so easy can become so complicated with him.

"i bought him, drove him around in my car, and wrapped him up in a cute little box for you. i think we know each other pretty well.” satoru smiles and reaches across the bed for the dragon.

“nuh-uh! he not even like you!” your toddler, with her tiny hands and puffed cheeks, clutches her stuffed dragon tightly against her chest. the plushie, its vibrant green scales and friendly eyes, seemed to come alive in her hold.

he retreats back to his seat on the edge of your daughter's bed, his lips curled into a frown as he asks, "how come?"

her mouth opens, then closes again. you look away for a moment to give satoru a look of disapproval, and by the time you return your attention to her, her brows are already starting to furrow. she mumbles under her breath, "because," running her small fingers around the plush dragon’s ear. she looks to be at a loss for words, as if she hasn't come up with an answer to satoru's question.

but that's okay, since you—happily, do.

"because you’re taking his time away from storytime. and satoru, in case you didn't know? when it's time to go to bed, we have storytime.”

your daughter looks up, her face beaming as she screams, "yup! and mommy picks the super-duper bestest stories ever!"

satoru gasps, his eyes never leaving yours as he rises from his bed and holds his chest. "baby, who's side are you on?"

you roll your eyes, "i'm just sa—"

"oh, sweetheart," he mumbles as he rushes around the corner of the bed, his movements quick to reach your side. without wasting a second, he rests a palm on your forehead, checking your temperature with a clear look of false concern. concerned people don’t have to hold back the urge to smile. actually, they don't have a smile at all—but for some reason, satoru does, and he's terrible at hiding it. "are you sick? having some hallucinations? is that why you've decided to side with enemy?”

your daughter giggles, and it only feeds satoru's act.

he turns his head towards the source of the giggles. a playful pout forms on his lips as he teasingly asks, "or did this little munchkin of ours use her princess magic to change your mind? she has a way of doing that to me sometimes, y’know."

his free hand reaches towards your toddler, fingers wiggling in anticipation. as his fingers make contact with your little one's soft, ticklish skin, even more giggles slip past her lips.

she tries to squirm away from his touch, but that's when he adds another hand to the tickle fest, and all chance of escape is gone. at that point, she visibly gives up, curling into herself to try to halt her dad’s tickling.

“i-i don’t have powers, daddy!” you daughter manages to stifle out through her laughs. you smile at the sound—it’s one you'll never get tired of hearing.

"you can't be a princess without powers! every princess has powers!"

“i-i'm n-not a princess though!“

satoru's fingers pause in their spot, his eyes widening in disbelief. "not a princess? how on earth can that even be?"

you’re sure if she needed him to, he could easily write an entire book about how she’s a princess.

he scoops her up from her place next to you, careful not to let her dangling legs hit you in the process. she lands on his hip, her eyes fixated on him as he lovingly whispers, "you're daddy's little princess!" he pauses, then adds, "and mommy is the queen, so that makes me—"

“the king?”

“you’re just so smart, huh? see, a perfect quality of a princess.”

“but princesses have dragons! big ones with so many pretty colors and names! they go—“ she cuts herself off and raises her tiny arms high. with a wide smile on her face, she takes a deep breath and lets out a loud roar.

satoru nods and smiles warmly at her, "oh, i see...well, y’know what? not all princesses have dragons.”

she tilts her head, and you awe at the sight. “they don’t?”

"nope," he says, taking her tiny hand in his, wrapping it securely around his finger. he lightly massages the back of her hand, and it’s soothing—scratch that, reassuring. you can tell from the way your daughter leans her head on his shoulder, tucking herself in the crook of his neck. "you don't need a dragon to be a princess. you're my princess ‘cause you're kind, smart, and full of love. i'd say that's all you need to be one."

"really?" she asks, waiting for his nod before continuing. "okay…but i still want a dragon."

"i get it, munchkin," he hums as he takes the dragon plushie from the bed. "we still haven't figured out a name for this guy, hm?"

“nuh-uh!”

“he looks like his power is being super cuddly. he's so cuddly that he puts you right to sleep…how ‘bout…fluffy?"

“ew.”

“fluffy sounds cute, no?”

"but dragons aren't cute. daddy, they breathe fire."

"wel—" satoru begins, but your daughter interrupts.

“his name should be fireball!”

“satoru, she does have a point,” you assert.

she really did. it was a dragon, not something adorable, but something that’s usually thought of as a villain—or a protector. athough deep down, a part of you just wanted this little debate to finally wrap up so you could finally catch some much-needed sleep.

“i thought i took away all of her princess magic?” satoru frowns, "stop siding with the enemy!"

you can't help but snort at his comment. mostly because, for whatever reason, he’s taking this dispute very seriously. so seriously that he doesn't seem to notice you're trying to do anything to finally get to bedtime. "baby i was just sa—"

"who says this dragon had to breathe fire anyways?" he interrupts.

when your toddler goes to respond, it hits you. "what about fluffy fireball?" you mention. it's a perfect combination of the two. well, okay, maybe not a “perfect” combination, but it's good enough to finish this debate.

if you weren't so tired, you’d stop and ogle the way they ask "huh?" in sync.

you shrug, "well, why not? he is pretty fluffy and spits out fire. there can’t be a better name than that."

your daughter holds out the dragon, looks at it for a while, then brings it up to her ear.

she gives the impression that he’s nodding his head before hushedly saying, "got it." she then turns back to face you and yells confidently, "fluffy fireball agrees!”

"well, i don't agree," satoru huffs. "the name is way too long an—"

“satoru.”

