The Sole Survivor and protagonist of the story. A woman whose sense of justice is strong enough to always stick to her morals - enough to abandon her son who she spent months searching for. To atone for his sins, she vows to make the wasteland a better place and destroy the Institute once and for all.
Her last name means “fated to be a warrior” and maybe she was. Instead of her husband, Nate, she was the one who joined the military. During the fighting, shrapnel from a grenade sliced open her face and completely decimated her left eye, leaving her half blind. She thought her days of fighting would be over after that, but after the events at Vault 111, she takes up her gun once more.
Commission on left done by @skaiind. Commission on right done by @newvegascowboy
James:
The antagonist. A man who hates people but loves animals. A sociopath that grew up in a small community that was attacked by raiders when he was a child. With nowhere else to go, he joins them. Throughout the years, he rises through the ranks until he eventually leads them, but leading idiots like that isn’t enough for him… He’s still bored. So he sets his sights to the biggest fish around - the institute.
While looking for ways to infiltrate the institute, he crosses paths with Danai and is instantly smitten. She’s just so interesting. His mission changes a bit - find a way into the institute and make Danai his by any means necessary.
Commission done by cr3scentmoon1 (tiktok) and picrew by vault boy maker
Catherine (Katie):
Katie is the Lone Wanderer that went missing a few years after the events of fallout 3. She makes a reappearance in the Commonwealth with the presumed dead Sarah Lyons when they bring the Lyons sympathizers to fight Maxson’s Brotherhood Of Steel with Danai.
Picrew by smile paint and commission done by @newvegascowboy
Rubi Reyes:
An insane, violence loving ex-rich girl that leaves the comfort of home to find excitement in the wastes. She helps Danse out and eventually starts obsessing over him, doing everything she can to stay with him and hide her more violent side. She joins up with James to overthrow Maxson when she learns about her boyfriend’s synth origins. Plus, she has a feeling she’ll have more fun under James’ leadership.
the bride from the bride of frankenstein (1935) lily powers from babyface (1933) jenny hager from the strange woman (1946) trixie lorraine from gold diggers of 1933 (1933) blanche dubois from a streetcar named desire (1951) and mildred rogers from of human bondage (1934)
gigi was born and raised in a rural midwestern town and left home at 18 to search for a career in hollywood. she was always very haughty, even as a child because she knew she was destined for greater things. she detests and looks down on her upbringing--she is no hick.
she spent 3 years trying to break in, getting bit parts as a cashier or a chorus girl, but nothing with lines. she'd finished a promising audition for a role when the bombs dropped, and took shelter in the employee tunnels under the movie lot.
gigi didn't ghoulify right away although she wishes she had so it would've saved her the horror of slowly losing her looks.. 3 years went by before her skin started falling off and the rest is history. she was, and still is, horrified by what she's become and resents the world for it.
but at least now she can pretend to be somebody. who'd know?
gigi tends to try to stay on people's good sides for as long as she can before they see her for what she really is. she plays sweet or larger than life, but she can flip on a dime, screaming and growling and threatening when she feels like she's being challenged or disrespected. she is very manipulative and selfish.
she's had many "boyfriends" over the years, but her self-hatred makes her detest ghoul men, although she still dates them to get what she can from the relationship because they are more likely to date her.
the saddest thing about gigi is that she'll never really be satisfied or accept her lot in life. as ghouls are just sick humans, there are many ghouls who live happy, fulfilling lives either with purpose or at least acceptance... and others that can't cope or fully lose it.
gigi goes through life in immense internal pain. she's a girl who looks right through people. she pretends to be something she wasn't in life, and most people don't take her seriously--although some do. she feels like a specter haunting the old world--a dead thing pretending to be human.
lastly, while my fallout ocs tend to be heroic or neutral, i really wanted to experiment with a deeply tragic character who has a penchant for manipulation, violence, and childish want--rather than solely survival or trying to make actual community.
There is Nick, the synth; optimistic and kind, eyes twinkling gold. He likes helping people, shuts down a little easier at night if he knows he’s done some good that day. Does his best to ignore the dirty looks that certain citizens still give him, tells himself that he’s proving them wrong, and that’s what matters. Sweet and caring if you know where to look.
There is Valentine, the detective; hard-boiled and cynical, catching the tricks that everyone else misses. The guy you go and see when your wife has run off with the rent money, or an upset father has decided to move his kids to Goodneighbour in the dead of night. Valentine will sigh a plume of smoke, adjust his hat, and walk into the silver-dark rain to track them down. The model of a noir anti-hero.
