Junicrane/Starstruck Ramble
I will not be brief, all under the cut
To clear some things right off the bat:
No corpse, no proof with Juniper. Obligatory this is set in a canon where he's alive and adjacent to the agency in some way.
Reggie & Juniper are just gay to me, but I don't mind any interpretation of their sexuality
The games are set in 1967/68 to me (based on a couple bits in game) which is before it was legal to be gay in America at least (1971), which is relevant to how I interpret canon as being somewhat grounded in reality, despite unrealistic elements.
This is just an insane amount of headcanons/elements of and AU all culminated into one post. I will talk about some headcanons like they're just facts because they are established in my head, and it saves me over explaining literally everything, however I will explain some parts a little bit for clarity.
Alright. Actual beginning of the ramble:
Juniper is a character to me who had gotten so lost in his job as an actor and a social presence that in the end his whole life revolved around that 'role'. Because of this, by the time he's put into the situation where he's around the Agency, he basically knows nothing about himself, though he doesn't realise at first. Furthermore, what little identity he had has changed in so many ways. He's no longer a beloved famous actor in the prominence of public light, he's legally dead and he tarnished his career just before he was supposed to die, with the bonus of that making him lose the majority of his estate. From that, he also has horrific facial scarring from the electrical burns from literally having his face fried. I believe a friend of mine made a post about this a while ago (I also think they were the first to think it up also), but, to me, Juniper has a permanent trimmer in his right arm (aka his dominant hand) from the electrical current and it is messing with his nervous system.
All in all, he's not doing great, but he's too proud to admit that he's not doing great, because if anything, what's left of his ego is all he has as a defense since he's deep in unfamiliar water.
Before ending up around the agency (I have multiple interpretations of this, so I'm just going to bring it up generally), he'd never actually seen Reggie, and his only impression of him is a single voicemail, which was his only reference he had to later impersonate him. Juniper probably has very little feelings other than the ones he projects onto him because of Phoenix and that, at the very least, he's physically attracted to Reggie to some degree (that's like the beginning of how everything else would tumble into place in this sort of interpretation at least).
And on Crane's side? His feelings towards Juniper are probably very intense and muddled. On the one hand, he adores musical theatre, and that's his now ex-favourite actor. The thought of just casually being around him blows the bit of fanboy in him away at first because THAT'S the GUY, plus the inklings of a celebrity crush which still poke at him. And then there's the rational side of him, which knows Juniper has committed absolute atrocities on the side of Zoraxis, and hates him for that. Then there's how much Juniper comes off as an asshole at first because he refuses to cooperate with anything the Agency tried to put in place. He finds Juniper endlessly frustrating, and yet he's stuck working with him since, afterall, he's the one who knows the Agency's history with Juniper the best. I imagine him acting a lot like how he does IEYTD 1 around Juniper.
At this point, I'm just describing the pitch for a romcom.
I think the start of their relationship with one another largely started with Juniper trying to wind Crane up. It was a way of getting his attention, and I don't think Juniper knows why he's so dead set on that at first, because I don't think he realises he has a crush on 'this grump' at first. (I think that's actually the fun part about these two, because it's almost like a role reversal of the celebrity crush dynamic. This ex-big name actor has a TERRIBLE crush on an average joe and it is KILLING HIM.) But of course the Agency keeps them together because Juniper is at least conversing with Crane, so it's a start.
Through one way or another, they actually get talking casually, at least mildly at first. It takes Juniper a long time to fully deconstruct the wall he's built, and the thing is, Crane isn't the one trying to deconstruct it, at least at first, because yeah, Juniper realises if he wants Reggie to actually like him in any way, he can't keep winding him up. So they talk. Small talk at first, something rhythmic and almost easy to keep to a script. And over time that turns into actual conversations. Genuine ones in which Reggie rips out the occasional one of his jokes which Juniper is endlessly endeared about. The way he smiles just before he makes them, like he wants to chuckle at what he's about to say before he says it. That's probably when Juniper realised that he does have some vague crush on him, and that it wasn't going away.
