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davidmariottecomics · 1 year

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The Staying Power of the Simpsons

Hey there!

This week we're talking about longevity. If you've been reading my "What I enjoyed this week" bit for a while, you know two things I've recently been consuming a lot of are the Blank Check Podcast and The Simpsons. Blank Check, if you're unfamiliar though I do think I've mentioned it before, is a podcast about directors' filmographies--how they go from their early hits to being given free reign to make the sort of movies they want to make, and loosely, how the movies "clear or bounce". I've been more-or-less bouncing back and forth between the newest episodes and listening to the back catalog from the beginning, so I've most recently finished Spielberg (the Dreamworks years) and Henry Selick.

One of the show's hosts, Griffin Newman (Arthur from The Tick), has a theory that I've been very drawn to. He talks about actors and how interesting to trace how many decades they've been relevant relative to their creative evolution.

Just because I think he's a good example (and he's been on The Simpsons), let's use Woody Harrelson as an example. In the 80s, he is essentially Woody from Cheers. He's in a few other things, but he's a TV actor from one huge show, to the point that even into the 90s, his most frequent role is Woody from Cheers. In the 90s, at the end of/post-Cheers, he becomes a movie star. Like an actual movie star, where the poster is his face, it's his name above the title, etc. The 2000s, he becomes a character actor. He's still working at a good clip, he sometimes ends up on the poster, but now he's back as part of ensembles. And in the 2010s, like so many former-movie-star-character-actors, he becomes a franchise guy: He's a big part of the Hunger Games. He's in a Marvel movie. He's in a Star Wars movie. He's so good in True Detective, that even though he's only in one season, he gets the show renewed. And while we're still fairly new into the 2020s, his 5th (technically 6th) decade as a working actor, the prestige-y films he did between his franchise movies have earned him elder statesman status and he's on posters again. For a guy whose most famous role is also a guy named Woody, he's really stuck around and managed to find a way to stay relevant.

Okay, but The Simpsons?

Tracking of creative evolution over the decades works for all sorts of creators and endeavors. That same framework, that same way of thinking, can be applied to something like say, The Simpsons. If you're a fan of The Simpsons, there's a distinct chance that either A. you believe it stopped being good at the end of the 90s or B. you've heard people it stopped being good at the end of the 90s. I like a lot of The Simpsons, so I wanna talk about that a bit.

In the 90s, The Simpsons was a family sitcom. That's rightfully what appealed to people about it. It's right there in line with Newhart and the Fresh Prince of Bel-Air as a show about family dynamics that're usually silly and sometimes serious, with the only real dividing factor being that The Simpsons is animated.

But by the 2000s, the Simpsons exists in a really strange place. It's no longer the only primetime animated sitcom or adult animated sitcom. You have King of the Hill and the Mike Judge properties, you have South Park, you have Family Guy and Adult Swim and Futurama. And at the same time, while family sitcoms never go away, there starts to be a shift to occupational sitcoms being the power players--Scrubs, The Office, etc. So the show's in a place where it's competitors are shifting genres and moving to absurdist humor and they have to find a new identity within that. And what they find is they keep it a family sitcom, but heighten the absurdity and start to really play into The Simpsons as a pop culture object that can be aware of other pop culture.

In the 2010s, things have shifted even further--I'd say actually in some ways tied to what I was talking about a few weeks back in the brandification of geekdom. And The Simpsons, in growing and changing their relevance 20 years in, change from a pop culture object that is aware of other pop culture to almost a self-referential pop culture staple. The show, in some ways, is about how long "The Simpsons" can last and the what "The Simpsons" means. It's common knowledge that the Simpsons "predicts the future", but interestingly enough, the future episodes of the show used to be a lot more spaced out. It was roughly one every five years, until 2011 when they became much more regular--from full episodes to end of episode flash-forward tags to "life of" episodes.

