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python333 · 7 months ago

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residual self-image — python³

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synopsis residual self-image is the mental projection of your digital self; it refers to your own physical appearance that is understood by you, that is projected unto you by yourself. you see yourself as something to be ashamed of. price sees something different.

relationships platonic!captain price & gn!reader.

characters cap. price.

word count 7.6k

warnings anxiety/panic attack [not sure exactly how to classify it; i think it's more of an anxiety attack?], reader takes SSRIs [zoloft/sertraline], suicidal thoughts and almost-suicide attempt, reader is the most unreliable narrator known to mankind, second person pov [you/your/yourself], usage of [name], usage of [c/n] for call sign/code name, bad matrix references/spoilers for the matrix and the matrix: reloaded.

note please please PLEASE let me know if this comes off as me romanticizing having anxiety or taking antidepressants so that i can fix/rewrite it /srs i don't take any form of antidepressants or anxiety medication and i also am not diagnosed with either of those!! nothing i say is final!!! i do not have firsthand experience with what reader goes through in this fic!! sorry i disappeared for a second, have some food as an apology. again, feel free to correct me on anything you think is inaccurate and i will (most likely) change it!! also sorry for like 3k words of backstory oopsies

In The Matrix, Morpheus gives Neo two options: blue pill, or red pill?

He says that if Neo takes the blue pill, “the story ends, you wake up in your bed and believe whatever you want to believe”. But the second option, the red pill, if Neo takes that, he will “stay in wonderland and [he] show [Neo] how deep the rabbit hole goes”. Neo, of course, takes the red pill, and is shown the “real world”.

Neo is thought to be “the One”. With the “O” in “One” being capitalized, so you know that it’s a pretty important title.

In the end, Neo becomes confident in who he is and what he can do, and defeats the “Agents”. Trinity confesses her love to a “sleeping” Neo, their ship is getting attacked by whatever those weird fuckin’ creatures were called, and Neo defeats the last of the agents. The end.

You take pills too. But yours are blue. They’re matte, powdery, baby-blue pills that are branded with the name “ZOLOFT”. It’s sertraline, to be specific, and you’ve been taking it for the past few months. You’re new to pills like these, ones meant to treat anxiety and depression and a number of other medical issues, so you didn’t know how much to take at first. You asked your doctor so many questions. You think about it often, and wonder if, even though it’s their job, that doctor had gotten annoyed at some point because of your inquiry.

These pills do similar things to the ones in The Matrix, though. You take them, preferably at night, and wake up in your bed like you always do. You believe whatever you want to believe, and another chapter is closed at the end of every day, marking another page closer to the end of your story.

Some days, the story feels like it’s going to end sooner than expected.

A side effect of sertraline―or, well, Zoloft specifically―happens to be suicidal ideation. It’s not that common, not that talked about, and isn’t the most well-known. But then again, most mental disorder-treating medicines have some kind of side effect like that, and plenty of people take things like antidepressants without an issue―or so you thought―so surely you could deal with something as simple as sertraline, right?

Wrong. So, so, wrong.

It’s probably really bad for a person who works in a military group to be dealing with such thoughts. You think about quitting sometimes, for the sake of the other people in the task force, because what could happen if the wrong straw breaks the wrong camel’s back while you’re doing an assignment? What if, caught in the crossfire between your team and your enemy, you say fuck it and decide that it’s all just too much? What are the odds of that happening? What are the odds of anything happening? What were the odds of the Earth being created, of the first animals evolving, of the first humans speaking the first languages? Statistics are so important, chance is so important, and odds determine everything. What are the odds of you deciding whether or not you have the will to live? The ability to keep going, to keep the routine you’ve always kept, to keep from taking one of those G19s from the armory and turning off the safety before pulling the trigger? To commit to such a permanent solution, one you’ve deemed as the “s-word”, because thinking about it sometimes is too much.

Or maybe it’d be a rope, your brain continues without your consent, A chain. Anything that will hold your body weight up enough for you to dangle from the fan on the ceiling―an image that makes you lean towards a chain, sickeningly enough, because of the idea of your abnormally stretched neck on display. The purple bruising that would appear, the indentations of each link, the smell of your blood and the metal of the chain unable to be told apart. Maybe your eyes would still be open, and it would look like you’re staring down at anyone who walks into your office. There’s so many possibilities. They add up, and create new odds, new chances. Every time you simply think, you are creating a new way to go about life, and that creation is sometimes stored so deeply in the back of your mind that it haunts you. It comes back around, becomes more common, the chances of it happening go up.

Sometimes the odds feel like they aren’t in your favor at all. Sometimes you wonder how you could’ve ever thought that any part of the universe was against you. It’s not bipolar; it doesn’t come and go in extremes, it just comes and goes. The odds will lower in your favor some days, and you will deem those days “bad days”, and other days they will be so high you don’t even think about “good days” or “bad days”. But those other days are almost as bad as the “bad days”, because they go by so quickly. You take them for granted so easily, too easily, and they leak through the thin lines between your fingers, leaving you with nothing by the end of the day.

Sometimes on “bad days”, your hands go from cupped to praying, and you will plead with yourself to just get better. You never do, on those days, and after taking your medicine you will go to sleep and believe that the next day will be better. Or, at least, convince yourself that the next day will be better.

You would’ve understood if Neo took the blue pill. If he stayed in blissful ignorance, even after all of the weird shit that happened to him. If he continued to wake up every day in a “normal” world, to sell computer systems and hacking programs, to be anyone but “The One”.