“but—“

"satoru," you say more firmly, and his shoulders sink as he mumbles "okay" beneath his breath.

your daughter lets out a yawn, and your eyes are immediately drawn to her. you signal for satoru to come over to the bed, and he does, bending down to your level.

“is my girl sleepy?”

"um," she pauses and looks at her dragon. "just a little bit."

"i can tell," you say, gently rubbing her back. you sneak a quick glance at your husband, and he looks the other way because he knows it's way past her bedtime. you sit up next to her ear and murmur, "i think fluffy fireball is ready to go to sleepy-time."

she gives the dinosaur a look before asking him, "y’wanna sleep with me?” then, she shakes the dinosaur's head up and down before exclaiming, "okay!"

you watch as she leaps out of satoru’s arms, and plops down on the bed. the room fills with giggles and the creaking of the bed as she scampers towards the middle. once she's next to you, she settles in and gets comfortable.

you can't help but smile as you see her tiny hands reaching out, playfully fluffing the pillows around her. then finally, with a satisfied sigh, she snuggles under the covers, cocooning herself in warmth.

she sets her dragon on her left side, making sure her loyal companion is there to do his job and look after her (the princess). it’s cute really. however, if that dragon becomes even a little bit too comfortable with the job, you know satoru will undoubtedly compete for the position. he'd say, "it can't just show up one day and take my job," or something along those lines. knowing him, he might even contemplate throwing it away—who knows.

you’re jolted out of your trance when your daughter asserts to her dinosaur, "you can sleep on daddies side, he snores."

satoru gasps, “i do not—“

“yes you do!”

“when have i eve—“

"guys," you sigh, feeling the weight of exhaustion in your voice. you cast a glance at both of them, making sure you have their undivided attention before pressing on. "c'mon, let's all take a breather and save the debate about your dad's snoring for tomorrow, okay?"

"but mommy, tell him he snores!" she whines. "he goes—" she cuts herself off to mimic satoru's snoring, and his face is priceless.

"now that’s just rude. how can you speak to me so coldly?” satoru scurries underneath the covers on the side of the dragon. and just like that, your daughter and her dragon are nestled between the two of you.

“this’ll be settled in a family meeting tomorrow. you two have already had one debate today. so right now? lets all go to bed.” you declare, then nestle deeper beneath the covers, closing your eyes.

as the voices of saddened "okays" and "alrights" blend together, a collective sigh fills the room. the sound of a click follows, and even with your eyes closed, the absence of light is unmistakable. it makes you feel even more exhausted than before.

you feel satoru’s arm slide around your shoulder, pulling you closer to him. meanwhile, your daughter stirs slightly, searching for a more comfortable position in the cozy space between the two of you. you can feel her movements, her small body nestled snugly against yours.

you snuggle impossibly closer to your pillow, and take a deep breath.

silence, that’s what follows—and it’s nothing but peaceful. that is, until satoru bursts out laughing. "i don't snore," he blurts out into the darkness, his voice filled with mischief. "i just provide a little background music for the night."

it's at this point that you decide to be extremely biased at the family meeting tomorrow. he’s not winning a damn thing.

#(っˆ ³(ˊ ᵕ ˋก ) ⇢ ˗ˏˋ 𝐏𝐄𝐀𝐊𝐓𝐎𝐑𝐀 𝐖𝐑𝐈𝐓𝐄𝐒 ࿐ྂ #i think this is the cutest scenario i’ve came up with #and the best part is that it’s 100% cannon (bc i said so)#gojo x reader #gojo x reader fluff #gojo angst #gojo x you #gojo headcanons #gojo scenarios #satoru gojo #satoru gojo x reader #jjk x reader #jjk gojo #jjk x you #jjk fluff #jujustu kaisen #jujustu kaisen x reader #jujustu kaisen headcanons

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eilidh-eternal · 2 months

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You don't like silence

Part of the Metanoia series | Part 1 | Masterlist |

The house is silent, but inside your head a brumous storm swirls, wispy tendrils of fog curling around delicate gray matter.

Your routine—watching Johnny walk Isobel to school, going to work and coming home, just in time to glimpse Johnny leaving to retrieve her—has changed.

You still watch from the window, mug bleeding warmth into cold, stiff joints from between your palms. Peer around the curtains every morning as the pair amble down the pavement together.

A new month brings a steady influx of meetings and end of quarter reporting, projected sales and last minute production tweaks, but your days are no busier than normal. Rarely miss a lunch break. Leave no later than three each afternoon.

Dinner, if you have any, is ready by five.

Even so, restlessness lingers in the midnight moons hanging beneath your eyes, darkens the air around you with somnolent clouds, and you list in the torpid deluge that rains down.

Sleep evades you altogether most nights, and you’ve made a game of picking out patterns in the knockdown. Faces, animals; nebulous, nameless things.

Some nights, when the faces of strangers, burned into your retinas, find their way into the patterns of textured drywall, you listen.

Isobels room must be on the other side of yours, beds sharing a wall. On the nights you manage to make it upstairs, you can hear them both. Isobel’s slow and measured pronunciations. The lilt of Johnny’s voice, filling in the blanks where she pauses on a word she doesn’t yet know.

They’ve finished all of her animal books, which means the imitated roars of big cats and bleats of farmyard animals have morphed into exaggerated accents. Sing-song rhymes about the importance of kindness, accepting differences, and other life lessons told through colorful illustrations and whimsical narratives.