Now, in the Season 30-somethings, The Simpsons has truly become such an institution that it can be a bit of everything it's been before. Some episodes lean more heavily on traditional family sitcom "drama". Some are unexpected and bizarre (Lisa the Boy Scout is a personal favorite from the current season). Some are straight up pop culture pastiches. I think to their benefit, it's what the writers find funny because all aspects are true of what The Simpsons is and it's not a surprise to hear they've been renewed for a few more seasons.

Each decade has charms because they're responding to what was needed at the time for the show's longevity.

I Thought this was a Comics Blog?

It is! And here's what that has to do with comics. On the one hand, you can apply this "changes over decades" theory to a lot of comics creators. You look at someone like the much missed George Perez and can track how he maintained a career for so long and how his art and storytelling and even the functions of his job evolved, right? He's a creator whose style is so specific and recognizable that two pieces from different decades can both immediately be identified as his own, even when they might look very different from each other. Part of what I'm getting at is if you are looking at comics as a long-term goal, the thing you want to do with your life, it's worth it to study the people who have managed to do that and the sorts of changes they've made along the way to do so.

On the other hand, and this is one of the things I find really fascinating about comics--generally speaking, it's a lot harder to apply that same thinking to specific titles. Not to say you can't do it entirely, but it tends to be easier when the comic is the work of one or a one group of people--Usagi Yojimbo or Dragon Ball or I'd say even to some extent Teenage Mutant Ninja Turtles given how much of it's history has had some combination of Kevin Eastman and Peter Laird involved. But when you look at something like Batman, because of the nature of comics--between multiple titles for a single character, runs of incredibly varying lengths, a constant influx of new creators who bring in a diversity of storytelling (but not always a diversity of creators...) it is harder to take these evolutions by decade. Which, in some ways I think is a good thing. Because it means the things that last are not static and are changing to encompass multiple ideas of what it is and what it could be.

Anyway, food for thought and mostly I wanted to talk about how actually The Simpsons has been pretty funny for the majority of their 30+ years.

Coming up: Next week, since it's been about a year since I did a full one of these, I'm probably going to do another "Stuff That Sucks" and talk about the many massively disappointing and frustrating and downright awful things happening right now that we should all be keeping an eye on. The week after that, I think we're going to do another "Ask Me (Almost) Anything"! My inbox is open here (and it's incentive to answer a couple emails in there...) and I'll get a post up with next week's blog on Twitter for people to submit their questions!

What I enjoyed this week: Blank Check (Podcast), Honkai Impact (Video game), House of Leaves by Mark Z. Danielewski (Book), Persona 4 Golden (Video game), Poker Face (TV show), Romantic Killer (Anime), Warioware & the other Gameboy/GBA games now on Switch, Snack vs. Chef (TV show), finally got my hands on a Minerva so that's one more Wrecker! And I got the new Big the Cat figure! Admiring good comics lettering. Seeing The Fablemans tomorrow and very much looking forward to it, and the Kaguya-Sama movie on Valentine's Day with my valentine!

New Releases this week (2/8/2023): Godzilla: Monsters & Protectors - All Hail the King #5 (Editor) Sonic the Hedgehog #57 (Editor) Sonic the Hedgehog, Vol. 13: Battle for the Empire (Editor, collecting Sonic #50, 51, the 2022 Annual, and the 2022 Free Comic Book Day short)

New releases next week (2/15/2023): Off week for my books

Final Order Cutoff (2/13/2023): Godzilla: Best of King Ghidorah (Editor) Sonic the Hedgehog #59 (Editor) Sonic the Hedgehog #1 5th Anniversary Edition (Editor)

Announcements: Arizona Comic Book Arts Festival - 2/25! This is like 2 weeks from now! They've got a heckuva guest list including me, Becca, Elizabeth Brei, Danny Djeljosevic, Mitch Gerads, Steve Rude, John Layman, Henry Barajas, Jay Fotos, Jeff Mariotte, Marcy Rockwell, John Yurcaba, Andrew MacLean, Alexis Zirrit, Meredith McClaren, James Owen, Ryan Cody, and many more! Come and see us! Becca'll have some very cool new merch, too! And tickets are only $10! I'll be bringing a mess of stuff that I've written and edited from Transformers, Sonic, Godzilla, and more! (Promo by Becca)

Speaking of Becca, did you know they have a Patreon? They're doing weekly drawing prompts that're uploading Sundays, so lots of new stuff up there as well as a pretty impressive backcatalog from the past few years. This month, if you sign-up at any level, your support's actually going to a really amazing local organization, The Brown Building.