Because that’s what you do. You take your medicine, and go on with life as normally as possible, even with all of the things that you’ve been through. You wouldn’t want to be the one responsible for saving the world, or beating up robot-alien-things, or whatever. Just like how you don’t want to be held responsible for really just… taking care of yourself.

Which you’re shit at, by the way, if that doesn’t make things worse.

You take your sertraline and that’s about it. It’s not like it doesn’t work, it’s just underwhelming sometimes. Before you got on it, you would take more things to heart, think about things more, and were probably a little more prone to actually killing yourself. After starting to take it, it was admittedly pretty rough. It felt like your anxiety had increased a little, like your paranoia had only heightened, and everything felt so elevated.

Then, maybe a few months after beginning to take it, everything dimmed out. Like one of those lightbulbs you can dim, everything gradually came back down, and even lowered to a more tolerable level. You were glad, at first, that you had endured those first few months the way that you did because you’re not sure you would’ve even been here to this day had you not. Reading several articles and Reddit posts about Zoloft definitely didn’t help, especially as someone who was taking it partially for anxiety, but still, you managed.

And then you realized that just taking the medicine didn’t do as much as you hoped it would.

It helps you deal with anxious and depressive thoughts, yes, but you still feel like something’s missing. That lightbulb in your mind has dimmed, but it’s only just enough light to see ahead of you. Before all of this, the light was bright enough to blind you, to make you see that dreadful stark-white that still sometimes haunts you―when it dimmed down to where it is now, it was obviously a relief, but you feel like now there’s not enough light.

You understand the whole point of the medicine is to dim that light, to help bring down your mental state to a more “normal” one, but you think that even people who don’t have diagnosed mental disorders feel strong emotions like you used to. Maybe not as strong, but definitely something adjacent to it. You miss that, funnily enough―getting strong enough emotions.

Right now, you’re sitting at your desk in your office, staring down at the plate of mashed potatoes in front of you. You get it almost every time it’s offered, and endure the teasing you get from your teammates, all for one purpose.

To hide your pills in it.

Mashed potatoes are starchy, yes, but easy to swallow without chewing. They’re thick enough to help hide the feeling of the pill going down your throat, and don’t leave that weird aftertaste in your mouth that taking your medicine with water does. You tried taking the pills with water at first, like you would with any other medicine, but with this specifically you just can’t. It’s too easy to notice, they’re too big to just hide with water, and it feels like swallowing a rock every time you take them with water.

So, mashed potatoes it is.

The pill is already mixed into it. You had folded the small blue tablet into the mushed vegetable with a plastic fork, trying to keep it as hidden as possible, making sure no hints of blue bled through the beige-yellow of the potato.

You’re now watching the mashed potatoes, unblinking, as if it’s going to grow legs and run away from you. It’s never truly easy swallowing the medicine, even with the mashed potatoes coating it, but it’s usually easier than it is today. Then again, today was deemed a “bad day” the moment you woke up, so this was to be expected.

You grab the white plastic fork after a brief moment of hesitation and pierce the food with it, hand trembling ever-so slightly as you do―not from anxiety, but from your lack of water intake―and pick up a clump of potato with little strength. The vegetable oddly weighs your hand down the tiniest bit more than usual, but you ignore this in favor of pushing yourself to just force the food into your mouth. You try your best not to chew, your jaw only really moving to chew the side of your cheek instead to satisfy your urges, and eventually manage to swallow the food.

Right off the bat, you can tell the cluster you swallowed had the pill in it. Lucky me, you think almost bitterly, not sure whether you should be happy or uncomfortable, at least it’s over with. It’s not that it’s a bad thing that you got to the pill so quickly, but usually you’re able to get a few bites of medicine-less potato in before the actual medicine itself. Nonetheless, you scoop up another fork-full―fork-full?―of mashed potatoes and try to eat as much as you can to get rid of the weird feeling of having a pill going down your throat.

Just the fleeting thought of having a pill that big going down your throat makes it feel like your esophagus is closing. You feel yourself grow closer to nausea at the feeling, setting down your fork and pushing the paper plate of your dinner aside, just to rest your elbow on the table and put your forehead in the palm of your head. It’s bad enough that you feel ashamed because of the fact you even have to take antidepressants, so it’s even worse that those same antidepressants are throwing bad side-effects at you.

Ashamed because needing medicine to function the same way anyone else does feels so pathetic to you. Maybe it isn’t pathetic. Actually, you know it isn’t; you don’t look at other people who do the same thing and think that they should feel as ashamed as you do. But you still look at your bright orange prescription bottle, labeled with your legal name, and think that you shouldn’t need it.

You think, for a moment, that it’s because of how much you’ve dehumanized yourself.

Dehumanized is such an ugly word, and it leaves a strange bitterness in your mind after thinking about it, but deep down you feel that it’s true. You know that you’re human, obviously, because physically that’s what you are. You are, undeniably, a homo sapien―a person, a living being that is a bipedal primate mammal. You, in a less literal sense, have those same cords attached to you that Neo did when he first went to the “real world”.

But you need those cords, you think, lifting your head so that your chin is resting in your palm instead of your forehead, you need to stay attached to the Matrix.

