Imagine Peter getting a call in the middle of the night
him thinking it's probably Ray getting excited about a definitely haunted hairbrush, and letting it ring
eventually picking it up as it continues to ring for a few minutes, only to find out it's Egon's wife
She's stressed, and worried, and Peter isn't sure why she's ringing him
But Winston isn't picking up the phone, and she knows that Egon and Ray have been arguing a lot recently so...
But she's worried
Because Egon's not doing well. He hasn't been sleeping much, or taking care of himself much (which Peter had noticed every time they went on call together), he's been muttering weird stuff, and obsessed with his notes and books, and usually she can help stop him spiralling but he's been pulling away recently, and spending less time and home and-
"He hasn't come home yet"
Egon always comes home, they made an agreement years ago. He's never broken the agreement before
So she's worried
And Peter is too
He knew Egon wasn't doing well, but they were men in their 40s, Egon wasn't a child, he could look after himself, and it was not Peter's job to monitor him. If Egon was struggling, he could speak up. He knew he could come to his friends for help
Then his mind casts back to the time in uni when Egon tried to drill a hole in his own head, how it all started just like this: the sleepless nights and obsessive studies, and pulling away from everyone, even skipping his lectures.. Peter and Ray just about got there on time.. Though Peter joked about the incident now, he's still rattled by it
He's still pretty rattled by many of Egon's vaguely suicidal experiments
He says he'll go look for Egon (after all, she's got a toddler to keep an eye on)
Reassures her that he's fine, that it'll all be fine, he probably just hyperfocused on the proton packs or something, you know how he is
It doesn't reassure her much - he doesn't even believe his own words either, but what else can he say
After the call, he heads to the Firehouse, knowing that if Egon was anywhere, it would likely be in the lab. It was practically the scientist's second home
He storms up to the lab (the place felt eerily quiet. Janine doesn't work at night anymore, Winston has his own home, and Ray has his flat above his shop)
the light is on
that's something
He opens the door, expecting to see Egon in a chaotic state (or god forbid...), and to be fair, the room is an utter mess, with books open, numbers and scripture written on the whiteboard, a pile of empty Twinkies packets around the bin stuffed full of crumpled papers
and in the middle of this mess, is Egon, head in hands, book open in front of him. It's subtle, but he can see the rise and fall of his shoulders
at least he isn't dead (he ignores how worrying that thought is)
He goes over to Egon and whacks him over the top of his head - usually an affectionate gesture from Peter (the affection is slightly lost)
"Come on Spengs, you really leaving your wife at home?"
Egon looks up at him, brows furrowed, and a practised guarded expression, though his eyes gave away the deep exhaustion and paranoia the scientist must be feeling
If it were Winston, he'd know the exact thing to say to Egon, a talk on how his actions are making his (Egon's) wife feel, and to get his act together, with the reminder that everyone was here for him
If it were Ray, despite all the arguments the two had recently, Ray would comfort him, know the exact words to calm the man and ground him back in some sense of reality - those two understood each other on a level like no other
But it was Peter here, right now
And he's not good at emotional conversations or situations. A serious conversation makes him feel like he's going to break out in hives. It's easier to joke than deal with emotions. (that's why he and Egon got on well. Neither liked talking about how they feel)
So when Egon replies with ramblings about Gozer, clearly lost and not in his right mind, Peter makes a couple jokes, he deflects from Egon's worries and brings the man down to the kitchen to make a hot chocolate to calm Egon's mind (that's what they used to do, right?)
There's more talk, mostly from Peter, about some studies he's working on (that are mostly accurate), and how Dana and Oscar are doing, and the show because oh boy does he have a story about that one man who believed he could communicate with fish-
Egon is barely engaging, Peter could see, his mind is elsewhere, running at a million miles an hour, doing complex calculations and making connections. Peter didn't envy the man really - it must be difficult having a mind so clever and loud.
So when he can tell the talking isn't working, he asks "We defeated Gozer, remember? when my girlfriend was turned into a dog, and Stay Puft got the biggest commercial for free, and we crossed the streams. He's gone forever, right?"
Egon seems to come back to reality for a moment, and they stare at each other, before Egon nods slightly and finally takes a sip of his hot chocolate.
Peter eventually drives Egon home, selfishly because he wants to keep an eye on his friend for a little longer, but Egon doesn't utter a word. That's fine. The silence makes Peter's skin itch but it seems to be doing Egon some good.
They arrive at the house (the living room lights are still on), and Egon goes to leave the car, but Peter reaches over last minute, his mouth moving faster than his brain, "All you gotta do is ask, if you need help. We're still your mates, yeah? I don't know what goes on in that brain of yours but you aren't alone."
Egon seems to be mulling something over in his head, then pulls away from Peter's grip - "Goodnight Peter." - and heads inside.