Most of the time, Nick and Valentine work well together.
Valentine gives Nick credibility, authority. Something to look at besides the fraying holes in his face, the metal skeleton of his hand. A place to hide when he can’t find the difference between Nick the pre-war cop and Nick the synth.
Nick gives Valentine some kindness, some empathy. Something to temper the hardened edges, a reminder that people are worth saving. A fondness for the children he watches grow up that softens Piper’s journalistic snooping to something endearing, something to be proud of.
Sometimes, Nick and Valentine clash.
Valentine is a flirt; love ‘em and leave ‘em, likes pretty girls in pretty dresses and the smudge of lipstick on a cigarette. Plays the game with Magnolia and Irma that he’s a heartbreaker, a devastating part-time lover who has the nerve to keep coming back for a fix.
Nick is a romantic; the old him is still hung up on Jenny, the grief of that loss burned into every avenue of his inherited memories. On the days where he can’t tell Nick and Nick apart, he wallows in the melancholy, the faraway brush of her lips on his. On the days where he can, he sighs to himself, feels the little ache of loneliness of a crush that he doesn’t know what to do with.
Because sometimes, Nick and Valentine want exactly the same thing, but for very different reasons.
Valentine has a secretary; Miss Perkins is a sweet, naive girl who presses his ties and keeps his files in order. Takes messages when he’s out and makes sure people keep their appointments. Valentine sees the way she looks at him sometimes, the dusting of pink in her cheeks that swoops up in line with her hair as he brings a cigarette to his lips. He wants to show her the real grit of the world; sweep her off her feet and into the darkness, leave her head spinning and her legs trembling on his desk.
Nick has a secretary; Ellie is an administrative marvel who knows every case from front to back, keeps meticulous notes of every interview, catching the little gestures Nick misses while he’s talking. Growing up in Goodneighbour taught her to watch her back, and she never switches her ears off, catching things at the dug-out or the noodle stand that people would never dare say with Valentine around. And when it isn’t her overhearing some crucial detail, it’s her leaving a certain file sticking out of a drawer or rearranging the pages of a folder, gently pointing Nick to something he’s missed. He tries to take her out on cases sometimes, but she always refuses, says she has too much to be getting on with at the agency. And besides, if people see her out and about too much, they’ll stop talking in front of her. She’s right, of course, so Nick smiles to himself and leaves her behind, eyes framed by the pieces she’s put together for him.
(She also presses his ties, no matter how many times he tells her she doesn’t have to).
Valentine wants Miss Perkins because the character demands it; a detective ought to be having an affair with his secretary, and preferably a seductive villain as well. Perkins should sigh quietly when he leaves in the middle of the night, wonder why she isn’t enough. He should tell her not to worry her pretty little head, that those other girls don’t mean anything, not really. Kiss her until she can’t think straight, until she forgets everything but his name.
Nick wants Ellie because they’re a good team; she’s practical and thoughtful and hard-working. She keeps his head on straight, sometimes literally, and keeps the neon lights on by making sure both Nick and the bills get paid. She’s kind and optimistic, will happily sit down with him and talk through the thorns of a case when he’s stumped and frustrated. She always manages to ask the right question, point to the right snag to get his brain turning again. And those wits make her funny, a sardonic twist to her humour that you’d never guess from her lovely face.
Valentine wants Miss Perkins selfishly; for her body, for the story, for the way she would make him feel dashing and powerful.
Nick wants Ellie selfishly; for her brain, for her kindness, for the way she takes care of him. He wants her even though there’s nothing he can give her in return. So he ignores the blush in her cheeks, doesn’t let himself think about how her vest hugs her body, what might be hiding under that scarf. Hopes that one day, she’ll notice one of the half-dozen young men in Diamond City who want to buy her a drink, who can give her what he can’t. Who can love her properly.
Nick and Valentine and Ellie and Miss Perkins have found an equilibrium.
Valentine will let his hand linger on hers when she hands him a file, will hand her a lit cigarette he’s already taken a drag of.
Nick tells Ellie (almost) everything; explains where he came from and that he doesn’t know the difference between Nick the human and Nick the synth sometimes, will bask in her soft eyes and her gentle smile. It’s a careful game, one that can never be named, or all the players will shatter to pieces.
Things get complicated when Nora, the Sole Survivor of Vault 111, walks in from the rain.