And final Becca news, they contributed to Aradia Beat, a Magical Girl Anthology Magazine! It's now on Kickstarter! It's both a tribute to 90s magical girl stories and part of a larger project about the overall preservation and mutual support of magical girl stories! We're in the final week and they're about $1K away from their goal. They can definitely make it, but it'd be cool if you could help out by backing or by sharing! Speaking of Magical Girl Kickstarters, it's still early in the life cycle of Sweet Little Resistance, which is by fellow AZ Comic Book Arts Fest tablers, Elizabeth Brei and Danny Djeljosevic as well as a host of cool artists! They're only about $500 away from their goal, and would make for a very nice complimentary piece! (More Promo by Becca)

Pic of the Week: So the actual Pic of the Week is Tiansheng who decided to sleep under the pillows in Becca's office chair, rather than on top of them!

#the simpsons #blank check #comics #comics editorial #aradia beat #arizona comic book arts festival #sweet little resistance #indie comics #kickstarter #patreon #cats of tumblr

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stevebabey · 1 year

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you thought it would be all sweetness??? nooo u got to have a little miscommunication angst before anyone gets any hickies. but they will. in time >:) part one. part two. this is a part three :)

Steve blames it all on the clock.

That stupid cuckoo clock on the wall of the Munson trailer. It's an absolute horror of interior design that would make Steve’s mom shiver if she ever laid eyes on it. It’s probably why Eddie loves it — and the god-awful cuckoo! noise it makes when it goes off.

Because the moment Eddie utters that delightful question, asking for a hickie, the nerve of him, Steve loves it — and Steve is more than ready to oblige him — the stupid clock goes off.

It gives them both a fright, Steve more than Eddie. He gives a whole-body twitch that shifts them both, his head snapping to the wall, a breath forced out of his lungs at the sight of the mustard-coloured bird. Shit. Stupid fuckin’ clock, Steve thinks.

But it seems to break the trance over the room. The sweet tension of their shared closeness is sucked out of the room in an instant. Steve is suddenly aware of the time the popping out bird is announcing. It’s late. Far later than Steve intended to stay over, especially considering work tomorrow.

Without meaning to, the prickle under Steve’s skin rolls through his body. It steals away the comfort that he usually feels with Eddie, tenseness filling his body. Steve hates it — hates how he can’t stop himself from tensing up beneath Eddie.

Eddie notices. He's quick to to retract himself from Steve, pushing up and back, giving Steve his space. He sits beside Steve on the couch, still close. Not close enough to touch.

It helps. The rigidness of Steve's body relaxes just a bit but Steve doesn’t want that. He wants Eddie back on him. Wants his hands gripping Steve’s side. His breath fanning over Steve’s face, cheeks cherry red and pupils blown wide. Steve doesn’t say any of that and he sure is shit isn't brave enough to ask for it.

Instead, he croaks, “It’s late.”

Steve reluctantly pushes himself up from his slumped position, eyes already searching for his scattered shoes. He misses the way Eddie’s face falls, the way he tries to tug his hair in front of his face to hide the hurt. It takes another second to school his expression.

Steve hears a cough and then Eddie agrees with a murmur. “Yeah, sure.”

The words ache. No part of Steve is relieved to have Eddie agree with him. He’s not sure what he wanted; for Eddie to egg him to stay just a little while longer? To prove that their kisses hadn’t been a heat of the moment impulsivity? There's nothing to prove they weren't.