Every now and then, if you’re lucky, she falls asleep within a few pages, and you can pretend that the low, pillowy rumble of Johnny reading is just for you. A gentle coaxing made of velvety words, swaddling your mind, heavy with exhaustion, and cradling it to his chest against the maelstrom you’re spiraling in.

Sometimes she stirs, woken hours later in the placid, milky hours before dawn, just as your eyes begin to droop. Tiny feet patter across the hardwood like rain, muffled in uneven intervals by what must be a rug or runner in the hall, on her way to Johnny’s room or the washroom maybe.

You wonder if it’s full of frilly, feminine things, her room. Pinks and purples, dolls and plushies. Does she have princesses or ballerinas on her bedding? Do posters and drawings line her walls or does floral, pasted wallpaper?

She likes Mulan, you remember. A warrior. Fighter. Soldier. Like Johnny.

Probably not so frilly, then.

Perhaps they could make a fighter out of you. Press you into the mold of their little family–strengthened by loss and galvanized with love–and breathe life into clay limbs. Carve a soldier from the malleable earth. Shape you into something useful.

Now, most of your nights are spent huddled in the living room, listening to the droning of the television. Throw blankets suck you down into the sofa like quicksand and each breath draws them tighter and tighter around you, filling pockets of air with crushed velvet and fleece. Tonight, you let them swallow you whole. Sink willingly into a latibule of plaid and warm cashmere.

The cold and quiet of your empty home isn’t so bad when you can hear Johnny moving about on the other side of the wall. Isn’t so unbearable when the warm timbre of his voice chases away the numbing fog that muddles your head.

There are nights that he calls you, like he knows. Knows that you're drowning in the silence.

He does that now, after he puts Isobel to bed for the night. Calls to ask about your week. Casts a lifeline into the churning ocean between you, procellous waves lofting you on spuming peaks, and calls your name from the battered, broken shore.

A lighthouse calling to a ship, lost in the mist on a perilous sea.

Last Thursday he asked about the cookies you made with Isobel. Asked if you would be willing to share the recipe with him–teach him–so that he could make them with her for a school event coming up in the spring.

The tenderness with which he speaks of her is a balmy breeze for your gelid heart. Soothes the burn of ice floes in your veins. Melts weeks of tension from aching muscles.

Now, his voice is somber, pensive, as it filters through the lack of insulation between you. “Friday. No, ah havnae told ‘er yet. Jus’ got the call.” He pauses, and you think you hear a muffled sigh. He sounds tired, too, accent thicker than honeyed whiskey rolling off his tongue, dropping consonants in favor of deep, throaty vowels. “Aye, ah ken. She’ll be happy tae see ye though.”

He’s on the phone, talking about Isobel. They must have family visiting soon, or a family friend if Isobel knows them well enough to be excited.

You wonder what the MacTavish family is like, if they’re a rowdy bunch. If they’re a large, extended family. Johnny seems like the kind of man who comes from a close knit community, one where you grow up down the street from your cousins and spend summers terrorizing small towns together.

“I’ll talk tae ‘er in the mornin’. Ah- No.” There’s a pause again, and even with layers of sheetrock separating you, you can feel the weight of his silence. “No, Mam. She’s… ah worry. Leavin’ ‘er like this. Piss poor timin’.”

He’s leaving? Without Isobel?

It’s muffled through the wall, and you feel like you can’t have heard that correctly. He mentioned the army, but you had thought, with a child at home, that his work wouldn't be the sort that requires travel.

Ice floes turn to glaciers in your chest, frozen spikes threatening to pierce brittle, fragile muscle, and the clouds swirling overhead descend upon you.

Lost in the mist, and he’s leaving.

He’s leaving, and he’s taking the sun with him.

“Ye cannae keep it from the lassie forever, John. Ye havnae even told 'er what ye do?”

Christ, this woman…

“She knows ‘bout the army,” he defends. “Cannae say much more.”

Fenella MacTavish clucks her disapproval. “Ye’re heids full of mince.” Dishes clatter and a cupboard closes a bit too forcefully on the other end of the line.

Johnny runs a hand through the disheveled strands of his hair, overdue for a trim, well outside of regulation length. “Mam—”

“Dinnae ‘Mam’ me,” she cuts in. “John Alexander MacTavish, ye tell that lass what she’s gettin’ herself intae—or I will.”

“Mam,” he tries again, voice pitched low, “Not yet. Cannae send ‘er off, naw like I do wi’ Bell. It’s safe enough here.” You’re safe with him here. “Dinnae like knowin’ she’s alone—Christ, I can hardly stand tae have the wall between us when I ken she’s hurtin’—but there isnae anythin’ I can do that’s naw already been done. Kate’s made sure of that.”

Fenella huffs and he can’t quite make out the garbled muttering on his end, but he has a fair idea of what his mother is blathering about beneath her breath. “Kirsten—have ye gone tae see 'er?” she finally asks, mercifully shifting the conversation out of your direction. “Has Isobel?”

“No,” he admits, and guilt twists in barbed coils through his chest.

He’s been meaning to, to drive up for the weekend and take her to visit her mothers grave, now that she’s older. Stay with her gran and look through the old albums. She's only ever seen the few photos they have at home, hanging in the hall near the kitchen.

Sometimes she asks about her. If she liked the things she likes. The way rain freezes on the tall grasses and tree branches in the winter, making glass gardens of trellises and window boxes. Extra whipped cream and blueberries for her pancakes.

If she would have walked with them to school in the mornings. Take her to the park down the block in the summer. Hiking in the fall, looking for wisps darting about beneath the fallen abscission.

