SORRY ABOUT THE POSSIBLE EYE STRAIN new drawing just dropped lol! this one is of my sona Atlas, if they when absolutely nuts. Also this is another experimental style im trying (seeing what works/ what I like).
•Eddie is the only one who isn't annoyed by clipboard Buck.
• Eddie loves listening to Buck rant about random information.
•Eddie was the only one who was interested in Buck's newfound math powers after he got hit by the lightning.
•Buck was the only one who cried when Eddie got shot.
•Eddie was the only one seen crying after Buck got hit by the lightning.
•Buck saved Eddie from the shooter.
•Eddie brought Buck back to life by pumping his heart.
•Eddie only entrusts Buck with his son..not even his own girlfriend or family.
•Eddie knew about Maddie's plan to keep Buck occupied after he came back from the hospital but he was the only one who wasn't on her list. Because he knew that was what not Buck wanted.
•Buck runs to Eddie after Chimney punches him.. not Bobby, not Hen when he usually shares everything with them. He knew he wanted someone he could trust at that moment, as he was hurt by a very close friend, so he went to Eddie.
•Christopher runs away to Buck when he's upset with Eddie. Not to Eddie's Abuela or Tia, but Buck.
•Christopher also calls Buck when Eddie is having a breakdown. Again, not his family, but Buck.
Things which we will get if Buddie actually becomes canon
“When Mary Magdalene meets the resurrected Jesus, she looks right at him, but does not recognize him, “supposing him to be a gardener.” Only when he addresses her does she realize who he is. She turns toward him. John does not describe the action, only the dialogue, so it is left to us to imagine what leads Jesus to say, in the Latin that has become metonym for the scene as a whole, Noli me tangere, usually translated as “do not touch me” or “do not hold me.” The noli me tangere encounter is another one artists cannot resist. There are myriad arrangements of Jesus and Mary Magdalene: his hand stretches out in refusal, she kneels, he bends, they both stand, they look at each other, one looks away. Almost always she reaches for him. Sometimes she makes contact. The multitude of portraits reflects the ambiguity of the simple phrase, which opens a range of possible relations. Perhaps he rejects her touch because he cannot bear the shock of intimacy, divided as they are by the fact of the resurrection. Perhaps, even as he speaks, he touches her, to hold her away from him. It’s possible, the philosopher Jean-Luc Nancy argues, to translate the phrase as “do not wish to touch me.” If you do, then it becomes an exhortation to love the death too, because it is intrinsic to every life. Meanwhile, Mary’s hands hang in the air. Resurrection is Dante’s eternal rotation, “spurred on by flaming love”: it is the ongoing allegiance to keeping in sight the appearance of disappearance. It is living as if. It is a game of hands, an everlasting reaching after what escapes, what you love.”
— Elisa Gonzalez, in “Minor Resurrections: On failing to raise the dead”