finally drawing hmc art and all i can come up with are memes lol

Happy Birthday to Ferdinand von Aegir!

I actually made 33 emotes, affectionately known as Aegirglyphics to some, for my own personal use on discord. However, I figure why not share some of them! They're free to use for discord servers/icons/pfps or whatever. However, my only request is Do NOT use them as subscriber emotes on Twitch. You can make them free follower emotes but you are not to make them locked behind a paywall.

I also cannot stress enough that not getting to hold the baby is in fact what makes JGY evil in CQL. Yes, JGY's been framed with some ominous cellos when he is just sitting there, but up till this point it's all been in conjunction with something JGS is sponsoring. He is perfectly happy planning that wedding! No self-generated schemes are afoot! Then JGS doesn't let him hold his nephew and immediately he starts mentally setting up an implausible plot-altering row of murder dominoes.

megumi baby what the fuck

Chilchuck being embarrased by wearing skirt-ish clothing will never not be funny

Ya'll should watch the '98 dub

// tsc spoilers

the things that damn blue shirt did to jeremy 😭😭 that boy is so gone

I loved my sketches so much, i decided to finish them!

2023 september - rock sound #300 (fall out boy cover) scans

transcript below cut!

WHAT A TIME TO BE ALIVE

With the triumphant ‘So Much (For) Stardust’ capturing a whole new generation of fans, Fall Out Boy are riding high, celebrating their past while looking towards a bright future. Pete Wentz and Patrick Stump reflect on recent successes and the lessons learned from two decades of writing and performing together.

WORDS: James Wilson-Taylor PHOTOS: Elliot Ingham

You have just completed a US summer tour that included stadium shows and some of your most ambitious production to date. What were your aims going into this particular show?

PETE: Playing stadiums is a funny thing. I pushed pretty hard to do a couple this time because I think that the record Patrick came up with musically lends itself to that feeling of being part of something larger than yourself. When we were designing the cover to the album, it was meant to be all tangible, which was a reaction to tokens and skins that you can buy and avatars. The title is made out of clay, and the painting is an actual painting. We wanted to approach the show in that way as well. We’ve been playing in front of a gigantic video wall for the past eight years. Now, we wanted a stage show where you could actually walk inside it.

Did adding the new songs from ‘So Much (For) Stardust’ into the setlist change the way you felt about them?

PATRICK: One of the things that was interesting about the record was that we took a lot of time figuring out what it was going to be, what it was going to sound like. We experimented with so many different things. I was instantly really proud. I felt really good about this record but it wasn’t until we got on stage and you’re playing the songs in between our catalogue that I really felt that. It was really noticeable from the first day on this tour - we felt like a different band. There’s a new energy to it. There was something that I could hear live that I couldn’t hear before.

You also revisited a lot of older tracks and b-sides on this tour, including many from the ‘Folie à Deux’-era. What prompted those choices?

PETE: There were some lean years where there weren’t a lot of rock bands being played on pop radio or playing award shows so we tried to play the biggest songs, the biggest versions of them. We tried to make our thing really airtight, bulletproof so that when we played next to whoever the top artist was, people were like, ‘oh yeah, they should be here.’ The culture shift in the world is so interesting because now, maybe rather than going wider, it makes more sense to go deeper with people. We thought about that in the way that we listen to music and the way we watch films. Playing a song that is a b-side or barely made a record but is someone’s favourite song makes a lot of sense in this era. PATRICK: I think there also was a period there where, to Pete’s point, it was a weird time to be a rock band. We had this very strange thing that happened to us, and not a lot of our friends for some reason, where we had a bunch of hits, right? And it didn’t make any sense to me. It still doesn’t make sense to me. But there was a kind of novelty, where we could play a whole set of songs that a lot of people know. It was fun and rewarding for us to do that. But then you run the risk of playing the same set forever. I want to love the songs that we play. I want to care about it and put passion into what we do. And there’s no sustainable way to just do the same thing every night and not get jaded. We weren’t getting there but I really wanted to make sure that we don’t ever get there. PETE: In the origin of Fall Out Boy, what happened at our concerts was we knew how to play five songs really fast and jumped off walls and the fire marshal would shut it down. It was what made the show memorable, but we wanted to be able to last and so we tried to perfect our show and the songs and the stage show and make it flawless. Then you don’t really know how much spontaneity you want to include, because something could go wrong. When we started this tour, and we did a couple of spontaneous things, it opened us up to more. Because things did go wrong and that’s what made the show special. We’re doing what is the most punk rock version of what we could be doing right now.