This is what kickstarts John I can't-buy-you-things-to-impress-you-so-acts-of-service-it-is Juniper to do little things for him. It mostly starts off as him trying to make Reggie his tea how he likes it. However, the nerve damage in his arm makes that hard, as the weight of the kettle and trying to pour is hard all of a sudden. And he refuses to accept that, so he tries for a very long while. Long enough that Crane would go to investigate what was going on. And when he does see Juniper leaning over a cup with the kettle as he uneasily tries to pour it, and when Crane asks Juniper responds so matter-of-fact that his intention is nothing but genuine. And it catches Reggie off guard because Juniper hadn't done anything like that up to that point, and his very apparent vulnerability is so clearly on show.
It shifts something between them.
From that point on, conversations are longer, more familiar. Both of their attitudes soften, and Reggie makes more jokes. Juniper learns how to better use his left hand while strengthening his right back to a point where it could be used again. Slowly, they're both spending time with one another not because they have to, but just because they can. Little bits at first, not too far outside what they already were doing, but those little bits turned into long bits to a point where the other person's company was genuinely desirable.
As time passes, Juniper probably realises that he doesn't genuinely know much about himself or what hobbies he's into, because he never really had the time when he got big, and his home life in his youth wasn't bad, but it wasn't picturesque. I think Reggie would pick up on it, and absolutely try to introduce him to some things he's into. Some things stick, other things don't (corn husking very much stays Reggie's passion, and John will go with him sometimes because it's him, but it's not something he strongly cares for). Crane introduces him to a lot of music, and it's something that becomes a staple between them, with tracks they listen to more than others (tragically, I know relatively little about 60s music so I couldn't really say what). Occasionally they dance, never anything intense, think slow dancing, but the closeness is nice.
Through all of it, Juniper is battling the worst crush of his life, and he can't stand it, because I think he struggles to read people since he doesn't have anything like a script or a director to refer back to, so he has no idea if Reggie likes him back or if he's just desperate for that to be true. I think because of that any sort of confession between them would be incredibly raw, not only because of the time they live in making it hard for them to be truthful about how they love, but because it's a complete show of Juniper who's worked to be this better person. I don't exactly know how that would go, mainly because I don't have one set version of their dynamic, this post is just a generalisation of main consistent points.
Reggie does like him back, because he's gotten used to Juniper being just this guy, not a figure in the public eye, not a Zoraxis lackey, and not any sort of Agency operative (despite being under their care to some degree). He's someone he genuinely cares for, because they've given one another the time of day to learn one another, and I think because Reggie was a field agent, he was a lot better at reading Juniper than Juniper was at reading him. Eventually Juniper's company becomes something he could see around him for the rest of his life, and I think he accepts that he likes Juniper a lot more gracefully.
I think any affection directed at Juniper would at first be met with him feeling a little muddled. Reggie was a very physically affectionate person when he could be, and sure the initial flirting with one another came with the occasional little touches, but everything now was so deeply intentional. I also don't think Juniper would almost ever get over the novelty of being able to kiss him, or many other gestures, because it made the fact that they were together so very real, and it was great. I do think it comes easier to Reggie, and it's a big way of showing how much he cares, so it's important for Juniper to try and show it back because he knows how much it means to the other.
I like the idea of them eventually living with one another, too. I think Juniper would have always had a quiet little daydream of sorts where he does just live a domestic quiet life, and he can with Reggie (well, as close as they can get between the Agency and Zoraxis always being at odds), and he loves that, and he loves him, and it's immense.
I think they cook for one another a lot, it helps Juniper work on his dexterity in a controlled environment, which means a lot because it's a huge point of insecurity (that and his scars). He does improve, and Crane is proud of that and shows it and it's great. I also think they'd probably cook together too, because they can deal with being in the kitchen together and they work well with one another. It's probably a good way for them to unwind because over time they can do it in relative silence.
As I said before, I also think music is a staple in their household, and that Reggie listens to things on vinyl almost all of the time because he likes the background noise. Sometimes Juniper will catch him chuntering along to the music which he finds endlessly endearing. I wouldn't put it past his dramatic ass to also join in to fluster Reggie, but I also don't think Reggie would mind that terribly because Juniper has listened to the music enough to know the lyrics, and that's huge to him.