Because you took the blue pill. You found a way to keep yourself attached to the Matrix, to keep yourself grounded to what you wish you could experience without them. And those cables weigh you down, and that pod you stay encased in limits your movement―sometimes you feel more like the pod than the person inside of it―but it all seems so worth it to you, doesn’t it? To keep believing what you want to believe, to wake up everyday and dose yourself with that fifty-milligrams worth of sertraline hidden under a pile of food, to eat that food and swallow that pill even though it makes you feel like a mutt?

You take a shuddering breath in, your thoughts building up in volume and mass, more questions entering your mind too fast for you to process them all. You feel that familiar rush of adrenaline, the kind that triggers your ‘fight-or-flight’. It lights your nerves on fire and causes them to jump, to electrify, and you feel your fingers twitch with the feeling. It almost feels like there’s something crawling along your nerves, under your skin, and the thought almost triggers your gag reflex. Your eyelids flutter, barely shutting for just a moment before you force them open. Your gaze flits over to the still-mostly-full plate of mashed potatoes.

You’re usually able to finish them, even on “bad days”. But today, with nausea swirling uncomfortably in your stomach, and a too-big pill going through the thin tubes inside your body, you find that it’s much harder to even think about picking that fork back up. You can almost feel your heart beating through your palm, that continuous th-thump, th-thump growing exponentially faster, and your palm getting sweatier by the second. You shift your feet and find that invisible needles are poking at the bottom of them, small pins that push and prod at your skin that leave a strange hot-cold feeling. It forces you to take the pressure off of your feet by holding them up ever-so slightly, the soles of your shoes just barely touching the ground.

You swear your heart rate increases at all the different sensations lingering on your body. You can feel your breathing starting to pick up, and for God knows what reason, you suddenly find it difficult to keep your eyes locked onto one object. Your gaze dances around the room as a surge of chills runs up your spine. A trail of goosebumps rises after each wave of biting cold, passing over the bony projections of your dorsum. After having so many of them, you know instinctively the signs of an oncoming anxiety attack, and know how quick those symptoms escalate from simple shallow breaths to the inability to keep your breathing consistent at all. Yes, they develop slower than a panic attack does, but the gradient from fine to not-fine is hard to view as slow when there’s so many symptoms to keep track of.

At the thought of such a thing happening, your gaze instantly locks onto the prescription bottle sitting on your desk. It’s still uncapped―fortunate for you, because you’re seriously doubting your ability to uncap something with a child-proof cap on it right now―and in your eyes is practically glowing. It’s so tempting, because it’s just right there, so easily accessible, so easy to just grab and pour however many pills you need down your throat. The thought makes you realize how dry your mouth feels, how constricted your throat feels, but your mind is too filled with a flurry of incoherent thoughts to dwell on such feelings.

With your free hand, you grab the uncapped bottle. It shakes with your hand, now more from your building anxiety than your dehydration, and makes the tablets inside rattle. You bring it to your lips, ignoring the chiding voice in the back of your mind telling you how disgusting it is to just put it on your mouth like that, and shake it just enough to get a single pill out of it. The dryness of the pill sticks to the wetness of your mouth, just below the border of your bottom lip. You set the bottle down and poke at the pill with the tip of your tongue, the weird vanilla-like taste of the medicine spreading across the muscle easily.

Your mouth is dry, so you have to use the residual saliva sitting on your tongue to slick the pill up enough to go down somewhat-smoothly down your throat. It’s still rough, and some areas of the pill remain powdery, the feeling of it sliding down your throat enough to make you gag. For a brief moment, the action causes the pill to lodge in your throat―it’s not big enough to make you choke or anything, but it’s enough to make your heart beat faster and your hands grip onto the edge of your desk tightly. Your thumbs are tucked under the edge, the first knuckle at the tip of your finger bent and the flesh of the tips of your fingers turning lighter from the pressure.

You cough once you feel the pill go down your esophagus entirely, and breathe raggedly afterwards. Deep down, you know that the medicine takes some time to work, and that if you gave it a little longer than a minute that you’d start feeling better. But the reeling anxiety that wraps around your throat like a chain seems to pull you impossibly farther away from that betterness, and forces your throat to tighten to a point where your breathing feels limited. You go from breathing through your nose to your mouth, where you can still taste the lingering artificial-vanilla with every inhale.

It’s getting worse, an annoying voice tells you, one that manages to be louder than the others, the medicine’s supposed to help. You’ve only taken a hundred milligrams so far. Another and it’s a hundred and fifty. An overdose is only if it goes over two hundred.

It’s stupid logic but more tempting the more you think about it. It is, after all, only a third pill. You’d be pushing it—

Do you really care all that much that you’re pushing it? What if you want to break that limit? The limits you made, to keep yourself alive, that you still sometimes question the existence of?

―but that doesn’t really compute well in your mind, and you soon find yourself reaching for the bottle again. Each pill shakes with your hand, and with each tremor another wave of tablets hits the sides of the bottle, like a visual representation of the thoughts that bounce off of the walls of your brain. You lift the bottle, and bring it to your lips, the area that makes contact with your mouth cooler than the rest of the bottle from earlier when you had done the same thing. You’re about to tilt it up before you hear a sudden knock at your door.

The noise is startling and makes you drop the bottle, the pills spilling over the edge of it and onto the table.

“Shit,” you curse quietly under your breath, quickly flattening your hand and sweeping all of the pills into a pile, and picking them up in clusters. You manage to get them all back in the bottle before another knock sounds out, and cap the bottle before opening up one of the small drawers on the side of your desk and shoving it in there.