You seem generally a lot more comfortable celebrating your past success at this point in your career.

PETE: I think it’s actually not a change from our past. I love those records, but I never want to treat them in a cynical way. I never want there to be a wink and a smile where we’re just doing this because it’s the anniversary. This was us celebrating these random songs and we hope people celebrate them with us. There was a purity to it that felt in line with how we’ve always felt about it. I love ‘Folie à Deux’ - out of any Fall Out Boy record that’s probably the one I would listen to. But I just never want it to be done in a cynical way, where we feel like we have to. But celebrating it in a way where there’s the purity of how we felt when we wrote the song originally, I think that’s fucking awesome. PATRICK: Music is a weird art form. Because when you’re an actor and you play a character, that is a specific thing. James Bond always wears a suit and has a gun and is a secret agent. If you change one thing, that’s fine, but you can’t really change all of it. But bands are just people. You are yourself. People get attached to it like it’s a story but it’s not. That was always something that I found difficult. For the story, it’s always good to say, ‘it’s the 20th anniversary, let’s go do the 20th anniversary tour’, that’s a good story thing. But it’s not always honest. We never stopped playing a lot of the songs from ‘Take This To Your Grave’, right? So why would I need to do a 20-year anniversary and perform all the songs back to back? The only reason would be because it would probably sell a lot of tickets and I don’t really ever want to be motivated by that, frankly. One of the things that’s been amazing is that now as the band has been around for a while, we have different layers of audience. I love ‘Folie à Deux’, I do. I love that record. But I had a really personally negative experience of touring on it. So that’s what I think of when I think of that record initially. It had to be brought back to me for me to appreciate it, for me to go, ‘oh, this record is really great. I should be happy with this. I should want to play this.’ So that’s why we got into a lot of the b-sides because we realised that our perspectives on a lot of these songs were based in our feelings and experiences from when we were making them. But you can find new experiences if you play those songs. You can make new memories with them.

You alluded there to the 20th anniversary of ‘Take This To Your Grave’. Obviously you have changed and developed as a band hugely since then. But is there anything you can point to about making that debut record that has remained a part of your process since then?

PETE: We have a language, the band, and it’s definitely a language of cinema and film. That’s maintained through time. We had very disparate music tastes and influences but I think film was a place we really aligned. You could have a deep discussion because none of us were filmmakers. You could say which part was good and which part sucked and not hurt anybody’s feelings, because you weren’t going out to make a film the next day. Whereas with music, I think if we’d only had that to talk about, we would have turned out a different band. PATRICK: ‘Take This To Your Grave’, even though it’s absolutely our first record, there’s an element of it that’s still a work in progress. It is still a band figuring itself out. Andy wasn’t even officially in the band for half of the recording, right? I wasn’t even officially the guitar player for half of the recording. We were still bumbling through it. There was something that popped up a couple times throughout that record where you got these little inklings of who the band really was. We really explored that on ‘From Under The Cork Tree’. So when we talk about what has remained the same… I didn’t want to be a singer, I didn’t know anything about singing, I wasn’t planning on that. I didn’t even plan to really be in this band for that long because Pete had a real band that really toured so I thought this was gonna be a side project. So there’s always been this element within the band where I don’t put too many expectations on things and then Pete has this really big ambition, creatively. There’s this great interplay between the two of us where I’m kind of oblivious, and I don’t know when I’m putting out a big idea and Pete has this amazing vision to find what goes where. There’s something really magical about that because I never could have done a band like this without it. We needed everybody, we needed all four of us. And I think that’s the thing that hasn’t changed - the four of us just being ourselves and trying to figure things out. Listening back to ‘Folie’ or ‘Infinity On High’ or ‘American Beauty’, I’m always amazed at how much better they are than I remember. I listened to ‘MANIA’ the other day, and I have a lot of misgivings about that record, a lot of things I’m frustrated about. But then I’m listening to it and I’m like ‘this is pretty good.’ There’s a lot of good things in there. I don’t know why, it’s kind of like you can’t see those things. It’s kind of amazing to have Pete be able to see those things. And likewise, sometimes Pete has no idea when he writes something brilliant, as a lyricist, and I have to go, ‘No, I’m gonna keep that one, I’m gonna use that.’