Isobel is so much like her mother there are days Johnny swears it’s her refusing to eat the dinner he’s made. That it’s her complaining about cold weather and overcast skies in the heart of winter, bemoaning how long they have until spring revives the land. Swears it’s her voice that wakes him in the middle of the night. Her ghost, standing in the dimly lit doorway of his bedroom, a blanket pulled ‘round her shoulders and a teddy dangling from her hand.

“I’ll take ‘er, then.” Johnny can hear the grief that tempers his mothers voice, turning anguish to steely resolve. “I’ll come by tomorrow evening, let ‘er have a few hours with ye at home before ye say yer goodbyes.”

“Thank ye, Mam,” he says on a strained exhale, lungs rattling with fragments of his own grief. It slices into old wounds until pockets of air become sanguineous aquifers, bubbling up in his throat and leaving a sour, metallic taste on his tongue.

“I meant what I said earlier,” she reminds him. “Ye tell yer lass. Dinnae leave ‘er in the dark like ye did Kirsten.”

The line goes silent and Johnny sinks back into the old corduroy sofa, pushed up against the wall beside a shelf overflowing with picture books in the living room, and a ragged sigh unfurls from his chest.

The television across from him is dark, turned off when he took Isobel upstairs for bed, but he can hear an old rerun of Taskmaster playing softly behind him.

He listens, every night, for you. For the sound of your fridge, opening and closing. The soft ‘clink’ of porcelain against granite. The oven timer or the microwave.

He prefers the former. Knows, after these last few weeks, that you cook when you’re in a good mood. Usually go to bed soon after. The sound of the microwave precedes long, muted evenings and little sound from your side of the wall. He won’t hear the stairs creak beneath your sluggish feet until the wee hours of the morning. If at all.

He listens in the mornings, too, while he makes Isobel’s breakfast. Makes sure he can hear you doing the same. Smiles to himself when he glimpses movement in the window beside your door, a miniscule swaying of the curtain, and he holds Isobel’s hand a little tighter as they navigate lingering ice patches on the pavement.

The phone call with his mother, making arrangements for Isobel, masked the sound of your movements earlier, and his fingers twitch against his leather phone case.

When your side of the wall is quiet, he knows a storm is brewing; that you’re sitting in the eye of it, waiting for the walls to close in around you.

He doesn’t know if you’ve eaten tonight. Can’t hear anything beyond the muffled television and occasional creak of the sofa beneath your shifting weight.

So he calls.

One… two… three… four… “Hi, Johnny.” Soft and breathy. Like the air the words are spoken on has borrowed from the softness of your lips as it spills into the receiver.

This is the way you sound when you’re tired, he’s learned, all soft and rounded syllables. Too exhausted, even for your own nervous habits. You don’t have the bandwidth to explain every little thing like you normally would; don’t bother with rationalizing your actions aloud.

“Hi, bonnie. What’s cookin’?” It’s cheesy as hell, but it earns a huff of a laugh from you and it tempers the jagged edge of his worry—a knife, lodged between his ribs.

“I, uh… I had leftovers. Takeaway, from a work thing.” He’s never seen you with takeaway. Always canvas bags full of groceries and the occasional frozen box dinner.

How empty is your fridge? When was the last time you went to the grocer?

“Didnae take ye for the ‘easy’ type. Ye always make me work for it.”

“Work for it?” He can picture the pinch of your brows. The way your lips quirk to the side when you’re confused.

“Aye, got me makin’ puppy eyes an’ beggin’ for yer scraps.” You laugh again, more of a scoff, but it eases some of his worry all the same.

“When have I ever made you beg, Johnny?” He’s been begging any higher power that will listen to see you smile again, and he’d give anything to see the smirk he knows is dancing at the corner of your mouth right now.

“Could do it tomorrow,” he blurts before he can think better of it. “Come over. Show me that recipe again.”

Don’t make him tell you he’s leaving over the phone.

“I thought… you said the charity event is at the end of March, right?”

“Aye, but I think I’ll need a few lessons ‘fore my bakin’s fit for auction.”

He needs to know—needs to see—that you’re well before he goes.

“And you want to start tomorrow?”

“Why not?” He’d have you baking in his kitchen now if it weren’t for the late hour.

There’s a stretch of silence, interrupted only by the faint crackling of static and the sound of your breathing. “Do you have flour? Sugar? Anything to bake with?” you ask, and he answers with a proud ‘yes’. “Okay… okay. I can come over after work tomorrow.”

“I’ll ‘ave Bell home early then. She’ll want tae help.” Your amused sigh echoes across the line, followed by the faint rustling of fabric and then the soft pattering of stocking-clad feet over hardwood, fourth and fifth step creaking softly as you climb the stairs. “Off tae bed?”

Another sigh–on the tail-end of a yawn, he realizes. “Yeah. Well, trying. Don’t get a lot of sleep these days,” you admit, and though he’s successfully abated the storm of your thoughts, he wishes he could disperse it entirely.

Be the shelter you seek, at the very least.

He’d nestle you in the warmth of his bed, tucked close and sleeping soundly in the cage of his arms. Anchor you to him with a leg hooked between yours, whispering adulation against the howling, taunting winds.

He would make himself a rock to let your tempestuous thoughts batter and besiege. Weathered and whittled down to pebbles on a beach, he’d roll in the undertow alongside you. And when he is but sand on the ocean floor, still, he would drift and settle wherever the storm of you takes him.