She turns the story on its head; a grieving widow comes looking for the private eye, desperate to find the monster who murdered her husband and kidnapped her son. So far so normal, until she rescues Valentine from his cell, sweet talks Skinny Malone’s flame into dumping him and preventing the shoot-out the narrative demands.
(Ellie Perkins runs into his arms as soon as he’s home. Nick Valentine lifts her up and spins her around. Valentine makes note of the heat of her body, the press of it. Nick makes note of the way he can feel her laugh in the hollow of his own throat and tries not to imagine holding her like this all the time).
The Sole Survivor is stubborn and fiercely intelligent, and Nick Valentine is more intrigued than he’s been in years. Valentine is intrigued by her rage, by her anguish, by her drive to find the monsters in the dark and burn them to ash. Nick aches at the fierce love she has for her son, the possibility of answers to that particular set of cold cases.
Nick Valentine starts travelling with her, first to find Kellogg, then to the Glowing Sea. He’s not home as often, caught up in this mystery that strikes him right to the core.
Valentine bristles at the way the Sole Survivor breaks the rules; works on instinct, on snap decisions, goes in guns (metaphorically) blazing. But it works; she sees the answers quickly and clearly, says the right thing at the right time, fights when the words don’t work. Buries her hands in dead men’s skulls to get what she wants. She’s a super heroine, the protagonist of a very different story.
Nick quickly considers Nora one of his closest friends. They work together to break down the door to the Institute, slingshot her inside even though it might kill her. The journey is gruelling, but he almost has fun; she sings along to the radio, manages to laugh at the small things even in the face of all this agony. She reminds him a little of Jenny, and he aches.
Nick Valentine watches the Sole Survivor dissolve on the platform, disappearing in a flash of blinding light, and then he goes home.
Ellie Perkins is waiting for him, eyes tired and worried. He tells her he’s okay, that the vault-dweller made it, that the job is done. She pulls his coat off his shoulders and hangs it up while he lights a cigarette and pulls out a handful of files he hasn’t looked at in months. Miss Perkins brings him a glass of whiskey they both know he can’t drink; Ellie rubs her hand on his shoulder. Valentine appreciates the gesture; Nick appreciates the warmth, the comfort. Reaches up to rest his hand on hers, just for a moment. Ignores her sigh when he lets go.
Things return to something like normal, to the turn-taking of their game. Nick Valentine and Ellie Perkins, partners in crime-solving. Nick keeps digging through one case, fixating on details he’s looked at a hundred times. Winter stops looking like a real word.
And then the Sole Survivor comes back.
She looks healthier and sicker all at once; less gaunt, less tired, but pale and uncertain. Thanks them both, pays the rate they’d agreed plus a generous tip. Ellie makes Nora a cup of hubflower tea and says she’s glad to see her again. That she’ll be right back, she was just on her way to check a few things with Piper, and did Nora want her to pass on a message?
The Sole Survivor says not to worry, she’s already paid that visit, but that she hopes Nick appreciates how lucky he is to have someone this thoughtful. Perkins smiles and leaves Valentine and the Sole Survivor alone. Ellie makes a pointed joke about a raise, and Nick ignores the warmth blooming in his chest as he watches her go.
Nora breaks down when Nick asks her how it went. She was too late; Shaun is all grown up, is old, taken for his DNA and groomed to be the Institute’s Director. She twists her wedding ring around and around her finger, tears splashing into her teacup. Begs Nick for something, anything, to take her mind off it all. For a way to help people, do some good.
So Nick and Nora, Valentine and the Sole Survivor, become partners. Work together to track down Marty, to solve the case of Shem Drowne. Valentine and the Sole Survivor track a string of disappearances until they all converge on the Combat Zone, busting down the door and shutting the establishment down for good. Nick and Nora rescue a skittish, angry girl named Cait, tear up her contract and free her from the horrors of an endless cage match.
And all the while, Nora smiles like Jenny, and Nick can’t stop turning the Winter case over and over in his mind. He leaves the notes strewn over his desk one day, tries to shove down the guilt at using Ellie like this while he’s stuck in another man’s heartbreak.
It works; he comes back to a tidy set of files, now with a set of terminal override passwords for Greater Boston Police Department terminal network tucked in the back. He pretends he doesn’t know Ellie has read every word, has read the notes about Jenny from both Nicks. Pretends he doesn’t see the ache in her face when she looks at him. Doesn’t name the game.