On ‘So Much (For) Stardust’, you teamed up with producer Neal Avron again for the first time since 2008. Given how much time has passed, did it take a minute to reestablish that connection or did you pick up where you left off?

PATRICK: It really didn’t feel like any time had passed between us and Neal. It was pretty seamless in terms of working with him. But then there was also the weird aspect where the last time we worked with him was kind of contentious. Interpersonally, the four of us were kind of fighting with each other… as much as we do anyway. We say that and then that myth gets built bigger than it was. We were always pretty cool with each other. It’s just that the least cool was making ‘Folie’. So then getting into it again for this record, it was like no time has passed as people but the four of us got on better so we had more to bring to Neal. PETE: It’s a little bit like when you return to your parents’ house for a holiday break when you’re in college. It’s the same house but now I can drink with my parents. We’d grown up and the first times we worked with Neal, he had to do so much more boy scout leadership, ‘you guys are all gonna be okay, we’re gonna do this activity to earn this badge so you guys don’t fucking murder each other.’ This time, we probably got a different version of Neal that was even more creative, because he had to do less psychotherapy. He went deep too. Sometimes when you’re in a session with somebody, and they’re like, ‘what are we singing about?’, I’ll just be like, ‘stuff’. He was not cool with ‘stuff’. I would get up and go into the bathroom outside the studio and look in the mirror, and think ‘what is it about? How deep are we gonna go?’ That’s a little but scarier to ask yourself. If last time Neal was like a boy scout leader, this time, it was more like a Sherpa. He was helping us get to the summit.

The title track of the album also finds you in a very reflective mood, even bringing back lyrics from ‘Love From The Other Side’. How would you describe the meaning behind that title and the song itself?

PETE: The record title has a couple of different meanings, I guess. The biggest one to me is that we basically all are former stars. That’s what we’re made of, those pieces of carbon. It still feels like the world’s gonna blow and it’s all moving too fast and the wrong things are moving too slow. That track in particular looks back at where you sometimes wish things had gone differently. But this is more from the perspective of when you’re watching a space movie, and they’re too far away and they can’t quite make it back. It doesn’t matter what they do and at some point, the astronaut accepts that. But they’re close enough that you can see the look on their face. I feel like there’s moments like that in the title track. I wish some things were different. But, as an adult going through this, you are too far away from the tether, and you’re just floating into space. It is sad and lonely but in some ways, it’s kind of freeing, because there’s other aspects of our world and my life that I love and that I want to keep shaping and changing. PATRICK: I’ll open up Pete’s lyrics and I just start hearing things. It almost feels effortless in a lot of ways. I just read his lyrics and something starts happening in my head. The first line, ‘I’m in a winter mood, dreaming of spring now’, instantly the piano started to form to me. That was a song that I came close to not sending to the band. When I make demos, I’ll usually wait until I have five or six to send to everybody. I didn’t know if anyone was gonna like this. It’s too moody or it’s not very us. But it was pretty unanimous. Everyone liked that one. I knew this had to end the record. It took on a different life in the context of the whole album. Then on the bridge section, I knew it was going to be the lyrics from ‘Love From The Other Side’. It’s got to come back here. It’s the bookends, but I also love lyrically what it does, you know, ‘in another life, you were my babe’, going back to that kind of regret, which feels different in ‘Love From The Other Side’ than it does here. When the whole song came together, it was the statement of the record.

Aside from the album, you have released a few more recent tracks that have opened you up to a whole new audience, most notably the collaboration with Taylor Swift on ‘Electric Touch’.