“I used tae read for my sister when we were weans. She’d wake, spooked from a dream, and come tae my room in the middle of the night.”

“You have a sister?” A door clicks closed and blankets whisper over sheets as you settle in for the night. “What’s she like?”

“A lot like our Mam. Headstrong. Stubborn.”

“Are you the oldest?” You sound further away. Muffled. Like you’ve got the blankets pulled up to your nose and the phone beside you on the pillow.

“I am,” he lilts.

“She gets it from you, then,” you murmur, and his chest tightens.

“She got a fair number of things from me, I’d wager.”

He continues on, speaking just above a low, gravelly whisper. Reminiscing his early years and the trouble the two of them got up to. Thick as thieves and wild as the kellas cats roaming the highlands.

Your interjections dwindle, turn to soft hums and slow, even breaths. Sleeping.

He listens for a few more minutes to the soft, sweet sounds you make, little chuffs and sleepy hums, the susurrations of shifting sheets and nightclothes, and he whispers into the darkness, “Goodnight, sweet girl.”

Work passes you by in a blur, meeting after meeting chipping away at the hours and minutes ticking by on the analog clock perched on your desk.

The drive home is uneventful and it feels as though you’ve passed through a wormhole somewhere along the way. Can’t quite remember making the turn into your neighborhood from the main road.

Normally, Johnny would be leaving to retrieve Isobel from school right now, but as you gather your things and step out of the car you hear your name being called from several houses down.

Braids bounce and red wellies squeak as Isobel darts ahead of Johnny, weaving around patches of ice to get to you, and you step up onto the pavement just in time to keep her from running into the road.

She barrels into you, wrapping her arms around your leg and smooshing her face against your slacks. “Ye’re back!” she squeals, fingers curling into the fabric.

She’s leaving.

Your hand settles atop her head, soft wisps of curls tickling the pads of your fingers where they’ve escaped their plaits. “Where did I go?” you ask, and she tips her head back to look up at you.

“Bubby said ye were busy with work. Sometimes he gets busy too, and I have to stay with my gran.”

They’re both leaving.

Johnny’s caught up with her, lingering a few steps away near the walkway leading to your door. When you look to where he stands, hands shoved in the pockets of his jeans, windbreaker bunched up around his forearms where a tattoo peeks out, the corners of his eyes glimmer.

A smile curves the corners of his mouth, and it’s an odd mixture of grief and happiness that flickers there in the crook of his lips and set of his brow, sloped upwards and creased in the middle. His hair is longer than you remember, scruffy sides and tufts of mohawk curling at the ends, loose strands tousled around his face.

Wind blows at your back and a single tear tracks down the sharp plane of his cheek, disappearing in the dark shadow of stubble that lines his jaw.

“I have been busy with work,” you confirm, peering down at Isobel once more. “But I didn’t leave.”

You’re staying, and they’re leaving.

The wind picks up and she presses closer, shielding herself from the cold behind your frame. “Let’s get ye inside and put yer book bag away. Then we can catch up over cookies an’ milk,” Johnny says as he closes the distance between you.

“Cookies?!” Her excitement carries on the wind, and his smile sharpens, bright and hopeful, but the whetted edge of sorrow undercuts the warmth.

“Aye, but we’ll have to make ‘em ourselves.” He brushes a stray lock from her eyes, fingers brushing against yours where his hand settles beside it on her crown, and dread blooms low in your stomach where warmth should.

She ducks away from you both, bolting towards their front stoop, and you’re left with both of your hands hovering in the air, his half curled over yours, staring after her.

You pull away first, adjusting your bag on your shoulder. “I just need to sort this–” You gesture to the tote full of binders and your laptop. “–and I'll be right over.”

He fishes his keys from his pocket and takes a step back, towards Isobel. “We’ll be waitin’,” he says with a wink, and turns to take her inside.

There's flour in your hair and matching handprints on your slacks, and neither Johnny nor Isobel have fared much better. You’re all a mess, and the cookies you’ve made are tantamount to your disheveled state–lumpy, dry masses of something more closely resembling a biscuit.

“Dunno what ah did wrong,” Johnny muses, breaking one in half and inspecting the crumbly texture.

You sit beside him at the kitchen table, watching Isobel dunk half a cookie into a glass of milk. “It’s the butter and flour. The ratio is imbalanced–not enough fat.” She doesn’t seem to mind, stuffing the entire piece in her mouth and readying the next, fingers covered in crumbs that fall in her milk.

Johnny shifts beside you, sliding out of his chair and taking a bite out of his cookie as he moves towards the fridge. “Still tastes good,” he says around a mouthful and pours two more glasses, placing one down in front of you when he returns. “But I’ll need another demonstration when I’m back, I think.”

You take a cookie from the plate in the middle of the table, breaking off a chunk to dunk in your milk, and ignore the mirrored sensation in your chest. You knew this was coming. You know he’s leaving.

“When you’re back? From where?” you probe. No need to dance around the subject.

He shifts again, uncharacteristically nervous, and speaks softly. “Have to leave for a little while, for work,” he explains. Your cookie turns pliant between your fingers and you bite off the softened corner, chewing slowly while you listen. “Willnae know where they’re sendin’ me to until the briefin’.”

“When are you leaving?” You stare down at the crumbs swirling in your glass.

“Tomorrow morning.”

The foreknowledge of his impending departure doesn’t make the break any cleaner. The fracturing feeling in your chest widens into fissures and chasms, jagged edges crumbling, tumbling down into the festering darkness.