I don't think they are without rough patches, no relationship is, but I think the good part about them is that they're willing to talk about it (... eventually). They're used to long conversations, and while they're often less fun conversations, they're needed and they know that, and it works out.
Alright. I think I'm done for now. I haven't mentioned everything, but this definitely got the worst of it out of my system. If you ever want to hear any specific thoughts my ask box is open but other than that, behold my general dynamic for these two which has been festering in my head for years. I think they're great
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i gave you all i had, i did
day 5 : sacrifice ( from @adfaugust )
all he’s ever done, he did it for this family.
tyler’s long been used to hours of work with little reward, underpaid for hard labour and chalking it up to his family name. the world’s out to get him, he’s always known it, has been told so time and time again by the holt matriarch. and he knows better than anyone that sharon wouldn’t lie, has been an honest woman from the day she was born. if she ever was dishonest, it’s cause she had to be, cause she wasn’t given another option. but ma’s honest, gets her way through respect built from her steely and admirable nature. sharon, impossible not to respect with her fingers poised elegantly around a cigarette. lord knows tyler gladly picked up that habit for a few stolen seconds of her company. always wishing blindly to soak up her presence, as if it would somehow cure him of his own inferiority, childishness she frowned upon. he always feels adult standing next to her — ’cept for when he don’t, when he feels like he’s quakin’ in his boots just being near her. tells himself it’s because he loves her, because he can’t stand the thought of her coming to harm. knows that he’s her protector and that’s all he is, and for a holt, that’s a blessing. no higher honour than to be at sharon’s side, making sure their shitheel of a pa don’t try anything.
never strikes him that he might be thinking backwards, that the person he’s afraid of is the very person he loves the most. so wrapped around her finger he can’t see it for what it is, embraced into her perfumed storytelling, lies that sound like the truth, until tyler can’t help but believe in her. she’s his ma, and she needs him, everyone does. shoulders heavy burdens so she don’t have to, under the firm belief that he had a choice, but that no sane man would choose the other option.
what man would leave his ma to suffer all alone? none that are mannerly or polite, none that really care for her. tyler’s signed away his life, all twenty-five years of it thus far and whatever rest of it that cruel fate gives him. quickly revises the thought, since he oughta be grateful for what he has — the opportunity to be there for his ma, for his brothers.
still doesn’t stop the white-hot jealousy from bubbling up in a weary chest when he sees how easily dale and jay are awarded with ma’s attention. don’t know the last time she called him sweetheart — or if she ever has. keeps blindly charging forward, since he knows why dale’s got ma’s heart; no one could hate a face like that or deny him a thing. and jay… as much as he don’t contribute, as much as he ain’t really one of them ( as much as his sensitive nature is rewarded when tyler’s was long stamped outta him, told time and time again that he’s the eldest and real men gotta keep their upper lip stiff ) … sharon’s affectionate towards the golden boy because he reminds her of that sister of hers. that woman who got herself knocked up and imposed herself on her charitable sister, only to wind up dead and leaving her screaming kid behind for sharon to care for like he’s hers.
( and if tyler had to pick up those motherly responsibilities, it’s cause ma obviously couldn’t, not after her own sister had died, and no one could have expected her to be well enough to take care of a kid or her three-year-old and certainly not her seven-year-old little man, the nickname brooke gave him as she pinched a solemn cheek still ringing in his head — )
— but ain’t he the same as brooke, now? running off to save his own skin when dale’s … a sharp pain lancing through his chest, solid evidence of how he’s failed the family. still feels the sting on his cheek when ma told him clear as day — he ain’t got this, he wasn’t responsible enough, never good enough. and selfishly he wonders how long he has to sweat and toil for … her approval, but he’d never say that. sharon don’t give out praise that ain’t earned, and tyler never earned it a day in his life. no matter how hard he worked. no matter how little he slept. no matter how kind he was to his charity case of a cousin.