PETE: Taylor is the only artist that I’ve met or interacted with in recent times who creates exactly the art of who she is, but does it on such a mass level. So that’s breathtaking to watch from the sidelines. The way fans traded friendship bracelets, I don’t know what the beginning of it was, but you felt that everywhere. We felt that, I saw that in the crowd on our tour. I don’t know Taylor well, but I think she’s doing exactly what she wants and creating exactly the art that she wants to create. And doing that, on such a level, is really awe-inspiring to watch. It makes you want to make the biggest, weirdest version of our thing and put that out there.

Then there was the cover of Billy Joel’s ‘We Didn’t Start The Fire’, which has had some big chart success for you. That must have taken you slightly by surprise.

PATRICK: It’s pretty unexpected. Pete and I were going back and forth about songs we should cover and that was an idea that I had. This is so silly but there was a song a bunch of years ago I had written called ‘Dark Horse’ and then there was a Katy Perry song called ‘Dark Horse’ and I was like, ‘damn it’, you know, I missed the boat on that one. So I thought if we don’t do this cover, somebody else is gonna do it. Let’s just get in the studio and just do it. We spent way more time on those lyrics than you would think because we really wanted to get a specific feel. It was really fun and kind of loose, we just came together in Neal’s house and recorded it in a day. PETE: There’s irreverence to it. I thought the coolest thing was when Billy Joel got asked about it, and he was like, ‘I’m not updating it, that’s fine, go for it.’ I hope if somebody ever chose to update one of ours, we’d be like that. Let them do their thing, they’ll have that version. I thought that was so fucking cool.

It’s also no secret that the sound you became most known for in the mid-2000s is having something of a commercial revival right now. But what is interesting is seeing how bands are building on that sound and changing it.

PATRICK: I love when anybody does anything that feels honest to them. Touring with Bring Me The Horizon, it was really cool seeing what’s natural to them. It makes sense. We changed our sound over time but we were always going to do that. It wasn’t a premeditated thing but for the four of us, it would have been impossible to maintain making the same kind of music forever. Whereas you’ll play with some other bands and they live that one sound. You meet up with them for dinner or something and they’re wearing the shirt of the band that sounds just like their band. You go to their house and they’re playing other bands that sound like them because they live in that thing. Whereas with the four of us and bands like Bring Me The Horizon, we change our sounds over time. And there’s nothing wrong with either. The only thing that’s wrong is if it’s unnatural to you. If you’re AC/DC and all of a sudden power ballads are in and you’re like, ‘Okay, we’ve got to do a power ballad’, that’s when it sucks. But if you’re a thrash metal guy who likes Celine Dion then yeah, do a power ballad. Emo as a word doesn’t mean anything anymore. But if people want to call it that, if the emo thing is back or having another life again, if that’s what’s natural to an artist, I think the world needs more earnest art. If that’s who you are, then do it. PETE: It would be super egotistical to think that the wave that started with us and My Chemical Romance and Panic! At The Disco has just been circling and cycling back. I  remember seeing Nikki Sixx at the airport and he was like, ‘Oh, you’re doing a flaming bass? Mine came from a backpack.’ It keeps coming back but it looks different. Talking to Lil Uzi Vert and Juice WRLD when he was around, it’s so interesting, because it’s so much bigger than just emo or whatever. It’s this whole big pop music thing that’s spinning and churning, and then it moves on, and then it comes back with different aspects and some of the other stuff combined. When you’re a fan of music and art and film, you take different stuff, you add different ingredients, because that’s your taste. Seeing the bands that are up and coming to me, it’s so exciting, because the rules are just different, right? It’s really cool to see artists that lean into the weirdness and lean into a left turn when everyone’s telling you to make a right. That’s so refreshing. PATRICK: It’s really important as an artist gets older to not put too much stock in your own influence. The moment right now that we’re in is bigger than emo and bigger than whatever was happening in 2005. There’s a great line in ‘Downton Abbey’ where someone was asking the Lord about owning this manor and he’s like, ‘well, you don’t really own it, there have been hundreds of owners and you are the custodian of it for a brief time.’ That’s what pop music is like. You just have the ball for a minute and you’re gonna pass it on to somebody else.

We will soon see you in the UK for your arena tour. How do you reflect on your relationship with the fans over here?