When you lift your gaze you find that he’s been watching you–studying you–and his hand has crept across the table, close enough you can feel the warmth of him. “How long?” It comes out wobbly. Unsteady.

You’re drifting out to sea again.

“Few weeks. Maybe a month.” Your chest feels like it’s caving in.

There’s a knock at the door. A canary in a coal mine, warning come too late.

“Gran!” Isobel’s chair nearly topples as she pushes back from the table, racing from the kitchen to the front door.

Johnny’s hand covers yours, long, callused fingers curling around your clenched fist and squeezing. “I’ll be back before ye know it,” he murmurs, smoothing a strand of hair away from your face and tracing the curve of your jaw as he stands.

He only goes as far as the kitchen doorway. Your heart’s already somewhere in the North Sea.

“Hi, Mam.” He’s greeted by an older female voice and pulled into a hug by a woman a whole head shorter than him. Isobel hovers nearby, bouncing excitedly from foot to foot, and tugs at the older woman’s–her grandmother’s–cable knit sweater.

“Gran, come meet our friend!” she says, and tugs again until she lets go of Johnny.

You stand from the table on wobbly legs, fighting to balance your listing emotions and put on a warm smile as Johnny’s mother slides past him into the kitchen.

The resemblance between the three of them is uncanny. Johnny shares his mothers dark coloring, rich hair and warm skinned, and they all have the same eyes–steely hues of grey-blue, spiraling outwards from inky pupils like storm cells.

“So, this is the lassie next door ye willnae stop glaverin’ on about?” she asks no one in particular as she openly appraises you.

“Mam–” Johnny begins, a simmering warning, but she holds up a hand to silence him.

They carry themselves in a similar manner, in the set of their shoulders and broad stance. She may not stand as tall as he does but she’s no less imposing, and it’s an effort not to squirm under her scrutiny.

Seconds feel like hours as she looks you up and down, cataloging the flour on your pants and in your hair, glancing to her left where Johnny stands in a state of equal disarray, and a knowing look flickers like lightning in her storm cloud eyes.

“It’s good tae finally put a face wi’ a name,” she says, smiling, and pulls you into a hug, too. “Call me Fenella, or Fen, whichever ye like.”

You return the gesture hesitantly, looking over her shoulder to Johnny for guidance and finding none. He simply smiles back at you from where he leans against the doorway, something unreadable in his expression lingering beneath it.

“It’s nice to meet you too… I- I’d love to stay, but should probably be heading home. I have an early morning and wouldn’t want to intrude on your visit,” you say by way of excuse.

“Ah’m naw stayin’ long, dear,” she explains, finally pulling away. Isobel returns to her side, pressing her shoulder to her thigh, and Fenella’s hand settles on the crown of her head. “Here tae take the wean for a stay wi’ her gran.”

“Is yer bag ready, leannan? D’ya have all yer books for school?” Johnny asks from where he stands, hands having found their way into his pockets again. His shoulders droop, broad frame deflating before your eyes. Leaving her behind, even with his mother, takes a toll on him.

Isobel leans around her gran to say, “I’ave all my books. And Mr. Ghost.”

“Goan an’ get yer things then, Bell,” Fenella ushers her out of the kitchen, climbing the stairs behind her to her room.

You watch until they disappear above the half open staircase, but Johnny has been watching you. Watching you navigate the shoal of your emotions, razor sharp rock scraping against a flimsy hull.

“C’mere, lass,” he entreats, one arm outstretched towards you, and your feet move of their own accord, carrying you forward until his hand settles on your shoulder, momentarily moored in the eddy of a tide pool. “Didnae mean to tell ye in the middle of… this.” He gestures above him to the sound of footsteps overhead. “Only got the call yesterday.”

With your hands folded at your front, you stare down at them, picking at a loose thread on your sleeve. “It’s okay. I understand—”

“No, lass, it isnae okay,” he interrupts, hand gliding up your shoulder, your neck, and coming to rest on your cheek. He lifts your gaze back up to his and he’s wearing that nameless emotion, staring down at you with a pained expression.

This hurts him as much as it hurts you.

“The job I do, it isnae always… predictable. Dinnae get much warning when I’m called in for assignments. I should have warned ye…” his thumb traces soothing arcs over your cheek, but it does nothing for the gaping hole in your chest. “I’m sorry… I should have—”

“It’s okay, Johnny. Really.” The lie feels like rubbing salt into a wound, burns the back of your throat like you’re speaking around a lump made of sandpaper, and your voice comes out scratchy and raw.

His hand lingers on your cheek, eyes darting from yours to your nose, lips, cheeks, brow. Memorizing.

“Let me walk ye home?” You nod, unsure if you can speak around the cordolium lodged in your throat, and his hand moves from your cheek to your waist, guiding you through the razor rock and churning tide to the front door.

His arm remains firmly around you, fingers digging into your softness as he escorts you across the meager expanse of your lawn.

There’s an SUV, still running, parked in front of both houses and left to keep warm while Isobel gathers her things. She and Fenella step out into the brisk evening air just as you and Johnny reach the top of your stairs, and Isobel waves to you as they descend. Your arm feels leaden as you lift your hand into the air, waving back to her.

“She‘ll miss ye. Talks about ye all the time,” Johnny says beside you, unwilling to let you go just yet. “I’ll be missin’ ye too,” he admits, and you thought you’d found the bottom of the pit in your stomach. Thought you were already lying at the bottom of it.

You were wrong.

The well of your affection for them feels bottomless. The floor crumbles, residual tremors of the quaking in your chest, and you’re falling, falling, falling…Even with his arm around your waist.