and he’s doing everything he can, even if ain’t good enough, even if it ain’t perfect. tells himself this is the best he can do for the ones he’s lost — protect himself cause he’s the only one left to protect her. when dale’s gone, pa’s in some hospital after his act of cowardice, and they had to leave jay behind when the cops were too close for comfort. he’s the only one left, and sharon’s safety’s all that matters. they come up with a plan, her and her only child, and there’s an unspoken understanding that passes through ‘em. the knowledge that they’re all they’ve got anymore, that they have to stick together.
it’s everything he wanted. least, he thought it was. until jay shows back up on their doorstep and tyler’s left to stare. a brother back from the dead and the short-lived attention from his ma itching at the back of his ribcage. forced to think horrible thoughts, wondering if it was jay all along who took this from tyler. if sharon’s affections were only doled out to the youngest boys because that love’s finite, and because jay just had to be difficult, ruin things by taking that book and killing dale, the sting of a motherly slap across the cheek still smarting. can’t accept that he wants more than he’s got, so it’s jay’s fault. that festering itch getting worse until it’s damn near unbearable. it’s jay on the doorstep of the cabin and not dale, not his baby brother who sat on his lap and babbled to him in half-formed sentences, who didn’t leave him ( didn’t leave the family, comes the mental correction ) to go galavanting off in the woods.
still, tyler takes first watch. is used to staying up and expects that neither ma nor jay will wake up for a second watch. maybe he’ll catch an hour or two, but he ain’t counting on it. more important that sharon gets her rest, and it’s not like tyler trusts jay to stay up and keep an eye out. not after he found out about brooke, the long-kept secret that shoulda been told to him long ago, so he could understand why he’s gotta make it up to the family more than ever. if anything, he thinks maybe jay’ll try to slink out and talk to him. the lie weighs heavy on his chest, but it’s the most sensible solution. ma needs to go on the motorcycle, and jay can survive out here in the woods. if tyler stayed ( and his chest constricts at the mere thought ) … he’d die. still, even though ma knows that, it’s still his duty to stay back. even with this busted leg, even with his lack of familiarity of the bush of two rock. when jay wasn’t around, the solution was simple. now, it’s staring him right in the eye. his imminent death. the same fate as dale. loving jay, then dying for it.
the door creaks open, and tyler’s heart squeezes in his chest seeing it’s ma. it ain’t rare for her to seek out his company, whether it’s to unload some stresses or just cause he’s smoking at the same time as her, but that weary heart still jumps when she does. hard and clear evidence that he’s doing something right. but that brief hope gets squashed like an insignificant insect as soon as the words leave her mouth. can we talk about this canada thing?
shoulda known she was coming out to ask about it, silently curses himself for not realizing sooner. remembers the other mistake he made, telling jay about his real ma, and braces himself for a scolding that thankfully never comes. sharon’s not a petty woman, and she’s moved onto more pressing matters. wondering why jay can’t have the prized seat next to her on the bike. wondering all that when she’s whip-smart and definitely smart enough to know tyler’d die if he stuck around back here. and it all comes flooding out. a juvenile confession, practically sobbed out. a desperate begging for love he’s always thought he was above. is it so wrong to want to live? is it so wrong to want a shot at life even when it’s long over? all his life, he’s given her ( the family, he hurriedly corrects, because even now, he can’t stop the helpless fawning over her ) everything he has, everything he is. and here he leans against the cabin post, staring up at the consequence bearing over him like a giant. finds himself scared and utterly alone in the face of this insurmountable beast.
he just wants to live. and if that’s gotta mean just surviving from here on out, he wants that. if his fate was never to live his life, he’ll mourn it and bury it alongside dale. clenches his fists and jaw and tries not to let the grief consume him, crush that bad leg before he’s even got a chance to try to keep going. wouldn’t dale have wanted him to live? wouldn’t dale have wanted… and it feels blasphemous to even think, but wouldn’t dale have wanted his happiness? couldn’t sharon have loved him enough to want that for him?
but it can’t be about dale and it certainly can’t be about sharon, so it’s about jay, the boy who got everything tyler wanted just by being. who whines and gets his way, the eternal favourite and the one dale eventually left tyler behind for. but tyler knows he can still win. he’s just gotta convince jay to stay back. and he does. feels that affection he always had for the kid come back full force, all babyish smiles and hints of wisdom he don’t think even jay knows he has. tyler will miss him. he gets that now. wishes blindly and with all his heart that there were three seats on the motorcycle, even if the thought of sharing ma with jay was nauseating just an hour ago.