PETE: I remember the first time we went to the UK, I wasn’t prepared for how culturally different it was. When we played Reading & Leeds and the summer festivals, it was so different, and so much deeper within the culture. It was a little bit of a shock. The first couple of times we played, I was like, ‘Oh, my God, are we gonna die?’ because the crowd was so crazy, and there was bottles. Then when we came back, we thought maybe this is a beast to be tamed. Finally, you realise it’s a trading of energy. That made the last couple of festivals we played so fucking awesome. When you really realise that the fans over there are real fans of music. It’s really awesome and pretty beautiful. PATRICK: We’ve played the UK now more than a lot of regions of the states. Pretty early on, I just clicked with it. There were differences, cultural things and things that you didn’t expect. But it never felt that different or foreign to me, just a different flavour… PETE: This is why me and Patrick work so well together (laughs).  PATRICK: Well, listen; I’m a rainy weather guy. There is just things that I get there. I don’t really drink anymore all that much. But I totally will have a beer in the UK, there’s something different about every aspect of it, about the ordering of it, about the flavour of it, everything, it’s like a different vibe. The UK audience seemed to click with us too. There have been plenty of times where we felt almost more like a UK band than an American one. There have been years where you go there and almost get a more familial reaction than you would at home. Rock Sound has always been a part of that for us. It was one of the first magazines to care about us and the first magazine to do real interviews. That’s the thing, you would do all these interviews and a lot of them would be like ‘so where did the band’s name come from?’ But Rock Sound took us seriously as artists, maybe before some of us did. That actually made us think about who we are and that was a really cool experience. I think in a lot of ways, we wouldn’t be the band we are without the UK, because I think it taught us a lot about what it is to be yourself.

Fall Out Boy’s ‘So Much (For) Stardust’ is out now via Fueled By Ramen.

what if....during tighnari's akademiya days a lot of people had a crush on him but he never realized (that or he just didn't really care). like whenever he does nice things for people, people would always take it as him flirting when no he's just being nice. for some reason i always headcanoned that tighnari was kind of a pushover when he was younger. and a people pleaser. and because of that, he got manipulated a couple of times. and i think that's why he'd be much more stern and sassy when he grew up. much more- "mf no means no" energy. of course maybe i'm overthinking it and he's just sassy by nature, who knows. what do you think of this headcanon?

Ooooh since Tighnari is canonly popular in akademiya, I also thought a lot had a crush on him ! Since Sumeru's society kind of value those who are smart, and some create family only for work complementary or what, I wouldn't be surprise that Tighnari was number one inf popularity hahaha It is a cool HC ! But if I remember well, he doesn't even know why people still come after him, even if he didn't act "gentle" ? So I think he was a sassy in nature He is not pleasing people, but he values knowledge and the share of wisdom ! That's why he agree to help when people ask (when those people are serious in their work). He is not scared to say what is wrong, even to those who are superior to him (this is how he got his vision ! He has the audacity to correct what is wrong during a conference or something like that if I remember well ? When he was only a young student back then ! I think that's why he become so popular faster...) that's what make him charming. He is right in his boots ! But yes !! I believe he becomes more harsh in his word for those who are too pushy, poor guy ):

Despite Ruben having more screentime than any other RG, nearly all of it has been spent interacting with the BKs, interacting with Wanda, or literally performing.

So it is a little difficult to tell, which of these is most like the way that he is normally, the rest of the time.

But with the info of voting against Kipperlilly, and with the one moment that doesn't fit into those three categories, I think he might not even have specific beef with the BKs (or with Kipperlilly) and that's just what he's like right now.

Ruben's main characterization is that he's desperate for attention. His type is "anyone who thinks he's cool. Straight up." Not conventionally attractive, skinny, rich or popular people who think he's cool. Just literally anyone who will give him attention and treat him like he's special. I think the way that he is with Wanda is probably close to the way he is with anyone he's talking to romantically, and it's different because he's already receiving a different kind of attention. (Same thing with performing.)

The rest of the time he's consistently described as smirking or sneering, and engaging with people in a way that pisses them off. The big examples we had before Kipperlilly were Fig and Gorgug, so it might have just been that he had some mysterious problem with the BKs in particular himself. Maybe he still does, maybe he separately has a problem with the BKs for being popular and with Kipperlilly for being a nerd who cares.

