Steddie grammys au part 2
Part 1
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Steve is texting Eddie Munson via the private message function on instagram. Because that's just the kinda shit that happens to him now. One day he's at the Grammys doing his job and the next, the lead guitarist/lyricist of a famous rock band is following his instagram account (Dustin and Robin had lost their collective minds) which is full of dorky pictures of him with a group of high schoolers, his cat and Robin. And that one picture of Robin and him at pride, posing with a lesbian and pansexual pride flag respectively.
His follower count has also gone up by couple extra thousands and there are a couple DMs from people he's never heard of, saying some unsavoury things about him. It's all very intense and dramatic. Needless to say, his account is private now.
The thing is, Steve has been flirted with during interviews before, he's a good looking guy and he knows it. It's just never happened with an international rockstar before—then immediately went viral for the entire world to see.
Didn't peg you as a cat person Stevie
Then there is the other thing. Eddie Munson flirting with him in his DMs. Which kinda sorta makes him forget how to be a person. Steve Harrington is nothing if not a people person, always knows the right thing to say. But with Eddie he barely just manages, no sign of the alleged lover boy he had been in his high school years. Eighteen year old Steve would cry if he could see the bland ass conversation he's having about his cat of all things.
I'm not
He just barged into my house one day and refused to leave
Eddie is hot, and rich and famous. Did he mention hot, because he is. Painfully so. Steve will never forget his all black ensemble at the Grammys where he had been standing a foot away from Steve in his bejewelled suit jacket with nothing underneath it.
Point is, Eddie is intimidating. He seems so far away with his rockstar status and the hoards of fans worshipping him like he's their god. What could Eddie Munson possibly want from Steve Harrington?
Would you like to get dinner sometime?
Eddie's latest text is staring up at him like its going to jump out of his phone and attack him. Its too late to ditch and run, Eddie knows Steve has seen it so he needs to come up with a response. Soon. So Steve does the only reasonable thing and barges into Robin's room at ass o'clock in the morning.
"Say yes Dingus!" Robin says, after kicking him in the shin for waking her up.
"But—" she silences him with another well placed kick.
"Listen, no one who just wants to bang you asks you about the shitty retail job you had in high school, Steven. Even if he only wants to sleep with you, you're gonna get a fun night out of it and like bragging rights or something," He supposes she’s right. Eddie did seem very interested in Steve’s personal life. He really did hope it is a date though. If only he has the balls to actually ask him.
"I'd be so jealous of you right now if I liked men, so get out of your head and go have some fun. Now get the fuck out and let me sleep,"
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Eddie picks an upscale rooftop bar with private seating and a breathtaking view. He's there sitting at the booth half an hour before their scheduled meet up time out of nerves.
Eddie sometimes hates that his public image takes precedence when people meet him. The truth is that he is a little bit of a loner. Never got the point of physical intimacy without a connection no matter how much people tend to think he's the type of person to have a different person warming his bed each night.
It makes dating so hard when the perception of Eddie the rockstar doesn't line up with who Eddie the person really is. Eddie rarely even takes the first step anymore. It took the combined ragging of his entire band for him to even gather the courage to message Steve.
"Hey," a voice greets him from behind.
Steve is here. And Steve is an enigma. An ex high school jock who used to babysit a bunch of middle schoolers. He's so full of delicious contradictions and dry humor and it's impossible not to like him the more he learns about him.
But there’s still the question of what Steve expects of him that Eddie dreads a little. Above all, Eddie just wants Steve to like Eddie the person so badly.
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“A fire extinguisher,” Eddie’s eyebrows are somewhere up in his bangs.
“Yep,”
“Against an armed robber,”
“I swear I had grey hairs at seventeen because of those kids,” Steve knows how sappy and fond his voice sounds when he talks about the kids. It’s never been something he could help.
The night’s been going a lot better that Steve had expected. Eddie is funny, and dramatic and it’s hard not to feel giddy from the attention he utterly devotes to Steve. They have a nice dinner, and exchange stores over drinks and it’s feels like a real date. Steve can practically hear Robin in his head telling him to stop being such a dingus and overthinking everything.
