because sometimes there are invisible tests and invisible rules and you're just supposed to ... know the rule. someone you thought of as a friend asks you for book recommendations, so you give her a list of like 30 books, each with a brief blurb and why you like it. later, you find out she screenshotted the list and send it out to a group chat with the note: what an absolute freak can you believe this. you saw the responses: emojis where people are rolling over laughing. too much and obsessive and actually kind of creepy in the comments. you thought you'd been doing the right thing. she'd asked, right? an invisible rule: this is what happens when you get too excited.
you aren't supposed to laugh at your own jokes, so you don't, but then you're too serious. you're not supposed to be too loud, but then people say you're too quiet. you aren't supposed to get passionate about things, but then you're shy, boring. you aren't supposed to talk too much, but then people are mad when you're not good at replying.
you fold yourself into a prettier paper crane. since you never know what is "selfish" and what is "charity," you give yourself over, fully. you'd rather be empty and over-generous - you'd rather eat your own boundaries than have even one person believe that you're mean. since you don't know what the thing is that will make them hate you, you simply scrub yourself clean of any form of roughness. if you are perfect and smiling and funny, they can love you. if you are always there for them and never admit what's happening and never mention your past and never make them uncomfortable - you can make up for it. you can earn it.
don't fuck up. they're all testing you, always. they're tolerating you. whatever secret club happened, over a summer somewhere - during some activity you didn't get to attend - everyone else just... figured it out. like they got some kind of award or examination that allowed them to know how-to-be-normal. how to fit. and for the rest of your life, you've been playing catch-up. you've been trying to prove that - haha! you get it! that the joke they're telling, the people they are, the manual they got- yeah, you've totally read it.
if you can just divide yourself in two - the lovable one, and the one that is you - you can do this. you can walk the line. they can laugh and accept you. if you are always-balanced, never burdensome, a delight to have in class, champagne and glittering and never gawky or florescent or god-forbid cringe: you can get away with it.
you stare at your therapist, whom you can make jokes with, and who laughs at your jokes, because you are so fucking good at people-pleasing. you smile at her, and she asks you how you're doing, and you automatically say i'm good, thanks, how are you? while the answer swims somewhere in your little lizard brain:
how long have you been doing this now? mastering the art of your body and mind like you're piloting a puppet. has it worked? what do you mean that all you feel is... just exhausted. pick yourself up, the tightrope has no net. after all, you're cheating, somehow, but nobody seems to know you actually flunked the test. it's working!
aren't you happy yet?
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The thing is, Steve has learned, that becoming untouchable isn't all he wants it to be.
People were too quick to try and reach out for him, ask for more than he was willing to give. He hadn't wanted to give up his first kiss to some random girl at some random boy's twelfth birthday party because of spin the bottle. He hadn't wanted to play Seven Minutes in Heaven with Jenny Jackson or Linda Simons at Tommy's birthday party the following year. He did want to take Mary Linscott to Snow Ball, but she just wanted to make out behind the bleachers instead of dance with him. He didn't want to do that but then Brian called him stupid for not wanting to, and asked if he was queer. So, Steve had turned right back around and dragged Mary back under the bleachers, kissing her until it was time to go to prove Brian wrong.
(Even though Steve knows Brian isn't wrong. That Steve had wanted to ask Brian to the dance as much as he'd wanted to ask Mary but knew better than to do that. He saw how they treated Eddie Munson last year for the suspicion of liking other boys and Steve wasn't going to let that happen to himself.)
Brian had congratulated him after and asked what base he got to. Steve didn't want to get to any bases, but he couldn't say that, so he just punched Brian in the arm and said 'more bases than you' which was true because Brian's date didn't kiss him even once.
Then Carol Perkins approached him at lunch, shortly after Snow Ball, and asked if Steve would be her first kiss. Not because she wanted to kiss Steve, but because she wanted to kiss Tommy H, but didn't want to be bad at kissing. Steve agreed because he liked Carol. Not in the way she liked Tommy, but mostly because she'd asked.
No one had done that yet.
She came over to his house on a Saturday because she didn't want Tommy to catch them and think she didn't like him. They made out in his room because, despite his parents being home, they didn't really care who was in his room with him or if the door was open or shut. Probably didn't even notice he had someone over. She leaves an hour later.
By Tuesday Tommy and Carol are an item and by Friday they were Steve's best friends.
However, for reasons Steve doesn't understand, more girls keep asking him to be their first kiss. And maybe it's because he's already got a reputation, or maybe Carol let slip he'd said yes when she asked, but Steve finds himself kissing a lot of girls he doesn't want to. He doesn't know how to say no. Can't find a reason too. Brian's words play in the back of his mind every time he thinks about saying no.
(Are you stupid? Are you queer? He doesn't want to be either of those things, and given his grade in biology and pre-algebra, he's really only got a hope of avoiding the queer label. His father would tolerate a stupid son. He doesn't think he'd survive if his father had a queer one.)