But there is one single moment where we know some behavior of his that doesn't have anything to do with a specific other character. And that's the scene where Yolanda Badgood's death was announced to the school. And Ruben was described as smirking.

Now you might interpret this as incredibly callous, and it is pretty callous. But we don't know how much yet. If the giant did the killing, then Ruben might not actually have known the death was related to Lucy's death at that moment. Which would make it about as callous as Adaine dunking on the dead oracle.

But most people in that scene weren't actually reacting to Yolanda's death anyway. They were reacting to the Pass/Fail news. Max Durden's party was happy about it, but a lot of people were upset. I think Ruben was smirking about that. I think at some point during that assembly he was probably making eye contact or taunting some people who were affected by it. I don't think it's because he has some issue with people who care about their grades, they're just the people available at the moment to be a troll at. And at this point it looks like that's probably also his reason for acting the way he did towards the BKs and to Kipperlilly, because he doesn't need an extra one.

Obviously this doesn't actually make him look better as a person, than if he had been messing with Kipperlilly (or the BKs) because he specifically wanted to upset her/them as individuals. He's clearly a huge mess at this point in his life (just like every Rat Grinder and every Bad Kid). Despite my obvious bias, it's not my goal to make anybody like him. Just maybe think about him for longer than two seconds.

If Ankarna is manifesting in him at all, it seems very likely that she's doing it this way, by twisting his desire for attention into something that engages with rage.

“Sampo sounds too deep in his new voicelines” SUCK IT UP BITCH THAT’S MY MAAANNNN

i was reading a scoops era steddie au where eddie visits scoops often and one thing i noticed i alway want but have yet to see (bear in mind my fic pallette is basically just shit i see on Tumblr and occasionally reading every fic a certain author has written) is a specific scene of eddie noticing stobins missing when he goes to visit them at scoops the day theyre stuck in the bunker. cause they entered the bunker after a shift one night and didn't get out until at the soonest the next afternoon right before the mall closes so if either or both of them were scheduled to work then they'd be just... gone.

and how characters around them handle that depends on how soon (if at all) they're declared missing. did robin think they'd be in-and-out in their snooping and tell her parents shes be back a little late or did she think they'd be out kinda late fucking around and just lied to her parents telling them shes sleeping over at a friend's like how we know tina was going to cover for erica? did mrs Henderson freak out when Dustin didn't bike back home (knowing what happened with will) or did she know he was with steve and trusted that they were goofing off or something?

and usually i see Steve's parents not being home but what if they were?? they could panic because steve always has some sort of excuse for why hes gone or maybe just his mom starts worrying because while his dad never really asks about him she does and she knows hes probably not at some girls house right now because he at least would have told her. or maybe mrs harrington doesn't know her son as well as she thinks she does and assumes he is out at some girls house and is relieved hes finally getting to be more like himself.

maybe just one or two people in scoops troop are reported missing that night and maybe the search started for them is enough for the other's parents or friends to realize they're all missing. maybe none of them are because they each already had a coverup with the people who'd notice. maybe they spent a good few hours in that elevator regretting lying about where they'd be because now no one knows they're in danger and by the time they start looking it could be too late (obviously erica didn't seem to grasp this yet but shes literally 10 and it's definitely her fist severely traumatic life or death experience. for the others tho it could definitely be on their minds and i have seen a few fics where robin wonders about how steve and Dustin are reacting like they've done scary shit like this before together)

then morning comes and id give it until lunch with no calls or anything before parents who believed their kids were sleeping over to start worrying seriously. maybe they call the friend their child's supposedly with and get a confused parent saying they haven't seen them or maybe they get the friend picking up and confirming they're fine (like tina). but if Mrs Henderson gets worried and calls steve she'll either get the harringtons saying he isn't home right now or she won't be able to reach him. and knowing steves like a big brother and a best friend to dustin knows that if steve missing too he's probably at least missing with him and goes to the station worried about them both