You fell in love with the man in front of you. Fell in love with the darling little girl climbing into her grandmother's car. You’re already in love with Fenella and her dedication to her family.

You’ve been falling this whole time, no safety net in sight.

“I- …” Your voice cracks, and you try again. “I’ll miss you, too. Both of you.”

You’re falling, and they’re leaving.

There’s little warning, just a tug of your blouse, before you’re being folded into his arms. A wide palm cradles your head to his chest, fingers threading through your hair, and he presses his cheek to your crown.

“Won’t be able to use my phone a lot, but I’ll call when I can.” He murmurs his promise into your hair. “If… if I’m not here an’ somethin’ happens… I gave my Mum yer number. Saved hers in yer phone when I gave ye mine.” He pauses. Sucks in a shuddering breath before he continues. “Whatever it is, she’ll help.”

You nod your understanding and he pulls back just enough to see your face, guides your head to look up at him and says, “Promise me. Promise that ye’ll go to her if ye need anythin’,” with a desperation you’ve never heard from him.

So you make another promise. Let your eyes flutter closed as he presses his forehead to yours and ghosts his lips across the chilled skin of your brow.

And then he leaves.

Isobel is sorted, buckled into her car seat and saying her goodbye’s to Johnny, and Fenella MacTavish stands beside the driver’s side door, watching.

She’s said this goodbye a hundred times. Sent him off to god knows where to fight a war she’s never heard of. It never gets easier.

Isobel’s door closes, and her son turns to her with pain in his eyes. “I hate leaving ‘er.”

“Which one?” she intones, and Johnny leans his hip against the B pillar.

“Both of them. The three of ye.”

“Then make sure ye come back tae ‘er–tae all of us,” she advises, and pulls him into one last hug. “I cannae bury another child.”

Next>>>

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cobragardens · 7 months

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The Colors of Crowley

Black is the color Crowley uses to cover himself, red is the color that represents Crowley to himself, and yellow is the color that represents Crowley to Aziraphale. What each color symbolizes and how it's used give us important information about Crowley (and to some degree Aziraphale) and about the ineffable relationship.

I feel kind of dumb writing this post because I'm sure it's glaringly obvious to everyone else, but there's this Metro UK article of all things (the Metro is owned by the hardcore rightwing Daily Mail, btw, so please don't link to it) that mentions the red stitching on Crowley's gloves in 1867, and it made conscious some details I had only subconsciously noted, so fwiw to anybody else, here are my notes on the colors associated with Crowley in Good Omens and their significance in the context of the way each one is used.

I don't think we need to cover black-as-evil in Western color symbology. [And yet here's a long-ass paragraph about it anyway! --Ed.] Light:dark::good:evil has been a thing with Christianity since before Christianity was even Judaism. The Israelites picked it up from the Zoroastrians way back before YHWH had subsumed El as 'God,' which may have been before they were Israelites as well; I mean it was a LONG time ago. Good Omens has been using black and white to represent Hell and Heaven, respectively, long before the show. In the UK, the book was published in paperback with a choice of black or white cover with an illustration of the contrasting character in the contrasting color: Crowley illustrated in black, Aziraphale in white. The current hardcover is grey.

Crowley wears black, and the Bentley is black. At the metanarrative or authorial level this is obviously for the purposes of the black/white demon/angel contrast, but on the intra-narrative level, the Watsonian level, it's interesting to note that Crowley doesn't have to wear black. He's obviously not free to choose from the full color palette, but Furfur's shirt and sash are is dark emerald green, Dagon is in ultramarine (as befits a marine Elder God), and Shax has only been on Earth for four years before she's wearing head-to-toe oxblood. When she shows up later in battle dress she's got a lot of oxblood there, too. And yet Crowley wears black.

Authorial reasons aside, black suits Crowley for a couple intra-narrative reasons. For much of history, black was the most expensive color to dye and maintain in clothing, and as a result it has always been fashionable. And for several centuries in Christendom, wearing black was also a sign that you were in mourning, which was a social and religious obligation when someone close to you died. Whether you could wear other colors with it depended on how long ago that death had occurred.

Again: black is what Crowley chooses to cover himself, and as there is a sharp distinction between how Crowley presents himself to fulfill his obligations and who he thinks of himself as being, there is likewise a distinction between the colors that represent those two quantities as well.

Red is the color the show uses to represent Crowley to Crowley. The most obvious reason is his hair. This is another change from Book Omens, where Crowley is described as having hair that is "dark." A lot of fans in the UK hated the change when S1 came out because fans hate change and the British have a thing against gingers, but Crowley's red hair suits him better than dark imo because the Mother of Demons in Jewish religious literature, Lilith, is traditionally depicted with red hair. Red hair has been associated for more than a millenium in the Middle East and England and Wales with sorcery, witchcraft, demonic influence/possession, and satan-worship.

Crowley wishes his mom was this cool with snakes.

A good case can be made that Crowley genuinely likes the color red in addition to considering it demonically appropriate. I say this for three reasons. Firstly, because when he has a (limited) choice of (again, demonically appropriate) colors, he always chooses red. The marble of the desk in his apartment is not green or grey. He can have any color stitching on his gloves or lining of his jacket collar he wants, but it's always red. Secondly, it's not only red he chooses, it's almost always bright red.