Valentine asks the Sole Survivor to help him track down a mob boss. Nora sees right through him, and Nick tells her the story, the story of Eddie Winter and Jenny Lands and the way he remembered loving her. Apologises for asking this of her; he knows he has no right. The Sole Survivor laughs, asks Valentine if he’s forgotten something. Nick frowns, confused, and Nora says he’s right, how dare he ask her for help to find the thug that killed his lover. Who in their right mind would do such a thing? Nick laughs, the cynical chuckle that usually belongs to Valentine, and they get to work.
The tapes are scattered all over the Commonwealth, gunners and deathclaws and half-crazed scavengers blocking their path. But after several weeks, they have the set. Nick is grateful for his hardware, scans through the tapes and finds the signals hidden underneath. Nora grins, asks if he’s ready.
He is. Valentine and the Sole Survivor head for Andrews’ station, fight their way through a horde of raiders and wind their way through a maze of tunnels before they finally find the door.
Nick tells Nora the code, watches her mouth moving as she says the numbers out loud. He pretends they’re Jenny’s lips saying the words, that Jenny is here to get her retribution.
When the door opens, Nora stands back, leaves Eddie Winter all to Nick. And when she searches his body, she hands him Eddie’s pistol.
Valentine takes the Sole Survivor to the side of a road, to a particular set of hubflower bushes. He says goodbye to Jenny Lands, goodbye to Eddie Winter. Goodbye to the vendetta. It leaves a metaphorical hollow alongside the physical holes in his chest.
Nick tells Nora about Jenny, about the echoes of a different man’s grief. About the way he can’t tell where one starts and the other ends, sometimes. Nora hugs him, tells him she’s glad she could help. That she hopes Nick can realise that he’s a person all on his own, can let go.
Nick Valentine goes home.
Ellie Perkins is waiting, takes his coat and pours him a whiskey. Nick tells Ellie that it’s over, that Nora helped him find Eddie Winter, that the job is done. Ellie says she hopes this gives him some closure. Opens her mouth to ask something else, but stops. Doesn’t name the game.
The Sole Survivor isn’t around for a while, busy saving the world and ignoring the monsters lurking beneath. Nick Valentine doesn’t blame her. He throws himself into his work, into the project of unraveling all the places Jenny was woven through him, through his memories and synapses and nerves and circuits. The unweaving leaves hollow places behind, places waiting for emotion to creep in.
Ellie Perkins keeps her head down, finds worth in her work. Good secretaries, she says, are the ones who keep things running so smoothly their bosses don’t notice half the things they do.
Ellie Perkins creeps into Nick Valentine’s empty spaces the same way. He was already fond of her, but now she fills up the other half of him without him noticing, weaves herself so thoroughly into the fabric of Valentine’s trench coat and the fabric of Nick’s internal wiring that they’re both drowning. Valentine pictures her with her vest open, hair tumbling down her shoulders as he devours her with his eyes, his hands, his mouth. Nick pictures waking up with her head on his chest, pressing his lips to her forehead and brushing a thumb over her cheek.
Valentine wants her growling, burning, hungry. He wants to drink down the sweetness of her and never taste anything else. Wants her to rescue him from the dark and the grit, wants her kissing him until his head spins and he forgets everything but her name, because no-one else matters. She is enough.
Nick wants her soft, aching, longing. He wants her smiling and close, wants to laugh at her sneaking jokes and make her laugh in return. Wants to cook her a meal he can share with her, drink the whiskey she pours for him. Wants to hold her against his warm body and drift off to sleep. Wants to love her like a real person would.
The rules of their game start to shift. They spend more time on worn out sofa instead of at their desks. They move from spending their evenings drinking alone at the dug-out to spending their evenings (not) drinking alone at the Agency, together. She stops wearing her scarf when it’s just the two of them, leaves the top button of her vest undone as if in invitation. He spends more time out of his coat, tie loosened and shirt sleeves rolled to his elbow.
And then, one night, the game almost breaks. They sit on the sofa, thighs just brushing together as he lights a cigarette. She pulls one from the box and places it between her lips, unlit. Leans in so close that the light of his eyes and the light of his cigarette paint a sunset on her face. She presses the tip to the glowing end of his, sucks down a breath as the spark catches.
Nick Valentine watches Ellie Perkins pull the cigarette from her mouth, his eyes flicking from her lips to the lipstick smudge and back again. Watches her blow out a plume of smoke, her eyes hooded and fixed on his mouth.