and then theres the fact that scoops has to open in the morning, probably sometime around 10am. maybe steve and robin were scheduled to both work again and as 10am comes and passes scoops ahoy hasn't been touched. maybe some mall manager calls the scoops manager (forgive me ive never worked in a mall but i do work in a store-within-a-store and we have our own manager plus the big store manager) and asks where their employees are. if missing persons reports were filed that last night then the manager would be really worried while frantically trying to find someone to cover for them. but maybe no one knows they're missing yet and their manager is grumbling about their no-shows, maybe considering firing them for both disappearing without even calling out. depending on how much they know and if the reports were filed, whoever has to cover their shifts is either worried about their coworkers (probably moreso robin than steve because of his reputation) or utterly pissed that they both didn't show and they have to open scoops ahoy with a few hours delay and probably a good few karens bitching about being closed. or maybe one or the other was scheduled and while their no-show is really inconvenient at least someone's there to open and ask for backup

and then theres steves car still parked in the back where it was the day before. a bike left behind at the mall is less eyebrow-raising but a fancy car? Steve Harrington's car? Steve Harrington who was scheduled to work today but somehow isn't in scoops right now? is he skipping work while simultaneously wandering around his workplace? and whats worse is despite evidence being there *no one can find him*. maybe thats what it takes for people to realize hes like actually missing. maybe they think he was kidnapped, hopefully he just went home with some girl and lost track of time.

and then theres eddie. eddie whos been stopping by scoops for a while now. maybe he still doesn't really like Harrington but likes teasing him with Buckley or maybe they've gotten pretty close. maybe they're already dating. maybe eddie walks up to scoops one morning to find it closed or to find that one or the other didn't show up for work this morning. maybe he hears from the worker that ones missing or maybe they get a rant about how pissed the worker is to be opening alone. maybe he's the one to go to a mall manager or security officer worried about scoops being closed because he *knows* the people that are supposed to be there right now and they don't just abandon work at the same time with no explanations.

or maybe eddie visits in the afternoons and learns they're missing from their coworkers or maybe hes there because he saw it on the news and went on his our hunt. either way it'd probably end with Eddie looking around the mall for them because he knows steve isn't going to just abandon his beemer in a busy public parking lot. maybe he finds them high out of their minds while checking the movie theatre (this one i do see a lot and am obsessed with its so good) or maybe he doesn't find them at all (its a big mall and they are actively hiding from Russians who know they escaped. sure stobin are not being very secretive while high but dustin and erica are at least keeping them in less-discoverable locations). maybe he goes home knowing hes looked everywhere in that damn mall and assumes they're probably kidnapped and taken somewhere else (if he did find them tho that opens a whole can of worms for if, how, and how much eddie gets involved and while my brains gone down sone of those rabbit holes i don't think i will today)

and then they see the news about the mall fire. and eddie knows damn well that he looked everywhere in that mall but didn't see a trace of his friends but there they are on the news and apparently in the fire. maybe eddie assumes he didn't look hard enough. but maybe he sees how steves the only one with more than a few bruises on his legs, how despite them claiming he was trapped in rumble that also allegedly killed billy hargrove he looks like hes carrying himself on adrenaline alone and hovering around robin and the kids like something more than falling support beams could get to them. maybe its the fact that he look as shit as he did but wasn't laying down on a hospital stretcher like he would be if he just got those wounds.

_._._._

hi if you saw any typos no you didn't UNLESS theyre funny or actually concerning then you should tell me and i can react appropriately

also i swear i feel like doctor strange looking through every possible reality when i go on tangents like this. idk whenever i come up with little fics in my head or come up with different ways my favorite unfinished fics could end im always exploring as many different versions of the same scenario as i can and coming up with as many what-ifs as i can.

also i pressed the poll button by accident while making this and idk how to make it go away to we're trying just ignoring it and not writing anything in it to see if it goes away

actually fuck that it probably wont work so im adding a poll question as a treat for the people who read this far

Accidentally Undercover - They will never stop being a menace, truly <3

you know what the Actual actual funniest thing about this new wave of Buggy fans is that so many sees him topping

when from what i've seen as a longtime buggy fan is that veterans all want someone to bend him over

My unpopular opinion is that I think Sam should have supported Dean when Cas was being bitchy and Dean was being bitchy back instead of giving Dean vague disapproving looks where is the brotherly loyalty and protectiveness huh