In A Show About Child Soldiers And Grief And Recklessness I Think It's So Important That People Write

in a show about child soldiers and grief and recklessness i think it's so important that people write about them growing old together

(drew this in a mad rush because your writing is just SO GOOD)

i gave lockwood gray hair (even though it's too dark to see lmao) which i think he pretends to be mad about

but he probably likes it because he didn't think he'd ever live that long

george with a full beard is EVERYTHING. brown men do it better baby

lucy has ALL the smile lines and no she doesn't cover them up because women are wrinkly and beautiful

i think they keep better hours now. sleeping comes easier :)

pose reference: heartbreak (2010)

Lucy, Lockwood and George, after everything.

(show edition. I'm not going by book canon for this one, so don't worry about spoilers)

At 21 or 22, Lockwood is the first of them that starts to lose his talent.

Which makes sense, since he's the oldest. At the beginning he refuses to even acknowledge it, but Lucy and George figure out what's happening soon enough. For a while he's just ashamed and angry and sad all the time. Then it gets better: Lucy and George get him trough it. He also calls Kipps, and they talk for hours, both coming out of it feeling almost at peace (Kipps has gone back to school and is talking about wanting to become a teacher. Which Lockwood feels like should surprise him, but actually doesn't). 

Lucy is next. It breaks her heart a little (because of skull and all other type 3s) and it scares her a lot. But then she realizes how soothingly quiet the world can be at times, and lets herself think that maybe she will be alright. 

George is last. And the thing is, even though it saddens him to lose the one thing that connected him to ghosts, mainly he's relieved. He's been waiting for the other shoe to drop for a while, and now that it has, he's ready for whatever may come next.

The jobs get more and more rare as they hear, see and feel less and less. Lockwood knows he could hire new kids to replace them, but in truth he doesn't really want to. Perhaps Lockwood & Co. can be laid to rest at last: after all, they've already achieved more than he ever dreamt. So the next time a client calls, he informs her they've shut down and gives her the name of an up-and-coming independent agency he's heard great things about. He only feels mildly guilty about it. 

Even if they're technically not his employees anymore, George and Lucy stay. They don’t talk about it, but the idea of moving out of Portland row and living lives that aren't intrinsically intertwined feels wrong to all three of them: they're a family, after all, and nothing has to change about that.

Still, they need to make money somehow. So they muse about going far away from London, opening a bakery, living in a small house by the sea. But in the end they stay, both in the city and line of work they're used to. Because they do belong there, it's undeniable. George, of course, goes into ghost research and becomes a leading voice in the field, discovering new ways to help agents all over the country. No one is surprised, but everyone is proud. Lucy one day shows up at Barnes' office to ask him about becoming an inspector. It's the last thing either would have expected, but when he asks her why, she says it feels like the best place to be to help kids like her. To stop people like Jacobs. So he gives her a job. She's determined to change things from the inside. Barnes thinks that if someone could, it's her. And Lockwood... well, it takes a while for him to figure it out. But one evening Lucy comes home talking about a kid left deeply traumatized by a job gone wrong, and suddenly he knows. The next day he calls the bank to open up a pro bono clinic for agents and ex agents in need of psychological treatment. After less than a week they already have their first client. 

Slowly but steadily, it becomes their new normal. 

Lockwood sets up a study in the room on the stairs and works mainly from there. George, on the other hand, works at a lab in the City: he is the first to leave in the morning, but he always comes home soon enough to cook dinner. Lucy keeps slightly more irregular hours, and sometimes her job keeps her away for longer than she'd like. But then again she occasionally gets to come home to adorable view of the boys fast asleep in front of the tv, so that's good.

One day Flo brings them a stray cat she found while working: they name him Donut and spoil him way too much.

Lucy starts gardening. George grows a magnificent beard (Lockwood is not jealous of it). The fridge breaks down and they have to buy a new one. Airf's son replaces him at the shop. They put up a hammock in the backyard, and spend their vacations piled into it. Mrs Burke from across the street knits them all hats for Christmas. Lockwood adds new framed articles on the walls and new knick-knacks on the bookshelves. 

He's not sure when, but one day 35 Portland Row stops being the home his parents left behind and becomes his home. Their home: his, and Lucy's, and George's (and Donut's. And Kipps' when he comes over for lunch on Sundays. And Flo's when she swings by using her own keys. And Barnes' when he stays for tea after long work days).

So they keep going as they have, day after day, year after year, slowly growing older. Wounds heal and scars fade. The sun shines through the kitchen windows on summer mornings. The smell of persian food fills the air every evening. Old rapiers get dusty in the umbrella stand. There aren't any ghosts between their walls, both real and metaphorical.

Everything is alright.

Malkolai ft Anna’s (actress of Tamar) excellent commentary

draws sura sighing into hetty 8949856465 times… its the Longing fellas

I am ... I’m always wary when I go to sleep that I won’t wake up for another hundred years, but that’s just how it goes.

you should never know how easy you are to need

[Lockwood & Co. cot3 || Lockwood/George/Lucy. Hanahaki au. 8k.]

Hanahaki doesn’t create a lot of ghosts. They’re relatively rare, and when they do manifest, they tend to be fairly placid. Technically, they have their own subcategory of Type One, but Lockwood’s never personally seen one on the job.

Hanahaki death glows, though. He’s seen more of those than he can count.

They’ve usually got the shadowed remains of plant matter spread out around them, so the death glows are distinctive. Once, he could see every petal of a wide rose bloom, glowing in neon green right next to the fellow’s fingers. Body long gone, flowers long dead, but the glow was still pressed into the pavement. Lockwood avoids them, as best as he can. Whenever he sees one, it just makes him grimly thankful that neither Lucy or George have as much strength in Sight as he does. That they won’t be able to see his death glow this brightly when his time comes.

It’s bad enough he’ll have to leave them due to something as drawn out as Hanahaki tends to be. Death by heartbreak, and all. Dreadfully boring.

hello hanahaki cot3 FINALLY here as promised xoxo <3 welcome to me kicking and punching lockwood into learning to accept love and loving for 8k words thanks so much

[ps. this was almost titled a love that doesn’t have a place to rest #funfact]

YOU CAN READ YOU SHOULD NEVER KNOW HOW EASY YOU ARE TO NEED HERE ON AO3

Something I love so much about the finale, and the final sequence in particular, is the sheer number of easter eggs packed in. The rewatch value is insane. Vee and Luz graduated together, King got to play catch, Dana Terrace signed Luz’s writing scholarship, Hunter doesn’t have eyebags, Raine has a palisman, Eda is wearing Raine’s earring, Luz is wearing Amity’s necklace, the Hexsquad had matching Flapjack tattoos, Alador and Darius might have a thing for each other- and that’s just what I know of right now. We’ll be finding little things for days and days to come and what a wonderful goodbye that is