They go quite for a second, Eddie suspiciously focused on his drink when Steve feels his boot nudge against his shoe. Steve nudges back and soon instigates a game of footsie neither of them acknowledge above the table. It ends with Eddie’s foot trapped between Steve’s ankles and a faint rise of colour in his cheeks as he takes a comically large gulp from his drink. It’s just adorable.
"Can I kiss you?" The words are out of Steve’s mouth before he even realises it. Before he could beat himself up about it, Eddie turns a slightly worrying shade of crimson but he's nodding and thats all Steve needs before he is leaning over the table.
It's nice, it's really fucking sweet and not at all how he had expected Eddie to kiss, but Steve is quickly learning that nothing about Eddie is what it seems like. The kiss is all soft presses of their lips, wet, languid slides of tongue at the seams of his mouth. Steve feels a little dizzy when he pulls away and drops back into his seat, happy grins mirrored in both their faces.
———
Its a couple months after that when Eddie starts trending again. He posts a picture taken by Gareth, post show as he lays on top of Steve on the couch. Steve has his arms around him, lips pressed to his gross, sweaty hair.
Caption says: Happy birthday to my sweetheart <3
———
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The sheer soulmatism of Lenore and Annabel fucks me up so bad everytime I think too hard about it okay sit down y’all.
The way they were immediately drawn to each other even though they had no memory of anything! No reason to immediately become so attached and protective and trusting! Not even death could part them, it’s almost like reincarnation in a way. The sins of living and the pain that comes with being alive washed away not by holy water but rather split blood, and in this new life they’re reborn into a blank, clean slate. Even in this memoryless ‘next lifetime’ they still choose each other without hesitation, without question, and I am on my knees sobbing.
The parallels of Annabel fainting! Annabel fainted when she learned that Lenore was actually alive, and Annabel also fainted when remembering how she died, and by extension, how Lenore died too (not related to soulmatism but in one scenario her lover caught her despite the injury, and in the other Lenore had no such hinderance but failed to catch Annabel regardless and that parallel kills me so softly). The soulmatism that is reacting the same exact way when you learned she lived vs remembering how she died, the soulmatism that the love is still the same. Oh how the love is still so tragically the same, crossing that threshold of death, despite the unhappy ending you shared. Annabel faints because it’s learning you have a second chance at love vs remembering how that same love was ripped away and I am no longer on my knees but laying facedown on the floor.
(The way Annabel looked at Lenore before collapsing in both scenes but with DRASTICALLY different vibes of disbelief like okay yeah sure, sure okay mhm just smash my ribs and rip my heart right out why don’t you?)
Now, NOW, the thing that truly ends me? The crazy red/blue symbolism these two carry.
Lenore is the embodiment of red. Her thoughts come in red print, as do the ribbons she was wrapped up in. Her fiery (pun intended), confident personality, her pure raging defiance rallying those around her. What’s more, Lenore’s anger and bared teeth is painted red the same way her love is, because red is not just the color of anger. Red is love, and Lenore, my god, she cares so openly about the people around her that her heart’s just painted bloody and brazen on her sleeve. Born from self-made infernos into the person she was always meant to be- flirty, quick-witted, taking what she wants when she wants- she is a young Montague wrapped up in her family’s house colors trailblazing down her own paths.
(But unlike dear Romeo who scaled a tree to look upwards towards Juliet on her balcony, Lenore was in a tree looking downwards at her counterpart, and this parallel is so important as the scene is clearly a Romeo/Juliet parallel but without the sweet sappiness but rather tension and just like, 1000x more interesting ‘can I trust you fr fr-ness’.)
Annabel is the embodiment of blue. Her thoughts come in blue print, and her ribbons are a deep blue to match. Blue is the color of calmness, and she seems so tranquil with a gentle yet firm confidence that puts people around her at ease. A natural born leader with such cool-headedness. Oh, but underneath that mask? Sadness. SO MUCH sadness, Annabel is an ocean of it, she’s a peaceful smile with a melancholic heart shot through. Young Capulet holds not pure innocence like her Juliet-counterpart but rather a deep rooted loneliness, like guys, Annabel is actually just so fucken SAD I think we really need to address this more yes she’s a total girlboss but also Annabel is the personification of hollowed out loneliness that comes with your beloved being ripped away from you.