“Come in!” you call out in a strained voice, praying that you’ll be able to keep it steady for as long as the person at the door needs to talk to you. You close the drawer just as the door creaks open.

Much to your horror, you look up to see your Captain.

Your palms are still sweaty as he walks in, so you try to discreetly wipe them off on your pants, and hope to whoever can help you that he doesn’t pay too much attention to the sweat gathered on your forehead. You take a deep breath as silently as you can, attempting to gather yourself before Price can notice anything being wrong.

“It’s a quarter past two,” Price comments once he walks in, closing the door behind him, “why are you still awake?”

You look over to the digital clock on your desk almost immediately and, oh shit, it is exactly 2:15. You look back over at Price, who is busying himself with pulling the chair that was once in front of your desk around it, presumably to sit next to you. You still feel the dreadfully fast pace of your heart, that th-thump, th-thump, th-thump that you can hear blaring in your ears. It makes itself known in your chest, in your wrist, even in the base of your throat―almost every pulse point in your body has forced you to become aware of its existence.

You swallow dryly, trying to ignore said feeling, and reply, “Why are you still awake?”

Price raises an eyebrow at you, pulling the chair up beside you and sitting down in it, “I asked first.”

You look at him with an unimpressed look on your face. “Can’t sleep. Why are you up?”

Price hums and leans back in his seat, arms crossing over each other, “Same reason.”

It doesn’t sound like a lie, but it doesn’t sound entirely true either, in your opinion. It’s not that you don’t trust him, but he just seems like he’s up to something. What that something is, though, you aren’t sure.

“Why the food?” Price nods over to the plate of mashed potatoes, very noticeably unfinished.

Your gaze follows his to the mashed potatoes. You can still feel the moisture on the palms of your hands, the small tremors that wrack your fingers, and Price’s presence does nothing to soothe your flaming nerves.

“Wanted dinner,” you shrug as casually as you can, forcing a neutral expression onto your face―you briefly overthink what a neutral expression looks like, and decidedly just let your face relax the best you can, “I didn’t get any when everyone else went, I was busy with something, and didn’t really want to head over to the mess with so many people over there, plus I was busy.”

You look over at Price after your lengthy explanation, not realizing just how lengthy it was, and watch the corners of his lips quirk up into an amused-yet-worried smile.

“You said you were busy twice,” he points out, before pausing, and pointing out again, “and it looks like you’ve taken a few bites out o’that at most.”

You don’t bother to look at the mashed potatoes again; you know very well how they look, and know how undeniably full the plate looks.

“Didn’t feel that hungry,” you make up a poorly thought-out excuse, that even you can understand is unbelievable.

Price blinks at you, slowly, before sighing.

“Are you alright?” Price asks, looking more concerned than amused now. You should’ve known from the moment that he walked in that you wouldn’t be able to hide anything from him. If not for the fact that he always seems to know what’s going on, then because of the overwhelming presence of your disquietude.

You look at him and try to figure out what to say. What is there to say? You were panicking just two minutes ago, with your prescription bottle in one hand, the other too shaky to hold up the damn thing. You can still taste that vanilla. You can still taste the plastic. The bottle itself never once touched your tongue, but every time your tongue rests in your mouth, the tip of it pokes at the same exact place the bottle made contact with. You expect it to taste of vanilla, like its contents, but it doesn’t; it tastes like the pharmacy you got it at. It tastes like the sterile white of the counter, the fingers of the person who handed it to you, the money you spent on it, and the time it took you to get it.

It’s nothing pleasant. The strange vanilla of the pills aren’t either, but they’re preferable to the bottle itself.

Price notices you zoning out for a moment, and waves a hand in front of your face. Your eyes unconsciously track his hand for a moment before you blink back into reality and look at him. You knew you were fucked earlier, but when you look at his expression, at the look in his eyes as he watches you snap back to reality, you know that he knows. Maybe he doesn’t know exactly what happened, or how it happened, but he knows something. Fuck, he knows.

Or, maybe he does know. Maybe he heard your cursing through the door, even with your low voice, maybe he heard the pills spill onto the desk, maybe he heard the opening and closing of the drawer, maybe he―

He’s staring at you.

―has security cameras set up in here, because he does in every room, every hall, everywhere but the bathrooms and the sleeping quarters―

He’s talking. It’s muffled by the sound of your own heavy breathing.

―or maybe it’s just intuition, a gut feeling he has, where he just knows that something’s wrong, that same gut feeling that everyone seems to get when something isn’t the way it’s supposed to be―

Your palms are sweaty. Your heart is pounding out of your chest. You’re starting to feel a little lightheaded.

―the same “gut feeling” that you experience every day but have to ignore because it’s not a gut feeling it’s anxiety and your real gut feelings feel the almost the exact same way anxiety does so you may never know if you ever get an actual one―

Price grabs onto your arm, though the feeling of his skin on yours can’t push past the skin-crawling sensation that coats your skin.

―but how do you really know that your gut feelings aren’t gut feelings? How do you know that anything is anything? That it’s really Price that’s sitting next to you, that it’s your own office you’re sitting in, that―

“[name]!” Price’s voice snaps you out of the trance you seem to be in, and you sharply inhale at the sound of his voice, his volume much louder than you expected it to be.