No, it was Steve who said he had to go. It is late. But then again maybe, Eddie wanted him to leave. But, no— Eddie just asked for a hickie, he wouldn’t—

“Don’t you have work early tomorrow?” Steve’s spiral cuts short at Eddie’s voice, tinged with… irritation?

O-kay. Now Steve’s not sure what to think. What had been the source of immense joy because Steve had asked for a kiss and Eddie said yes is suddenly… tilted.

The beginnings of embarrassment begin to cling to Steve like a thick fog. He’s done it again. Been overly eager. Asked for too much, too soon— fuck, that had been Eddie’s first kiss too.

“Yeah,” Steve replies, standing and shoving his foot into the one shoe he can find. He spies the other one under the table and wiggles it out with his toe. He can’t find in it to look at Eddie, not just yet. “Yeah, uh, I should get going.”

It’s all wrong. Steve shouldn’t be leaving — not on these terms. Not when he can’t look at Eddie for fear of what he’ll find. Regret? Steve’s not sure if he could face Eddie again, not if there’s even a trace of it on his face. It would feel like Halloween all over again, a bludgeon on Steve’s too-soft heart. It’ll crumble, he just knows it.

Steve wants to stay. He really wants to. He wants to ask for another kiss, ask for a dozen more kisses. Wants to give the hickie Eddie asked so nicely for and receive one back; matching love bites, like a gentler version of their matching twisted scars adorning their sides.

But he’s always asking for more. Steve always needs more. It’s greedy. It’s embarrassing how much he wants it, how he’s already gotten patient touches from Eddie but it’s not enough. Eddie had sounded a pinch annoyed — even aggravated at Steve.

It doesn't cross his mind that it might be for any other reason. Really, Steve thinks he’s doing Eddie a favour.

“Um,” Steve clears his throat, takes the wobble out of his words. Nods to himself and chances a glimpse at Eddie. The older is staring down at his lap, locks of hair trapped between twitchy fingers. They should talk about it. Steve’s not brave enough to risk his heart tonight.

“Well, g’night.” He says quietly, letting himself out the trailer door. He closes it behind him gently, shoes tapping against the stairs on the way down. It feels wrong, it feels wrong — but it would be selfish to turn back.

He repeats the sentiment over and over, raspy whispers beneath his breath as he climbs into his car. It would be selfish. The engine turns over and he hesitates for just a moment, hoping to catch a silhouette in the kitchen window. It’s empty. Of course, it’s empty.

Of course, Eddie is not chancing for a glance at him on his way out because Steve just asked for more and more and more, and he took Eddie’s first kiss and then— He whispers it to himself again. It would be selfish to turn back.

When he thinks about it on the drive home, Steve’s sure it all comes back to that stupid fucking clock.

Eddie stares in the mirror.

He’s not sure why he was so convinced there would be some radical change in him upon popping his make-out cherry but… well, here he was. Staring in the mirror like he had this morning. Except 10 hours earlier, he had been unkissed.

Tonight, the difference shows. His lips are rosier than usual, a swell to them given by hasty sweet kisses. It’s the only evidence of his spit-sharing moment of passion with Steve on the couch. The rosy colour is already beginning to fade.

Eddie sinks his teeth in. He doesn’t want the only physical proof that he even got to kiss Steve to be gone so soon. Even if that fact seems terribly bitter now.

“What the shit did you do, Munson?” He murmurs to himself in the tiny bathroom mirror.

It’s got toothpaste specks splayed across it. Eddie stares past them. Stares into his own face, reading every change in his features as emotions inside him churn. It’s heading for a distraught expression, the upturn of his brows and quiver in his lips giving him away. He always was a crier. Eddie really wishes he wasn’t.

“Idiot!” He pairs the word with a bang on the wall beside the mirror, frustration leaking out. The toothbrush on the sink shudders in its cup with a clink.