Over the next few weeks, Peter keeps an eye on Egon
He seems to slowly get better
There are no more phone calls from Egon's wife (except one to talk about what happened that night), his eyebags seem to fade away, he talks less about Gozer, the notes disappear and the books are put neatly away or are packed up, and most importantly he seems to be arguing less with the group and making an effort to spend time with them
Then he's gone
and all the equipment and Echo 1 are gone too.
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What you wrote about letting the Poster in your mind die struck a cord in me. Lately when I'm writing I can't help but censor myself & add a tone of irony to it & lampshade cliches. Do you have any advice on how to write earnestly? Do you have any favorite media that is written with sincerity you would suggest?
my opinion is that if you're trying to cut out your own urges to be ironic and detached DURING the process of writing, you may end up overly scrutinizing your writing while it's happening, and that's usually what gets you too trapped in your own head to even get many words out. my advice is to simply let it happen in the first draft of whatever you come up with, and then have it be one of the things you look for while going over it in editing. ask yourself when you edit: am I saying what I actually want to say? am I being ironic for a reason, or is it because I don't know how to write anything else? can I try to do something less ironic? if I feel like I want to write something funny, can I come up with jokes that aren't "hey look at this cliche?"
above all else, when editing your own work, I find it valuable to think about whether this is the sort of story you really want to tell. if you feel passionate about it, why do you find it necessary to censor yourself? and if you find that you don't feel passionate about it, maybe you should restructure the work to make it more enjoyable to you. of course, not every scene in a story is fun to write, and not every moment of irony or lampshading is necessarily a bad thing. but if you find that irony is becoming a major habit in a work, it might be worth thinking about whether or not you're actually enjoying your own story.
as for the sincere media - most good media is very sincere! i actually think irony poisoning is the exception rather than the rule, though it is common enough in big blockbusters and the like that I do feel I have to complain about it. I would say most works I've read and enjoyed have been quite sincere. there's good stuff out there if you look.
that said, the works that come to my mind as being particularly upfront in their sincerity are:
mob psycho 100 - you've probably heard of this one. middle schooler with psychic powers and a severe case of emotional repression dispels a lot of ghosts with his con artist mentor and also figures out how to be a more well-adjusted person. mp100 has had a LOT of very eloquent reviews, so I won't say too much about it. it's just an extremely funny and shockingly emotionally resonant work.
witch hat atelier - absolutely gorgeous manga about a little girl who becomes an apprentice witch after discovering that magic is not exclusive to those who were born witches as she thought, but instead a teachable skill that has deliberately been kept in the hands of a few. the art in this is stellar, and its moments of horror are just as well-captured as its moments of gentleness. one of the themes of witch hat atelier is the beauty of art/magic and the joy an artist finds in its creation, and the artwork of the manga REALLY reinforces this theme. it's beautiful to look at and there's a quality of sincere love for both the work itself and its audience that suffuses the manga. though I will give a general tw for child harm - another major theme of the story is the responsibility adults, particularly teachers, have towards children, and this theme necessitates showing the ways that children can be harmed by teachers, as well as showing the ways that a good teacher can affect a child. it's very good!
omniscient reader's viewpoint: this one is LONG (over a million words) but is a great example of what I would call "post-cringe." a guy ends up seeing the events of his favorite fantasy-apocalypse action novel be recreated around him, and is determined to survive in this world where only he knows everything. one of the most charming things about orv, to me, is that the novel read by the main character is pretty obviously "cringe." it's a badly written escapist webnovel that is sometimes overly edgy, relies a lot on clichés, and can be very dense. the story points out sometimes how facts of the novel's world are kind of stupid or contrived. and yet, our protagonist loves that novel, and the story VERY much validates his love of it. despite him having at times a little bit of that ironic detachment towards the novel he loves, it's always clear that he thinks the cool monsters etc. are The Shit and that he is enthralled by the events playing out around him. the writing leans into how cool its setting and set pieces can be. hell, one of the big themes is how a story, no matter what kind of story it is, can mean everything to the reader who loves it. it's a good example of a work that can poke fun at its own clichés sometimes WHILE still loving those cliches and wanting the audience to enjoy those exact clichés.
again, there's a lot of good stuff out there! these are just my picks for having notable sincerity. if you read a lot, chances are that you will find a lot of great, earnest work. personally, I would recommend figuring out what genre you enjoy reading or watching, and then trying out some highly rated works in that genre. it's a great way to try out shit you haven't tried before! I would also recommend trying out stuff from 15 or more years ago, generally, if you're looking at more mainstream novels, movies, and TV series rather than specific genre fiction. the irony poisoning problem wasn't so prevalent then.
hope this helps!
edit: I FORGOT EVERYTHING EVERYWHERE ALL AT ONCE. please watch eeaao, it's a deeply sincere and whimsical piece of art
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