You didn’t realize how fast and heavy your breathing had really gotten until this point. You look at Price, a little more on the panicked side now, with restless eyes that can’t stop flitting all over his face. He takes his hand off of your arm before you can even notice it was there in the first place, and leans back away from you.

You try to take deep breaths, but each breath feels like trying to breathe underwater, and each inhale-exhale leaves you shuddering. You look down at your lap, breath hitching and stuttering, and the moment you open your mouth in the hopes of breathing easier, you are all too aware of just how dry it’s become. You’re sure you let out some kind of sound that alerts Price of your growing distress, because he hesitantly leans forward and takes a deep breath.

“[name],” Price keeps his voice soft and quiet, quieter than he’d been just a few seconds ago, his soothing voice a gentle wave crashing against the rock of your mind, “you’re okay. Look at me, soldier.”

Like a remote to TV static, the noisiness of your mind is partially calmed and the waves that wash over your brain provide sweet escape from the overwhelming adrenaline and cortisol thrumming in your veins.

Mindlessly, you do as he asks, his words grounding you and tugging you back down to Earth more effectively than any anchor could. When you look at him, his eyes are clouded with concern and there’s a small frown on his face that almost perfectly juxtaposes his usual quokka-smile.

You know you’re still trembling. You can feel the hairs that stick up on your legs and arms, the weird hot-cold feeling that creates pinpricks of discomfort across your body, the way your heart is trying to escape the prison cell of your ribcage—but none of it compares to the unbelievable dizziness you feel. Your head is a balloon filled with helium and it is slowly deflating, but not fast enough. You feel like you’re no longer in control of your own body—or were you ever in control?

Your stomach is churning. There’s a sense of dread that dwells there. You might throw up.

Cutting through your thoughts is Price once again.

“You listenin’?” your Captain asks, to which you nod after a delay of a few seconds. Price holds a hand out and gives you a questioning look, the question of ‘can I touch you?’ clear enough on his face that you nod lightly and he takes your hand gingerly.

“Do y’know where you are?” Price asks. You nod, and he softly requests, “can you tell me where?”

“My office,” you answer simply, the gravel in your voice making you wince. The warbling that escapes your mouth is nowhere near your usual voice, and for a moment you think you might be right about needing to vomit, but you manage to push it down and pray. Price ignores this and pushes on.

“And who am I?” he asks, as if he doesn’t know.

“... The Captain.” Price purses his lips—he doesn’t really want to accept this as an answer, because he wants you to say his actual name, but he knows what you mean, and you know what he’s doing. He knows that you mean that you’re here, that you’re present, and you know that he’s trying to ground you the best he can.

“Do you know my name?” he questions, to which you nod again, though a little more moderately, seeing as the repetition of nodding your head only makes you more lightheaded, “what’s my name?”

You take a few shaky breaths, ones that are shallow and uneven, ones that hitch enough for it to be so noticeable that Price manages to pick up on it. You open your mouth to talk, but find that your tongue is too heavy to lift to create coherent sounds. The thought somehow heightens your anxiety, something that seems to be noticeable to Price, judging by how his expression shifts to something impossibly softer.

“Here, let me—” Without another word, Price cautiously brings your hand up to the middle of his chest, where his sternum is.

He exaggerates his breathing, taking long, deep breaths in, and similarly long exhales. His chest rises and falls satisfyingly, and it’s clear that he wants you to copy him. You try your best at first, taking that same too-deep breath that he does and fail almost immediately as you choke on the air you attempt to inhale. Price brushes his thumb over the back of your hand and takes another exaggerated breath, breathing in through his nose and out through his mouth. You keep your gaze more focused on the lower half of his face as you copy him, oxygen going in through your nose, and carbon dioxide going out through your mouth.

That one successful breath is followed by an unsuccessful one, then another successful one, then another, and it’s a little rocky but you find that soon enough you’re breathing. There’s air flowing in and out of your body smoothly, with each exaggerated breath you take, almost in sync with Price, until finally he puts your hand back into your lap but continues to hold it. He squeezes it once before letting go, and clasps his hands together.

“What’s my name, soldier?” he asks, and this time you think you can answer him.

“John Price,” his name feels weird coming out of your mouth, especially with no honorifics, but he accepts the answer anyway.

“Good,” Price praises, giving you a small smile, “you’re doing good.”

The approval he gives you helps to calm your nerves the tiniest bit, and you feel yourself slowly coming down from the God awful high that you’d just been on. Again, you’re not sure how he knows, but he senses that you’re calming down―is it because your breathing is steadier? You aren’t nearly as restless? You’re no longer zoning out?―so he leans back in his chair and watches as you do the same.

“Now,” he breathes out, “can you tell me what’s going on with you?”

You look away from him for the briefest moment, sparing a glance at the cabinet you know the bottle of your pills lays in, before looking back at him. If he noticed you pulling your gaze away from him for a split second, he doesn’t mention it nor does he make it known that he did.

“There’s not really anything going on,” you shrug, to which Price scoffs.

“[c/n],” he looks at you, disbelieving, “two seconds ago I had to help you breathe normally. I know that there’s something that’s going on, somethin’ that had to trigger what just happened.”

You stay quiet and he gives you an expectant look. The pressure from his fixed glare makes you feel like you’re about to explode.

Finally, you answer him defeatedly, though vaguely, “I was in the middle of taking my medicine when you knocked.”

Price stays silent, expecting you to elaborate.