Eddie hates the welling in his eyes. He hates that he ruined the first fuckin’ good thing to happen to him in this town. Loathes that he drives away the first person who actually knows him and still wants to kiss him.

Well, wanted to kiss him.

Eddie’s pretty sure Steve scampering out of the trailer is more than a big enough sign. It’s a blazingly bright neon sign — light up words that say ‘This was a mistake!’

Except, it hadn’t felt at all like a mistake to Eddie. It had felt wonderful, better than anything he had thought, the soft curve of Steve’s lips, the grip on his hands on Eddie’s face, the heat in his face, the— Eddie growls, wiping his hand down his face to shake the thoughts. Too good to be true was what it was.

It’s because of what he said. Of what he asked for. It had to be that. But— but Steve had looked eager and almost excited and then the stupid clock had gone off, scaring the shit out of them both. Maybe it was then that Eddie’s words had sunk in and Steve realised what he’d gotten into— and who he’d gotten into it with.

“You had to ask for more, huh?” Eddie scolds himself angrily, wiping his cheeks harshly when a tear streaks free. Another follows, just as fast. Eddie wipes roughly at his face to clear them. Doesn’t care about the streaks of red he leaves on his cheeks. Another trembling reprimand comes out. “You just had to push it, huh? You fuckin’ idiot.”

Eddie can’t stand his reflection anymore. He tears his gaze away as he spins and heads straight for his room.

The button on his stereo is sticky and it takes a few forceful clicks to turn it on, but when he does, he cranks it. It’s loud enough he’ll surely wake some neighbours. Eddie can’t find it in him to care, not even when the neighbours dog starts off with its incessant barking. Anything to stop hearing himself cry.

“Something’s up with Eddie.” is the first thing Robin says when she comes in the front door.

Steve’s mid-yawn when she does, a result of a night of tossing and turning, and he somehow manages a strange choke at her words. In a haste to shut his mouth, he chomps on his fingers covering his mouth — then hisses, pulling it away from his face. He ignores Robin’s perplexed expression, shoving the hand deep in his pocket. His ears feel a tad hotter.

“What? Why? What makes you think that?” Steve asks the questions in rapid succession. Very chill, he chides himself. At this rate, Robin would have him all figured out 10 minutes into their shift.

And it’s not like— well, Robin’s advice is usually great. A bit cut-throat, sure. She doesn’t have a problem trodding on his feelings on her way to tell him the hard truth. Usually, it’s fine. Steve could probably do with a bit of ego-bruising.

Today, he’s… It’s different. That’s what Steve tells himself. This thing with Eddie, he wants to fix it himself. And with too much meddling from Robin’s advice, even if it was with the best intentions, might mix things up too much. It’s hard enough keeping his half-baked apology that’s been brewing since last night in proper order in his mind.

Thankfully, Robin doesn’t comment on his odd demeanor. She just bustles into the back room — there are a couple sounds of her dumping her stuff. When she comes back out the front, she’s fixing her Family Video vest. It looks perfectly straight to Steve.

He checks his own — it’s sitting askew, part of the collar flipped over. He hastily fixes it, running his hands down the front to smooth it a bit.

“Just,” Robin starts, talking as she sits in front of the computer, beginning to take a crack at the admin she managed. She likes doing things as she talks, Steve knows. Helps keep her from letting words run away from her.

Steve’s thankful for it now because she isn’t looking at him when she says, “I think he might have had a bad nightmare last night, or something of that sort. I don’t know. Maybe I’m way off — you know how I am with trying to read people, Steve. I’m not good at it! But when I saw him, he just seemed…”

Robin seems to take an extra moment to deliberate her word choice. Steve’s really glad she’s still facing the computer so she can’t see the myriad of emotions that show on his face.

“…Off.” is the word she decides on.

Which means bad. Steve feels like he’s swallowed a stone. It sinks deep into his stomach. It burns, sour and scorned, twisting up his gut. It means Eddie is bad — it means disappointment, means he regretted it. That Steve had been right; that he’d been too eager, too soon. Too much.

