I currently have 226 works archived at AO3. Pick a number from 1 (the most recent) to 226 (the first thing I posted there), and I'll tell you three things I currently like about it.
1) This story kind of fits it into the subgenre of "Charles and Erik during their recruitment road trip, still sort of dancing around each other and figuring each other out", which is something I pretty much never tire of
2) I like Charles's matter-of-fact smugness/arrogance here, and how that applies to his seduction technique - if you can even really call it that
3) I'm pretty fond of the dialogue in general; it still amuses me months later
1) I love me some Raven-and-Charles-as-kids backstory
2) I really adore the image of Erik as gatekeeper at the door, denying access/protecting Charles from anyone who might disturb him
3) I like that the story is relatively subtle while still managing to get across what I wanted, which is the combination of Raven and Charles really loving each other but having grown farther apart, farther than probably either of them realizes - the contrast between them as children, when they were each other's everything, to them now, when they don't know what the other is thinking or doing
1) I really enjoy exploring a post-beach Charles that lets the anger and bitterness show (actually, even though the description is completely different, the last scene in this story is one of the things I first thought after I saw the set pic of McAvoy for the new movie)
2) The exchange between Erik and Charles where Erik thinks Charles is trying to teach him a lesson, and Charles has to point out that he's not doing it for Erik at all, he's doing it for himself
3) The image in the road head scene of the background scenery repeating itself, like Charles's telepathic image is getting lazy around the image and doing a loop, the same way the editors did in car scenes in old Hollywood movies
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1) This story kind of fits it into the subgenre of "Charles and Erik during their recruitment road trip, still sort of dancing around each other and figuring each other out", which is something I pretty much never tire of
2) I like Charles's matter-of-fact smugness/arrogance here, and how that applies to his seduction technique - if you can even really call it that
3) I'm pretty fond of the dialogue in general; it still amuses me months later
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1) One of my favorite opening lines (opening two lines, even)
2) Pete's imaginary song titles
3) Jokes about Pete Wentz's underage kink are always funny. The end.
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1) I love me some Raven-and-Charles-as-kids backstory
2) I really adore the image of Erik as gatekeeper at the door, denying access/protecting Charles from anyone who might disturb him
3) I like that the story is relatively subtle while still managing to get across what I wanted, which is the combination of Raven and Charles really loving each other but having grown farther apart, farther than probably either of them realizes - the contrast between them as children, when they were each other's everything, to them now, when they don't know what the other is thinking or doing
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1) I really enjoy exploring a post-beach Charles that lets the anger and bitterness show (actually, even though the description is completely different, the last scene in this story is one of the things I first thought after I saw the set pic of McAvoy for the new movie)
2) The exchange between Erik and Charles where Erik thinks Charles is trying to teach him a lesson, and Charles has to point out that he's not doing it for Erik at all, he's doing it for himself
3) The image in the road head scene of the background scenery repeating itself, like Charles's telepathic image is getting lazy around the image and doing a loop, the same way the editors did in car scenes in old Hollywood movies
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