tyler trudges back to his world, leaving jay to his own. greets sharon with a weary look, disillusioned like he hasn’t been in a long time. no longer is he excited to be the only one left. misses his brothers, both of ‘em, like hell. but at least he’s got ma, his sole purpose for as long as he can remember. something nettles him about that. maybe it’s just that jay taking off didn’t make him feel any better.
that’s what he sticks with until one night at the church turns into two, and then three.
and tyler lays with his cheek pressed against a dilapidated floor and wonders. do we get what we deserve?
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🔨 Are there any whump tropes that you'd love to see your OC's reactions to even though you couldn't or wouldn't put it into your actual story for whatever reason?
✂ Is there a plotline that you'd planned to write but for whatever reason has been abandoned?
🥇 Pick one aspect of your story that you are particularly fond of. Anything at all.
OOH okay good question. Alright. So.
Hammer: I really really love mind control, and for some fucking reason I have written a vampire story where the vampires don't have mind control!!!! a perfect fuckin opportunity and I have wasted it!!! I think I wanted it to be clear that Karim is stuck with Micah because of Good Old Fashioned Emotional Manipulation and not because of magic, and also because i hate myself i guess.
(i do have a... maybe-canon-maybe-not post-story arc for ATTD that heavily features mind control, which i am Obsessed With, but it would be extremely difficult to write it without a Big Big Spoiler for ATTD so once again I have placed myself in a mind-control-less hell of my own making. 😔
Scissors: It's more of a scene than a plotline, but I had a whole scene plotted out for WKW where everybody's at like a grand ball and Morden tells Thorne to dance with Andry, and Thorne goes into Good Boy Mode and picks up on how funny (and maybe hot) Morden and all the rest of the Falconers think it is when he pushes Andry around in public, and he gets carried away and kisses Andry in front of everybody. Thorne is not thinking too hard about Why Morden Might Like That, he was operating 100% on Make Master Happy So Master Wants To Keep Me instincts, and he's confused afterward about why Andry, who has been starting to very cautiously open up, is suddenly cold as ice again. And then Endure happens before they actually Talk About It.
Buuuuut I couldn't find room for it in To Bid You All Welcome, which was already getting untenably long, and it feels weird to have two different Big Fancy Parties within such a short time span, so it never worked out. sigh
Medal: I really really like my villains, lol, and especially how they fulfill their roles in their various stories. in particular I think the contrast between Morden and Micah (the Vampire Daddy from atykm) is really, like. Funny???
Because, like, Morden is competent and sexy and like... a fairy tale villain? Honestly, he's just a few extra sex crimes away from being a disney villain. if you asked him what his alignment was he would say its capital e Evil. And I don't think he's like a cartoon, really, either! He's just a guy who has a lot of power and thinks he's entitled to more social status than he's been granted, and he thinks he Gets To burn the whole world down if he wants to, and he's having fun doing it. So he's always a balance between Genuinely Reprehensible And A Real Threat while also being, like... "likeable" is maybe not the right word but like. Fun To Watch, certainly.
And meanwhile Micah is like... the exact opposite of that. What appeals to me about him is that he is, stripped of all artifice, Deeply Pathetic. He's just a sexual predator with magic powers. The only thing he's good at other than Being A Vampire is sensing other people's vulnerabilities and exploiting them (and he didn't even get that right tbc: he has Deeply Underestimated most of his coven and they're going to fucking Get Him pretty soon). So he's a really fun balance too, because i get to figure out how to make it clear that he is Not A Criminal Mastermind, he's just privileged and confident, without lowering the stakes of the story--he's a pathetic old man, but he also has the power to Literally Ruin Everything.
...this got longer than i meant it to be lmao BUT basically the thing I am proud of is!! the way both of these Evil Men fit into and improve their stories while..... also being exactly What I Want From My Whumpers at different times 😁
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