We know Crowley's red isn't supposed to represent blood or violence, because we have another demon character whose use of red represents just that, and it's not the same red:

Compare Shax' oxblood and burgundy to

and

Crowley's red isn't just red, it's lipstick, cherry, crimson red. And in case we weren't sure that we should read this red as symbolizing passionate, romantic love:

Romantic symbolism aside, bright red is also the color of passion (romantic or otherwise), optimism, heat, vitality, life, (hell)fire, and warning.

Red and black says don't fuck with Jack.

The third reason I think we can safely say that Crowley actually likes the color red is that he hides it. It's always tiny little touches, some of which you have to look for to see. (I still don't know where they snuck in the red on his Elizabethan habit, e.g.) And we know this color is a risk for him, and that he is right to hide it, because Ligur, who doesn't approve of any of Crowley's less-than-fully-demonic embellishments and may share Hastur's opinion that Crowley has gone native, comments on one of Crowley's more noticeably colorful items.

And I think the red tells us one more thing about Crowley, too.

Bright red is the colorest of colors, you know? When we can choose only one color to represent all colors, to represent colorfulness itself, we choose bright red (even in cultures where red symbolizes other meanings than it does in Western art).

Remember how Aziraphale gives Crowley's jacket a tartan collar when he swaps bodies with Crowley and impersonates him in Hell because Aziraphale feels the need to maintain some small secret token of his identity, some tiny unremarked sign of something he loves and thinks is beautiful, when he is down there alone in the gloom among enemies?

Crowley is down there alone among enemies every second of every day and night, whether he's in Hell or on Earth. And he's already had his identity stripped from him once. If you were someone who said

about this

and then you got recruited by the fash downstairs bc the fash upstairs threw you out for not being fashy enough and you had to start wearing nothing but dark colors and more importantly had to hide everything that made you feel warmth or softness or joy, and that was it, that was the deal for eternity, but you could add one (1) little touch to everything you wore to remind yourself that there is some beautiful part of you left, something you loved once, that no one has yet been able to steal or brutalize out of you...what color would the stitching on your gloves be?

Lastly, Yellow represents Crowley to Aziraphale. I'm going to skip the chain of evidence for this bc I think it's obvious, but the way it's used also lends itself to some inferences supported in other areas in the show.

Here's where I think changing Crowley's hair to red from Book Omens' dark is a good decision in another way. Crowley always has red hair, and if he has any color in his clothes it's going to be red. Red is eye-catching; it always stands out, but it doesn't stand out as demonic. And yet the color Aziraphale associates with Crowley and calls "pretty" isn't red.

I suspect that when Aziraphale says he can make Crowley an angel again, Crowley hears "You're not good enough for me to accept you as you are, let me fix you" because these are words Aziraphale has said to him many times, and has meant some of those times. But

tells the audience differently. The color Aziraphale associates with Crowley, the color he calls "pretty," is the color of Crowley's only overtly demonic feature. Aziraphale doesn't love the angel he knew who isn't Crowley, he loves Crowley, the demon, the person he is now, his yellow demon irises.

Yellow appears in three other places in S2, and they're all symbolically significant, and in fact serve to establish another symbolic significance to the color yellow in addition to that of Yellow Is the Color of My True Love's Eyes.

One of them is a feather duster:

Crowley reacts to a feather duster like a cat confronted by an unfamiliar object

The other three are private conversations between Aziraphale and Crowley:

The walls that surround Crowley and Aziraphale when they speak openly about their situation and how they will handle it are drenched in yellow, and that is super interesting, because in Western color symbolism yellow is the color of fear. The archangel of whom Crowley and Aziraphale are both (rightly) terrified wields a tool the color of fear. The color of fear saturates the backdrop of conversations between Aziraphale and Crowley when they have to discuss their situation and their actions openly.

Remember how Aziraphale's voice shakes here?

Crowley realizes the crows have just handed an angel evidence the angel can take to Hell and use to have Crowley killed

Even the Bentley, that clear sign of Aziraphale's love for Crowley, is also a yellow coffin enclosing him. For Aziraphale, thoughts of Crowley are always entangled with fear, because Crowley is not just Crowley, he is also Crowley's Fall.

And I think fear is what Crowley's eyes themselves represent. For Crowley, fear is now a fundamental part of his perception, his nature, his identity.

The angel Aziraphale once knew is not Crowley, and yet from what we've seen, the chiefest difference in character between this sweetheart and this mischief-maker--

--is that the Starmaker does not know yet that he should be afraid, and the Serpent does. That knowledge and its fear has, shall we say, colored his view of the world.

Aziraphale learns that fear early by observing others rather than Falling himself, and knows enough that by the first time we meet him in the Before, he is already afraid.

Pink was once symbolically equivalent to red; in modern Western color symbology it is a color of innocence, youth, beauty, and first love. Hashtag just sayin'.

The cruellest thing this suggests to me is that, rather than rebellion or his propensity to ask questions, rather than the knowledge of good and evil, the Starmaker's Fall was caused by his innocence. it wasn't the questions that were the problem: it was that he didn't know any better than to speak them out loud.

Y'all, Crowley and Aziraphale do not suffer from communication problems. Despite both being male-coded and British, they don't even seem to lack emotional intelligence. What they do have is a universe of silence and fear they have to communicate within and around. What they lack is the safety to speak and love freely. The true color of Crowley is crimson, but someone gave him those eyes, and Aziraphale either watched that happen or knew about it, and now Crowley covers himself in black--which btw is also the symbolic color for mystery and secrets--and only lets Aziraphale see him as he really is now, because Aziraphale won't judge him for his yellow eyes (or punish and forsake him for his questions). Because Aziraphale carries that fear with him too.

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