Reviews for Nostalgic
Shadows Concealed In Darkness chapter 4 . 2/7/2014
Please continues this, the way you handle a disabled Jim is wonderful. The world is lucky to have writers like you. :)
jags chapter 3 . 10/19/2012
Oh this is quite wonderful! I really can't wait until you post more. Please, please, please! post soon!
Indigo1100 chapter 3 . 8/5/2012
I love the argument! John and Seb military-titling each other, Irene with her age comment, Seb snapping at her (I'd imagine he really wants to snap at someone, but would be more wary of doing it at Sherlock and John), Jim being immersed enough in work for a moment to be surprised that Seb is being like that, Sherlock responding to the stress in his own way (wanting everything to be straightforward and intellect-only), and then Jim taking the he-is-at-a-disadvantage opportunity to vent a bit himself, but also still feeling the stress quite intensely.

Thanks!
Dark Magical Sorcres chapter 3 . 8/5/2012
i like is this a follow up to sentamental plese more poor jim i want to snap my fingers and give his his legs and his site back
Indigo1100 chapter 2 . 3/8/2012
Collaborative fic, lalalalala (thanks!).

I agree that Watson's modes of address sound better in this new order.

"Jim was indeed alive, and well in all but his level of shock"- I love your phrasing. And Seb noticing the tone, and knowing his threats will do no good, and making them anyway, because what is he supposed to do, what can he do?

Ms. Adler the referee- summary 'shout out' of sorts. And yeah.

Interesting, Sherlock choosing 'Colonel' as the mode of address for Seb. I wonder if he's doing it to spark Mycroft memories, or for personal reasons.

Aww, Jim and Seb here- Jim showing rare vulnerability/that he is genuinely scared, grabbing Seb's hand, whispering carefullness at him. Seb reassuring, and relieved some when Jim is sarcastic, and picking Jim up all carefully. And the 'Tiger' thing.

Just curious- how come some italics-in-italics are non-italic, and some are **?

Seb trying to be protective, as best he can, and Jim clinging to him- more aww. And the little detail about Seb and car positions.

Yay for Ms. Adler's phone, and interesting... thing between her and Jim, him insisting on a) his last name, so more respect, and b) his new name, and she not calling him Jim again, but doing it by switching to second person, and not to another mode of address.

Good idea for what the case is.

And, there goes Jim, antagonizing people he shouldn't. I suppose, all this time with Seb and how they are, he's gotten somewhat used to not being able to be the in-control in such conversations any more, and to using his needling abilities instead. That... is very unlikely to lead anywhere good, here.

And oh, I *like* Sherlock's reply. Hehe, Seb runs a gambling den. And very, very interesting what threat Sherlock has chosen- he's not threatening to call in the cavalry on them, not bringing in the fact that Jim is basically at his mercy at the moment- no, he is threatening to use his own usual skills, against Sebastian. And I'm guessing this does have an effect. Turnabout indeed. (And I wonder what Seb thought of that reply).

And yay, John, and Jim clinging and "I wouldn't expect you to understand", and quite the perfect segway into the next bit.

And I really think you ordered all of these perfectly- the story-line continued, the flashbacks interspersed, italics and present tense. And the way we are given Sebastian- protective and devoted and worried and them having close-moments in the midst of the situation, and trying to manage Jim, and Jim liking him, in some way anyway, enough that threats like that can be a thing. And then the very last thing we hear, and the very last thing we see, is the other side.

Thanks for the update, and the update is awesome, and thanks!
Indigo1100 chapter 1 . 1/10/2012
Ahhhh! Honestly, I think my excitement waiting for this came close to waiting-for-episodes levels, and then I open my email, and - ! Anyway, I'm so glad you've started the story, and this was an awesome start.

I like the way you did the beginning, with the years and events, and giving us a 'previously on', even. I love the way you wrote the 'previously', the terms for them instead of their names and the phrasing and all. "when the detective offered himself to the criminal, in any capacity"- it's happened and it's over, and still, *shudder*. And Mycroft's description is great.

Aww, Sebby. Motivation could not have been anything other than love, indeed. The h/c is... well, I can't say wonderful, because it's h/c and it's Moriarty, but just- wow. Sebastian all solid, and Jim not insulting him anymore (well, not in the same way- 'dimwit' is very different from what he was doing before), willing to show him his emotions, open to him, both what he would probably have derided as weakness before, and the- I don't know the word, because neither anger nor frustration are right, but that. "I never saw him laugh. Did you?" Blessed, Mycroft must be such a psychological... presence for both of them (which is a thing I absolutely love). I wonder if Jim really hears him laughing. (*tries to imagine Mycroft laughing like that*).