Nick Valentine breathes in deep, lets the smoke of his own cigarette burn his throat, focuses on the absurdity of a robot with nerves, anything to distract him from how badly he wants that spark to set him ablaze. Anything to distract him from the disappointment in Ellie Perkins’ eyes when he doesn’t take the hint.
She’s knocked over a piece and he’s skipped his turn. Nick fights against Ellie and Miss Perkins and Valentine to keep the equilibrium. Ellie Perkins deserves better than him.
Valentine keeps working with the Sole Survivor; the Minutemen contract him to help them track down every Gunner involved with the Quincy Massacre. Nora tips generously, thanks Nick for the way Captain Garvey is smiling again. Nick Valentine is glad to see the Gunners taken down a peg.
Nora walks Nick home, invites Nick and Ellie and Piper to the dug-out. Nick is selfishly grateful that Nora won’t let him pay; he doesn’t want to send Ellie the wrong message by buying her a drink.
Nick Valentine and Ellie Perkins leave the Sole Survivor to her rented room and go home to a radio message for Valentine Detective Agency. A desperate father calling for help to find his missing daughter. Ellie Perkins takes meticulous notes. Nick Valentine runs back to the dug-out to leave a message.
Nora knocks on the door before the sun is properly up. Nick tries not to think too hard about how many children she’s had to rescue, the fact that she will never truly be able to rescue her son. Ellie Perkins watches them leave, makes Nick Valentine promise to be careful, to not be gone too long. Valentine tells her not to worry about him, Nick tells her they’ll be back before she knows it.
Nick borrows the Nakano’s radio before they get on the boat, calls home to tell Ellie he might be gone for a little while, that they were probably going out of range of the radio. She makes him promise to be careful, says she’ll never forgive him if he doesn’t come home. He swears it, swears he’ll be back, ends the call before he can say something foolish.
Far Harbor shakes Nick Valentine to his core. He watches the Sole Survivor make impossible choices, tells Nora she did the right thing as the new High Confessor steps up to give a sermon. He knows a thing or two about maintaining equilibrium.
Nick talks to DiMA, asks question after question, desperate to test their similarities, their differences. Asks DiMA what he feels, how he thinks, tries to figure out if the contradictions are enough to make Nick a person.
Nick Valentine thinks of Ellie Perkins every night. Valentine hopes she hasn’t forgotten him, hopes she thinks of him too. Nick hopes his distance will help her move on, notice someone else.
(The thought of Ellie with someone else makes Nick feel ill).
Faraday joins some of his discussions with DiMA, asks Nick about his own memory, his own wants. Asks him if he dreams, what he dreams about. Nick bends the truth a little, skates over certain details of a certain person. Talks about Jenny instead, and is a little shocked to realise it doesn’t hurt anymore. Nick asks Faraday why his own brain isn’t overflowing, why he doesn’t need extra storage like DiMA. Faraday thinks about this for a few days, asks if he can scan Nick’s brain; promises he’s very familiar with the software.
Nora encourages him to say yes; she understands his reservations, but wouldn’t it be better to know?
So he does. Lets Faraday connect electrodes to the plates of his head and plug something into the back of his neck. Drifts away to some warm, fuzzy place where he has human hands and human skin, can feel every minute brush of Ellie’s skin on his, the hot silk of her lips.
He wakes up to a strange, staticky hum coursing from brain to body and back again. Nora is smiling, but has the decency not to say a word.
Faraday has a theory; Nick forgets things because that’s what people do. His inherited memories have shaped his synth brain, teaching it to store memories like a human (or indeed, like a gen-3 synth) would do; imperfectly recording the important things, discarding the rest. DiMA can’t forget because there were no human memories to teach his brain how.
Nick and DiMA developed their personalities the same way; they are the sum total of their experiences, learning from internal and external stimuli and feedback. But Nick had a template, a guideline forcing his brain into a new shape even as he fought back against it.
DiMA is undoubtedly a person, but fundamentally inhuman. Nick is essentially a human brain in a robot body, with all the agonies that entails.
He sits with that one for a long time. Nora comes to find him, tell him she’s convinced Kasumi that she isn’t a synth, that she should head home. Nick wants to ask Nora how she knew, ask Kasumi what it took to convince her she was human. Instead, he congratulates Nora on a job well done and gets ready to leave.
DiMA asks him to come visit, and Nick surprises himself by saying he will. They’re different, but they’re also the same.