“And…” you try to find a way to make it sound less awkward than it does in your mind, though you suppose there’s never really a correct way to go about something like this, “I almost took more medicine than I needed to.”

The silence continues, but now Price looks less expectant, and instead more of a mix between concern and something else you can’t identify. That something, though, is still soft, and still has a hint of pity―maybe sympathy?―to it.

“Almost?” he repeats, “was that on purpose?”

When you think about it, it’s complicated. You didn’t necessarily intend to overdose, you just dismissed the idea of it. Or, at least, you don’t remember trying to overtly kill yourself. Then again, you knew the risks of taking more pills than prescribed to you; had you taken that third pill, you would’ve only been one more away from an overdose, and even then you’d still probably get some kind of health issue.

Price’s face hardens when you don’t answer immediately. He must be taking your silence as a “yes”.

“Not… really,” you answer slowly, “I don’t know what I was thinking.”

He nods, waiting a few seconds before asking, “Have you thought about it before?”

By it, for some reason, you sense that he isn’t asking exclusively about taking one too many tablets.

It’s tempting to be dishonest about it; it’s a shameful thing to you, to use the things that are supposed to help you to harm yourself, to be so careless with your own life. You know that it isn’t necessarily all your fault, but there’s still that small part of you that can’t help but feel guilty for using something so many other people try so hard to get to almost kill yourself with.

After a few beats of silence, you decide to answer, “Yeah.”

Price nods again, and he looks like he expected that answer. “D’you want to tell me more about that?”

You could, hypothetically, go in-depth about all of your weird thoughts about committing. The ones you’d been having just, what, fifteen minutes ago? Thirty minutes ago? The ones about chains wrapped around your throat, stolen guns from the armory, deep purple bruising and a stretched neck. Those thoughts, the ones that try to make ending your life sound pretty, that try to make it sound appealing. It’s not to convince yourself, you don’t think, but rather to help you come to terms with the fact that you were already convinced that you were going to commit at some point. The thought still scares you, because you’re a pussy―terrible, terrible choice of words, a voice at the back of your mind insists, you’re not a pussy, you’re just like anyone else―but you felt like you just knew that you were gonna die by your own hands. That you’d already made the choice, and now you have to understand it, to realize it.

You are in that room full of TVs, with The Architect in front of you, telling you that you have no choice. That, in fact, the problem is choice. You are surrounded by a million other yous, all protesting, all denying that you have no choice but to kill yourself, all yelling “Bullshit!” because deniability is the most predictable of all human responses.

But, you remind yourself, The Architect was wrong. He told Neo that he couldn’t do anything to save Trinity from her “fate”, but Neo did save her. He plunged his hand into her chest and forced her heart to beat.

That’s true.

And, you add on, The Architect is a computer program, tasked with mimicking human emotions, despite never having felt them. He could never understand the power of human will, of the desperation so many humans have to live.

Because The Architect was never alive. He is a sentient computer program, whose job is to create a world in which humans can “live” while they are fed on in the real world, but his problem was his inability to create anything less than perfect. We aren’t expected to be perfect, and are taught that flawlessness doesn’t exist, which is why he came to the conclusion that he needed a “lesser mind” to help him create a better Matrix.

You aren’t supposed to succumb to the idea of having no choice. Because that, in itself, is a choice. Everything you do is a choice. Even if everything you do will only add up to the same ending, to the same fate, why should you waste time not making the choices you want to make? When you assume that you have no choice, you assume that everything you do will go to waste, but that’s not true. You aren’t the only person that exists. You aren’t the only person who makes choices. The choices you make affect other people’s choices, and those choices affect another person, and another, and another. You still have to live through the choices you make, as does everyone else, so even if everything will end the same, why should you make inherently bad decisions when you could be making good ones? Why should you go through things you don’t have to go through, just because you believe that nothing matters in the end?

“Not really,” you answer Price, snapping yourself out of your thoughts, “I don’t… want to think about it too much right now.”

Price looks a little more worried now but he doesn’t protest your decision.

“Is there anything in here that you could use to hurt yourself?” he asks after a moment, “Or that you’ve already used?”

You bite your tongue. Technically, the pills count, you suppose, but those are your meds. You can’t really have those confiscated.

“Other than the medicine, no,” you answer truthfully, much to Price’s relief, as is evident on his face as his hardened expression softens.

“Good, good,” he shifts in his seat.

He’s gearing up for something. You can tell with the way he subtly presses his clasped hands together, the way his face goes through a mix of emotions, and the way the deafening silence of the room really seems to be getting to him.

Suddenly, he asks you, “D’you think you’re going to… ?”

He doesn’t ask you explicitly, but you have a good idea of what he’s asking.

“I was thinking about it,” you respond softly, “before you came in.”

Price nods, having expected that answer. You’re not sure if it was obvious, or if he just assumed you were thinking about it because of you confessing to having thoughts of it before this.

“Y’know I have to tell someone about this, right?” Price reminds you gently, as if you didn’t already know, “Someone up the chain. Might be Laswell.”

You hum affirmatively, because you didn’t expect anything less from him, and know that it’s for the better. It doesn’t make you feel any better, obviously, but you know how to be realistic when the time calls for it, and you know that if the roles were reversed you’d do the same thing. Not because it’s mandatory, but because when you imagine Price in your situation, the thought wraps itself around your heart and twists.

