He doesn’t let people see it - that yeah, at times, he can be nostalgic and maybe even a little, ugh, sentimental - and what he does let people see is handcrafted.
He can’t quite use a green screen in real life, but misdirection and props?
He has a framed photo of him and his dad, front and centre, on one of his work stations down in the shop; he’ll talk about and make reference to his dad in interviews if need be, and people don’t question what’s on offer; they’re satisfied you’re not hiding anything.
The picture of him and Jarvis, the edges curled, is tucked away in the corner of his monitor, a screen that has its back to the door and when he’s loosened with liquor, he’ll thumb over the curve of Jarvis’ smile and remember the bedtime stories and hot chocolate (and Tony would always get Jarvis’ share of the marshmallows in his too)--
--he thinks about the times Jarvis would try his hide his smiles without smiling and his inevitable failure, the sound of hurt in his voice when he found out about the drugs; he thinks about being taught how to shave, of being picked up and wrapping his arms around his neck whilst his dad screams at him to get out of the workshop--
--he remembers bath times, waking up hungover in the morning to a glass of water and two aspirin on bedside table, remembers waxen lips and “I am so proud of you.”
JARVIS is good, JARVIS is great - he’s better than that-- hell, the first time JARVIS sassed him, in that way that was just Jarvis, he nearly cried, right there and then in the middle of the workshop.
But he wasn’t Jarvis. Tony couldn’t fall asleep on JARVIS and wake up curled on the couch with a blanket tucked up around his shoulders; he couldn’t press a cup of tea into JARVIS’ hands and tell him to sit down and slow down; JARVIS couldn’t recount tales of his adventures he’d had with Aunt Peggy.
JARVIS wasn’t the same, but he was more than enough - just not... not quite enough somedays.