Faraday catches his wrist as he’s leaving, pulls him aside for a moment. Says he doesn’t want to pry, but he hopes Nick will stop holding himself back from what he wants over fears that his feelings somehow aren’t real. And that if he’s so inclined, there are ways to stimulate certain circuits to produce a very close approximation to certain… human sensations.
Nick’s mouth falls open as Faraday smiles and pushes a piece of paper into Nick’s pocket. Tells him to look at it somewhere private and that he hopes to see him again someday.
Nick Valentine spends the boat ride home in silence, turning what he’s learned over and over in his head. Nick the human and Nick the synth are at once the same person and different men; Nick taught Nick how to think like a human, to want and strive and hope. Taught him what love feels like, gifted him the memory of Jenny and the way she made Nick feel.
He realises that Valentine isn’t just a character that Nick pulls on with his coat; he’s a template, a guideline, just like the other Nick. Something he can learn from, and something he can shape in return. Nick grew out of Nick's memories and Nick grew out of Valentine, piecing these two characters together and building a new person on top. A real person, a person with human thoughts and feelings and wants. A person who can give.
The boat pulls in late, and Nick and Nora smile as they watch Kasumi reunited with her family. Nick squeezes Nora’s shoulder, hopes she can sense the comfort underneath.
The Nakano’s insist they stay the night; it’s too late and too dark to be wandering the coast. They accept, grateful for solid ground after the choppiness of the sea.
Nick borrows the Nakano’s radio again, calls Ellie and says he’ll be home tomorrow. He can hear the smile in her voice, weaving her way back through his body and reminding him how badly he missed her.
Nick and Nora leave as soon as the sun is up, thanking the Nakano’s for their hospitality and promising to drop in the next time they’re out this way. They part ways at Bunker Hill, and Nora hugs him before she continues on to Sanctuary and he heads for the Agency.
He jogs most of the way home, a new lightness in his chest insisting he get home now now now.
Ellie runs into his arms as soon as he opens the door. Nick picks her up and spins her around, relishes in the warmth of her body and the sweetness of her laugh all at once. Lowers her to her feet and smiles down at her, smooths a stray tendril of hair behind her ear.
And then Ellie names the game.
"I missed you," she says, hands lacing together at the back of his neck. "I missed you so much."
"I missed you too, Ellie," he says. She’s so close her face is lit up soft gold.
She looks down at his mouth, slow and deliberate, and then back up, almost a challenge.
"Kiss me?" she whispers, shivering through his body.
"Are you sure?" he says, fighting to keep his eyes on hers instead of letting them drop to her lips.
"Please." She tugs at his neck.
"Promise me you’re sure," he says, fighting against the pressure, his body screaming at him to lean forward. "There’s things I… There’s things I can’t give you, no matter how much I want to. Things you deserve."
"Nick, I value your opinion more than just about anything, but that’s nonsense," she says, stiffening in his arms. She pulls away, leaving him cold and aching.
"I want you. Just as you are. So please, do me a favour and forget what you think I deserve. If you don’t want this, we’ll forget it ever happened. But if you do…"
And Nick Valentine wants her so badly he’s a little dizzy with it, so he reaches out, pulls her back against him where she belongs and sweeps her off her feet. Kisses her long and aching and desperate, carries her over to her desk to place her down and crowd between her legs. She wraps herself around him, and he kisses her again and again, unbuttons her vest with deft fingers and pulls it away to devour her with his eyes. Trails his lips down her neck, her collarbone, leans her back to suck her nipple into his mouth. She pushes his hat off and grabs his head, holding him still and arching against him, legs wrapping tight around his hips. He pulls back, takes out her hairpins and watches her hair tumble down over her shoulders, her heaving chest. Tangles one hand in her hair and pulls her head in to kiss him, makes sure she’s distracted as he tucks a piece of paper among the files on her desk. Today is all about her, about making her feel good.
They can find equilibrium later, when Ellie Perkins finds Faraday’s note on her desk. Nick Valentine hopes she’ll put it to good use.
Based on the art you made of Deacon trying to flirt with Imogen.
Does Solomon have the nerd rage perk?
Solomon actually does not. His intelligence stats aren't maxxed out despite being a high intelligence build. He's just a tad bit jealous (she loves him sm)
Fun fact, Imogen is WORSE lmao whenever he speaks with Cait even if he says hi she gets triggered 🤣
The comic referenced in this #ask
💬 0 🔁 7 ❤️ 74 · Deacon flirting with Imogen is a bad idea 🤧