The room is silent for a beat, and you get the feeling that Price is somehow more uncomfortable with the quiet than you are. He shifts in his seat while you stay still, and he clears his throat to break the silence for a brief moment before speaking up again.

“It’s late,” he points out the obvious, before pausing and irresolutely asking, “do you want to head back to my quarters with me for the night?”

His words confuse you for a moment. You open your mouth to ask why, before it suddenly hits you―oh, right, you just basically confessed to being suicidal. He doesn’t want to leave you alone right now.

“Yeah, sure,” you agree, less questioning than Price expected you to be judging by his momentary look of surprise, before he nods and begins to get up.

He pushes his chair behind him, standing up straight, and holds a hand out for you to grab. You grab it gingerly and use it to haul yourself up, your knees cracking as you do after having been sat for so long. You wince at the sound and Price gives a light-hearted chuckle.

“I thought I was s’posed to be the old one?” he teases, making you give him an unimpressed look and let go of his hand. The room falls back into soundlessness.

You both remain silent as Price leads you out the door of your office, turning off the lights and closing the door after you, and continues to lead you down to his sleeping quarters. His are farther down the hall from yours, because of his higher rank, and therefore takes longer to walk to from your office. The long walk is quiet enough to hear a pin drop, but you both don’t mind this, as the atmosphere here is more comfortable than the one in your office.

Eventually, you make it to his room, where he opens the door for you and signals for you to walk in first with his hand. You enter the room and hear him enter shortly after you, and go to sit on his bed before pausing.

“I’m still in my…” you gesture to your clothes, gear-less but still not your “normal” sleeping clothes. Price raises an eyebrow at you as you wave at the state of yourself.

“I’ve seen you sleep in worse,” he points out, “and I think you sleep in this than in your actual sleeping clothes.”

You’re about to ask how he even knows about that, before he answers you before you can voice your question, “I’ve seen you walking back t’your quarters in these clothes and hear you snoring a second later at least ten times.”

You close your mouth and sigh through your nose, before muttering, “Didn’t know I was talkin’ to fuckin’ Sherlock Holmes.”

Price snorts at your retort, “If I’m Sherlock, are you Watson?”

You think about it for a moment, before shaking your head negatively.

“No?” Price toes off his boots and walks over to you, sitting on the bed, “Then who are you?”

You sit down next to him, “I dunno. I’m like…”

“Like Neo,” you continue, ignoring the way Price’s eyebrows immediately raise, “and you’re Morpheus. But less smart.”

“You’re not Neo,” he scoffs, “and I’m not a less-smart Morpheus.”

“I wasn’t askin’ you,” you grumble, shaking your already-loose boots off of your feet and crawling up Price’s bed. You manage to snake under the covers and feel Price’s eyes on you as you do, staring holes into your face.

He hums in acknowledgment, not bothering to answer you verbally, and instead gets up to lift up the covers and get into bed. The bed is small enough as-is, but with two people inside of it, it obviously gets much smaller. Price doesn’t seem to mind, though, and turns so that his back is facing the door and his front is facing you. Directly in front of you is the base of his neck, but if you tilt your head up, you can see him looking down at you with tired eyes.

You let out a soft breath through your nose and realize just how tired you are. Price seems to notice this, because his arm comes up and rests across your side, his hand splaying across the middle of your back. He gives you a comforting sweep of his hand, before settling it on your upper back, absentmindedly rubbing his thumb in soothing circles against your clothed back.

You close your eyes, and he closes his, and it feels like you’ve woken up in the real world and removed the cables from your body.

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makethosenarratorsfight · 2 years ago

Text

UNRELIABLE NARRATORS; SEMI FINALS

*NOTE; propaganda is out of order due to the post length!

Eugenides Propaganda:

the entire plot hinges on a detail he lets the reader (and every other character) assume is true. I don't want to spoil it because it's a really fun reveal but he is lying from the first second he appears on the page and you can't trust him to tell the full truth about ANYTHING related to himself and his goals. he mostly does it to keep his advantage and not have other characters be suspicious of him but it's just so fun when you realise he's been lying the whole time

Kim Dokja Propaganda:

I haven't read orv but he's fucking gotta be from what I've osmosised

He tries to remove his emotions out of the narrative soooo much, literally the most repressed guy ever. Okay so for context orv is about how this guy, Kim Dokja, has been the only reader of an obscure post-apocalyptic webnovel for years and the novel suddenly becomes reality. And at first you'll probably get the weird impression that his behavior is pretty strange for, you know, a literal apocalypse happening in his world - like yes, he is concerned with survival but he doesn't seem all that scared and he kinda treats it like a video game where he has to grind to make himself stronger and he also treats his companions like a party in an rpg. Then there's also the way he approaches the protagonist of the webnovel, from the start he just kind of describes him as a ruthless psychopath and jerk that is unfortunately a pretty useful ally. And also there's the fact that he carefully omits any mention of his past and when somebody asks if he's worried about his family when the apocalypse starts he just kinda... brushes it off? Anyway so yeah, this bastard is definitely traumatized, although I don't know how much of spoiler territory that would be, considering the fact that literally when he first reveals his trauma he's also unreliable about it. And turns out he does indeed, care A LOT about this world and the people around him. Because well, he kinda didn't care to mention that this webnovel that has become reality was like... literally his whole world before it literally became his whole world. Like, it was the only thing keeping him going for 10+ years and the protagonist that he likes to call a stupid jerk was his comfort character who he pretended to be when he felt like he couldn't handle something in his life by being himself. The protagonist is also canonically the person he loves the most according to a prophecy and he literally can't fathom the thought of him dying, even the timeline versions of him that directly oppose him. And I haven't even mentioned the Fourth Wall yet but I feel like this propaganda is a little long already

misreading the intentions of his companion (yoo joonghyuk) so many time.