There are a few girls he's been crushing on that ask him and that was nice. One, Alice Baker, even becomes his girlfriend for a month. His first relationship.
Soon eighth grade gives way to being a freshman and Steve, who has always been handsome and cute, catches the eye of upperclassmen now.
And Steve's not sure how it happens, but he ends up moving past first base with another girl whose name he can't remember, or possibly never knew. He doesn't remember asking her for hers when she led him into one of the bedrooms at the house this party was at while he was way too tipsy.
And then it just grows. The reputation and what people expect from him, and he doesn't want it, but he's never said no before so can he start now? Doesn't he need a reason to say no? If he doesn't have a reason, does that make him queer? He should be wanting this. What boy doesn't want this?
And maybe he does want it. But not like this.
He doesn't want to be slightly drunk at yet another party, following the first girl that grabs his wrist and pulls him after her into whatever secluded area they can find. He doesn't want to keep saying yes when he wants to say no.
The summer between freshman and sophomore year he confides in Carol. It's a risk. Carol can be cruel, quick with her words to tear you down, to spread the rumor that will ruin your life. But she's also fiercely loyal.
He tells her he's tired of kissing people he doesn't want to.
Carol is quiet for a long time, and Steve almost thinks he's made a mistake. But then she speaks.
"Okay. Let's make a plan."
And they do. Then suddenly Steve is untouchable. Carol teaches him how to see the weakness in people and call it out. How to wield his facial expressions as a weapon and a shield. How to put on the air of being the most important person everywhere you go so well that everyone else begins to believe it. How to fall back on the fact his parents are rich, gone often, and, almost most importantly, well known in the community. It gives Steve's name a weight to throw around.
More importantly, all of that culminates in people no longer asking things of him. Instead, they look to him to take the lead, they wait to be asked. It makes Steve feel in charge of his life for once.
But now.
Now, years later, having survived a spring break from Hell and averted the apocalypse, Steve watches Eddie hang off Argyle with ease, fling an arm over Jonathan's shoulder while laughing at a joke, easily pull Dustin into a headlock or wrestling match.
Easy touches that Steve should be able to do, too. A jealousy wells inside him almost as much as the unease he feels in his stomach at the mere thought of letting them know they're allowed to reach out and touch him, too. That Eddie's allowed to reach out and touch.
But then he remembers what happened when he let people have that power over him and he can't bring himself to do it.
It settles in Steve, then, the realization. When you become untouchable, you're unable to touch.
-
@nburkhardt @i-less-than-three-you adding my own lil bit of angst into the mix now (:
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pathologic but it's a lost 1920s german expressionist film [id under cut]
[id:
image 1: a digital drawing of a fake poster, using bright colours and rough, painterly brushstrokes. the title, 'pest' (german for 'plague'), is written at the top in spiky black text. in the foreground a man dressed as a tragedian is staring intently at the viewer, his hands raised and splayed as if in horror. in the background, the town is framed against a red sky, with the polyhedron in yellow behind.
images 2 and 3: fake casting sheets for the film, with the names of the actors and the characters they are playing above a black-and-white portrait photograph of them. all the text is in german. in english it reads:
'Pest', a film by Robert Wiene
Alfred Abel as Victor Kain
Ernst Busch as Grief
Lil Dagover as Katerina Saburova
Ernst Deutsch as the Bachelor
Carl de Vogt as Vlad the Younger
Marlene Dietrich as the Inquisitor
Willy Fritsch as Mark Immortell
Alexander Granach as Andrey and Peter Stamatin
Bernhard Goetzke as General Block
Dolly Haas as the Changeling
Ludwig Hartau as the Haruspex
Brigitte Helm as Anna Angel
Brigitte Horney as Maria Kaina
Emil Jannings as Big Vlad
Gerda Maurus as Yulia Lyuricheva
Lothar Menhert as Georgiy Kain
Asta Nielsen as Lara Ravel
Ossi Oswalda as Eva Yan
Fritz Rasp as Stanislas Rubin
Conrad Veidt as Alexander Saburov and Tragedian
Paul Wegener as Oyun
Gertrud Welcker as Aspity
image 4: four digital sketches of set designs for various locations. all are strongly influenced by expressionist imagery, using extreme angles, warped perspective, and dramatic shapes. they are labelled 'street 1' (a street lined with houses), 'street 2' (a square with a lamppost and a set of steps), 'polyhedron exterior' (the polyhedron walkway), and 'cathedral interior' (the dais at the far end of the cathedral).
image 5: four digital drawings in a black-and-white watercolour style, showing fake stills from the film. all are similarly distorted and lit by dramatic lighting. the first shows katerina's bedroom, with katerina standing in the centre of the floor. the second shows the interior of an infected house. the third shows daniil staring out of the frame in horror, one hand on his head and the other raised as if to ward something off. the fourth shows an intertitle with jagged white text reading 'the first day' against a dark background.
end id.]
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