Right. Of course, this happens again. Really, Steve had brought it on himself by asking for so much. It had been one thing to ask for a hug — who actually has to do that? — and then to expect he might get Eddie to kiss him too? What a overstep. Christ, he's an idiot.

“That’s not…” He hears himself say, still lost in his thoughts. It's only when Robin turns on the stool, brows raised, that Steve realises he hasn’t finished his sentence. “Good. That’s not good. To hear.”

Steve turns and starts shuffling around the films on the returns cart, picking them up at random. He stares at a copy of ‘The Princess Bride’ in his hands, a new release, and forces out a causal question.

“What made you think that?” He asks, shoving the film into an empty slot, like he was arranging them. He’s relieved when Robin’s clicking on the keyboard resumes, along with a dramatic sigh.

“I don’t know. I don’t know if I can be trusted to read anyone’s emotions correctly at any given time, honestly. Remember that old lady? I thought she was being sweet that whole time and then you told me she was being rude! And I couldn’t even tell…”

Robin’s ramble is comforting and helpful to Steve in a way he didn’t know they could be. He presses the cart out, finally getting a move on with it, but delivers a quick nod to Robin when she’s looking to let her know he’s still tuned in. He listens to her get distracted by another topic and leaves Eddie’s name in the dust. It’s a silent relief.

It’s a task to multi-task, listening and devising a plan, but Steve has all shift to find the balance. It’s sometime between finishing re-stocking the action section and starting the romance that Steve decides he should apologise. He should go over today and apologise.

Eddie’s a big boy but Steve’s fairly certain now, if he regretted it, Eddie had probably felt obliged to kiss him back. Probably hadn’t minded the first kiss but- but— Something sticks in his brain; it was Eddie’s first kiss.

It makes Steve feel worse. It doesn’t matter, really, Steve should say sorry for all of it. God, he’s such an idiot.

By the time he’s clocked out, it’s all set in place. He’s got a dozen different apologies running in a loop in his head, reciting the words in time with his anxious tapping on the steering wheel. It’s not a long drive out to Forest Hills Trailer Park. The drive is well-known now. Steve tries hard not to wallow in what he might be losing today. What he lost because he’d been too greedy with want.

The sight of a brown van parked roadside yanks him from his thoughts. Eddie’s van. Steve’s stomach turns, nerves gnawing faster. He slows, trying to catch eye of the other boy as he rolls to a stop behind the van. The sun is beginning to dip closer to the horizon, the temperature going with it.

At the same time, they see each other; Eddie’s head popping around the raised hood to see who had stopped, right as Steve pops his door. Eddie retreats in an instant. Steve's chest grows a bit tighter.

Gravel crunches underfoot as Steve takes a few wary steps closer. It doesn’t take more than a couple before Eddie calls out. He doesn’t bother poking his head out again.

“Go away, Steve.”

Steve swallows thickly. Yeah, okay, he deserves that. He deserves probably worse than that. But more importantly than that, Eddie deserves to hear this. And Steve... needs to not lose Eddie.

“Can I… can we talk?” Steve asks, taking a couple steps closer. A car whizzes by on the road, hidden from Steve's view behind the van. He still keeps his distance, hovering. His hands clench nervously at his sides. Steve shoves them deep in his jean pockets, wiping the sweat off them as he goes.

“What part of ‘Go away’ isn’t clear enough for you?” Eddie snarks back. He still doesn't stick his head out, still won’t look at Steve. It stings.

“I know, I’m sorry,” Steve starts, another instinctive step forward taken. “I-I just, I shouldn’t have left like I did last night. I wanted to apologise.”

There’s a clattering from behind the hood like Eddie’s dropped a tool. He swears. Steve wants to take another step, wants to see Eddie — wants to read every emotion and apologise for causing any of the ugly ones.

“Well, apology accepted,” Eddie responds. There’s a bite in his words. His next words are grumblier, quieter. “And message fuckin’ received.”