This really got away from me, but my point?
Lenore, the embodiment of red, has blue eyes.
Annabel, the embodiment of blue, has red-adjacent eyes.
FORGET LAYING ON THE GROUND IN TEARS I AM CURRENTLY CLIPPING THROUGH THE FLOOR AND HEADING STRAIGHT GAY TO MY GRAVE IN THE BACKROOMS!!!
YOUR HONOR THEIR EYES ARE THE GODDAMNED COLORS OF THE OTHER’S MOTHERMARYFUCKING S O U L LIKE WHAT IN THE JESUS H CHRIST BUMBLEBY SOULMATISM IS T H I S S S⁉️⁉️⁉️
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anyone wanna get emotional about collaborative art with me?
[Mirage 19 Story: E&L, Layout: Eastman, Pencils: Jim Lawson, Inks: Laird, Letters: Steve Lavigne]
ID from alt: Cropped section of the page annotations by Laird, (relevant) text: Page 18 is also the beginning of what I think of as "Brick hell" - Jim drew so many panels with hundreds of bricks in them, and I felt obliged to ink them all in. That was a LOT of bricks." Left is a panel showing Raph running down a curving brick tunnel, the wall is drawn with individual bricks, uncountable amounts of lines that illustrate the curvature.
If not, enjoy brick hell instead (I'll leave, just a doozy of a brick hell image at the end)
(this issue has beautiful layout paneling, which little snippets of could never replicate. great one to check out. imho)
come one come all to the worst barn party of the decade...
[IDS AND ALTS THE SAME]
ID: Jones family barn interior. Mike and Don speaking to Raph (off panel). Mike, in an open gesture: Life is good here... It's given us time to heal, to accept what's happened. Leo's needed this time, too--. Don, by his work table, no mask, wearing an apron. More neutral: We're not the guardians of society, Raphael... we never were. END
ID: Three panels, Raph pushing Leo around, yelling at him. The background moves from uninked, to midtone, to dark tone, as they both get more angry. Raph: No-- You're hiding out here... scared to face facts... And you're dragging all of us down with you! Fun and games are over, Chump... Look at yourself! END
ID: Two panels, Raph looks down to a wooden sword Leo (off panel) has held up in his way. He looks at it, unimpressed. Then looks up, pissed off and says only "Mistake." END
1. Three panels, Leo in the forground, just his leg seen. Raph on the floor against a wall. He whips his chin, saying "You were always good, Leo...". Close up, spit hangs from his mouth, continues "... One of the best..." He stands and finishes "...Which makes life here even more of a crime."
2. Four panels, Leo has Raph in a choke hold, holding him from behind, they are on the floor. Sweaty and teeth grit with exhertion. Leo says "--Do you hear me?!" Raph starts throwing punches to Leo's head, just above his own. As each one land we close in on Leo's face. END
Well. Thats great. Ill eat my own heart out how abouts.
AND ANYWAY. My favourite favourite effect.
ID: 1. Four panels, Leo, Mike and Don, run along a roof top, grab some fire escapes, and make their way to street level, skirting the edge of a street lamp's glow. The entire set is pen inked normally, and washed completely with the mid tone, save the small circle around the lamp, glowing white.
2. Large panel. Raph, 3 point lands, kicking up dust in the center of a spot lit section of sewer. The tail ends of a hood he wears trail up with the motion. Very little double-tone is used on the page, instead the shadow is communicated by increased hatch lines still following the shapes of every object in shot. END
ID: Raph sits in the tattered remains of the turtles lair, his brothers shadowed in the foreground. Raph, not very warmly says "Welcome Home." END
Okay okay. cry forever and every. please for the love of god. read comics. now. more brick hell
ID: Three panels, showing the entrance of a sewer tunnel into a larger area, closed and open pipes along the wall. The shot holds empty for two panels, then with the inclusion of Raph jumping out the exit in the third. If you are to look carefully. You can tell, though the scenery remains the same, in each, the intricate pen inked brick work and shadows have been done three separate times. END
LIKE. I KNOW ITS TRADITIONAL MEDIUM COMICS. But sir.... SIR? Another annotations from Laird specifically. Have mentioned using the copier to place certain things in backgrounds.... i just.... SIR?
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