And oh, Sebastian again, with the marriage proposal and its explanation and coming up with ideas and just with his devotion (work and love, hmm). Though I'd advise he avoid putting academics into chokeholds. "you can write that treatise on clearing up various misconceptions in advanced calculus you always ramble about when you're high"- that is epic.

"Mr...Mr...Mr. Holmes" -yeah, psychological presence indeed.

"it was really, really difficult to tell whether Jim was asleep or just silently coming up with elaborate murder schemes. " - I love this, and I love Sebastian's phrasing of things (well, the phrasing you give him, obviously).

"Jim did, finally, say, "Do you suppose anybody's translated any smutty books into Braille?"

"Let's find out."" - this exchange, just - so much in it. Wow.

I think I may have missed some mental things in the Irene and Sherlock scene, but I like the scene, and it's nice to see more-normal!Sherlock, info about the oysters and all, considering. And I like Irene's warmth- I loved it in the episode, and I like that you've got it.

Jim is still thinking about Molly- hehe. And poor Molly- I suppose Jim is not the kind of person who can be expected to be decent in that way, but just combined with everything- I mean, working in the morgue is a medical thing, she most definitely does know math, and not being able to tell when people are interested is a) not one's fault and b) especially not one's fault when people are purposely pretending so that they can use you to get something they want. (I'm sorry, this has nothing to do with the story, I just feel bad for Molly).

Jim indulging in his love for ridiculousness using glass eyeballs- lovely. And running people over with his wheelchair, oh dear.

Yay for seeing Dimmock again (though it took me forever to figure out why the name was familiar- I thought it was another allusion).

"the tan lines on the murder victim's big toe and how this meant the geese could not possibly have been in the broom cupboard." - that's wonderful.

And I like this way of Sherlock realizing it.

"In 2016, Irene Adler discovered a conspiracy that she could have turned to her advantage, yet was so terrible that she couldn't bring herself to. " - this is wonderfully phrased, and hooray for Irene.

Sherlock's language list is great, as is John's. And Irene's. "In that case I'll bring Mary. She loves being a footstool and I haven't let her leave the house all week yet." - OK, you know what- that's what was wrong with the BBC's Irene, they didn't have you writing her.

Yay, this scene with more of Jim's perspective! "when all of a sudden most of his nightmares were realized" a) as far as the stuff in brackets goes, wow, that's half 'poor Jim' and *shudder* and half 'hehe', and b) that and "Surely Sherlock couldn't simply kill him right there. That would look awful in the papers." - well, Jim's afraid of Sherlock. Of all things.

The house layout info is interesting, and oh Seb yet again- carrying him every day, and I'd bet he know about the cooking thing, too (and is OK with it).

And anxiety in Sherlock's voice too -oh! And I can imagine it too, him steeling himself, in a way, to have come here, but everything is still still there.

"Your - your brother, he said Seb and I mustn't come up on the radar again."- and psychological presence again- the only one who makes Jim stumble over his words. Oh, I like.

"Oh haha, how very hi-larious."

"Seb, we're working with them," Jim said, his voice taut. - those two lines taken together- he's using sarcasm as his shield again, but he's got the underneath very much as well.

"If you touch him, at all, even once..." Sebastian hissed. - you know, while I'm fairly sure he's addressing Sherlock (and I feel very bad for him, because of course he realizes that he wouldn't actually be able to do anything), that is, as I noted, some advice he should definitely give Jim as well.

""Please, Sherlock, I actually have a life here. A legitimate life where nobody dies.""- you know, I was imagining sarcastic-ish tone here again, but I think the actual plea is there as well. (And I love it).

"John added, with such mildness that it chilled Jim to the bone, "Turnabout is fair play; I suggest you count on the continued unfairness of life."" - hooray for John, the honorable and the terrifying.

And yay Irene, and oh, interesting- Jim's scared of Sherlock and not wanting to show it (obviously), he can be scared by John, but he's furious at Irene.

Thank you!
BloodyRosie chapter 1 . 1/10/2012
interesting

smile
Rhyolight04 chapter 1 . 1/10/2012
Raven, I do love you, but I was thinking the other day that blinding and paralyzing Moriarty (sorry, drinking) was a) barbaric and b) not actually doing much to solve the problem (the rapine,yes, but not the consultation). Rather like Gandalf told the Ents about Saruman. I don't see why he isn't still being the Napoleon of Crime, or at least the Steven Hawking.

But I love your stuff enough to read through the moral and ethical disapproval. Which I don't say of most writers.