What? “What’s that supposed to mean?”

“That—” Finally, Eddie steps away from the van, rounding the hood to march up to Steve. His arms cross over his chest, a wrinkle set between his brows that pull his face into a glare. Robin was right; he is off. This isn’t normal Eddie. Fuck, Steve had fucked up bad.

“That means message received, Steve.” Eddie seethes. He uncrosses his arms to gesture wildly. Steve misses the wobble in his bottom lip. “Message received loud and clear! I get it!”

And all Steve wants to ask is: get what? He doesn’t ask that. He should know what. That would be an idiotic question, would make Eddie more irritated. Lord knows, Steve has been enough of a fool in the last day. So, he doesn’t ask.

“Look, I just…” Steve starts, words a bit weak. They die in his throat as he tries to recall a single apology he had practiced all day and comes up empty. “I’m just- I just wanted—look, I’m sorry I took your first kiss!”

It’s not exactly what he means to say, but Steve certainly is sorry for it. Eddie’s expression wavers, some anger slipping away. Confusion takes its place.

“What?” Eddie says with a tone of bafflement. “What are you talking about?”

“And I’m sorry I kept… kept asking for more.” Steve continues on, pulling on the thread inside him, connected to the terrible stone he swallowed earlier. He tugs it. Hopes pulling it will unravel the guilt sitting heavy in his stomach.

Steve scrunches his eyes shut and rubs the bridge of his nose. “I know, okay? I know that I can be a lot.” He sighs and drops his hands.

“But I didn’t mean to… shit,” He wrenches his eyes open. Eddie’s a bit wide-eyed now, brown eyes watching him intently. Steve doesn’t know what expression he’s wearing, can’t tell if it’s good or worse. He continues, soft words scraping out his throat.

“I didn’t mean to be like that with you.”

Eddie searches Steve’s face, eyes darting and wild. He licks his lips. His hands are in motion, fingers twisting rings, quick and fast. It’s a nervous action.

“What do you mean by ‘like that?’” Eddie asks, voice gentler. It's lost its snarl from before.

Steve blinks, a scrape of teeth worrying his bottom lip. He murmurs his admittance lowly, just one word, “Selfish.”

Eddie doesn’t try to hide his surprise; it ripples across his face in a wave. Confusion melts away into something closer to, Steve hopes desperately, relief. Steve can feel his own heart thudding hard inside his chest — can feel the beat it skips when Eddie steps closer.

“Steve?” Eddie says, sounding unlike himself. Steve’s never heard his voice that small. He nods, wordlessly. Eddie searches his face once more — wide brown eyes scanning and devouring. Steve can’t help but do the same.

He drinks in the details of Eddie’s face; the soft scruff along his top lip, the darkness of his lashes and the way they kiss in the corner that Steve adores. The pink of his lips. The familiar ache to kiss Eddie surges up within him, still as violent and strong as it had been the night before.

Steve should really stop looking at Eddie’s lips. He’s supposed to be apologising. He drags his eyes up and meets Eddie’s gaze full-on, prepared for whatever he might say. Except, he’s not expecting him at all to say;

“Can I... try this again?” It comes out a ragged breath, Eddie's scared eyes conveying the weight behind his words.

And this time Steve doesn't even need to ask what because he knows. Because Eddie's hands are reaching up and holding either side of Steve's face so gently. Steve can't recall a time he's ever been held so softly. His own hands come up slowly, draping around Eddie's wrists to hold them, to keep them there.

Eddie's thumb traces. It draws a sweet line of that familiar fire beneath Steve's skin along til it's settled on Steve's bottom lip, resting. The blood under Eddie's thumb thrums, gloriously warm, aching with want. Yes. Steve thinks. Yes, yes, yes.

"Yes, please." Steve breathes, so sincere the words comes out as a kiss against Eddie's thumb.

So, Eddie kisses him.

now with a part four !

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