YOU DON'T UNDERSTANDDD DOKJA IS SUCH A UNRELIABLE NARRATORRRRRR GOD I COULD WRITE AN ESSAY BUT I KNOW YOU LOVE DOKJA TOO BUT OMG HE'S JUST SO AAAAAAAAAAAH

Rest of Propaganda under cut!

he is the worst like actually. he starts the story talking about how normal and average he is. he is not. he is constantly mischaracterizing his friends and he's so good at lying to the readers that you don't even realize it at first. almost every single time he cries we have to be told by other characters because he never says it himself. there is literally a scene where his narration says "i wasn't crying" and then the in-universe entity that narrates the actions of people (orv is really weird and meta) says that he was, in fact, crying. honestly genuinely anything he says about himself (or doesn't say) cannot be trusted. he is just so frustrating. he drives me mad. i love him dearly. but he drives me so mad.

Dictionary definition of unreliable narrator. Does not tell the reader anything and then things happen and he's like oh yeah btw there was also this and this earlier but i just didn't feel like mentioning it. There's even a thing called the "Fourth Wall" that is able to see through kdj's bs so occasionally you get gems like,

Kim Dokja: I didn't cry

The Fourth Wall: [Kim Dokja was crying]

Imagine being so unreliable as a narrator you need a more powerful narrator to call out the actual narrator.

^ same submission, just spacing it out

This goes into spoiler territory, but; Kim Dokja is in possession of a skill called the Fourth Wall, which on the surface seems like it appears because he read the book that reverse-isekai’d into his own. However, as the story goes on it becomes clear that it’s pretty much a souped up version of his pre-existing dissociation. You cannot trust him to be honest about his feelings, his past traumas or his feelings about his past traumas, not to mention his tendency to just outright omit information that only gets revealed later on either when it becomes relevant or when an outsider POV reveals what’s actually happening.

Exhibit A: he says (in 1st person POV) that he’s not crying. The Fourth Wall immediately contradicts this (as it is literally words of the novel) by saying (in 3rd person POV) ‘Kim Dokja was crying’.

Exhibit B: Fails to mention entire actions when it shows him emotionally honest even in the slightest; we had to read from another character entirely when Kim Dokja was being physically affectionate with his companion. It’s so bad that there’s this entire paragraph about Kim Dokja describing himself hiding his eyes in his hands in jerky, weirdly specific detail and just AVOIDING EVERY WORD THAT MIGHT SHOW HE’S CRYING. The brilliance of ORV is that when you re-read the entire thing you get hints that ‘yes, this WAS hinted at the entire time’ but you have to dig it out of Kim Dokja’s repressed, depressed self-hating internal dialogue with your own two hands.

^ same submission, spacing it out (i really should've done this earlier.)

i am a simple man (not a man). i see a tumblr text post with the words “unreliable narrator in it”. i read nothing else. i reblog & tag #kim dokja okay but in all seriousness i’m just going with the musty basic example: so there’s this moment where he sacrifices himself to save this guy. as he lays on the ground bleeding out, he says “hey, you don’t like me, right? you should kill me to get some money” the guy says “no kim dokja i cant do that (going through the five stages of grief except there’s only one and it’s anger)” the constellations (twitch viewers irl) are like omg he (the guy) doesn’t want to kill his companion (kim dokja) and shower him (the guy) with money kim dokja: oh, he’s not killing me for the money. smart!

as i quote a brilliant youtube video (all of omniscient reader’s viewpoint in 6 minutes) “yoo joonghyuk sees kim dokja as a c_____”

yoo joonghyuk: companion

kim dokja: cunt

^ same submission, once again. spacing it out.

Hides his true feelings, tells the readers what he thinks is convenient for the plot and that his own personal feelings don’t matter or are not so significant. Has unreliable thoughts abt his companion and is a liar. And is also an omniscient reader.

Kim Dokja always perceived his companions in this like nonchalant way like “oh yeah we get along but really we’re just fighting to survive (apocalypse setting) it doesn’t run that deep” when they all do genuinely care for him and he does in turn. He just, doesn’t think of it as an equal relationship? Dokja’ll sacrifice a lot for them but will get seriously flabbergasted if they do the same thing, so fricking problematic. Not to mention Yoo Joonghyuk, his “Life and Death Companion” (read: husband). Kim Dokja always seems to think that Joonghyuk has it out for him, which is kinda true, but he is literally blind to the fact that he’s attached to him. Like, it’s so obvious??? Also they have hella sexual tension but that’s another thing entirely

se get some many pov changes where kdj in his pov just assumed things based on what he knew the characters would do. however because of his interference the characters have changed and he wouldn’t know that if it hit him in the face

He's an unreliable narrator because he lies to himself and thus the audience. He literally rewrote his own childhood core memory. If someone says, "this guy is my friend!" He will go through so many hoola hoops in his mind just to rationalize it. Because he fundamentally believe that no one could love him and even if they did they couldn't know him and he's just gonna hurt them. He cries sometimes in canon but a lot of those times it's not even mentioned as crying he's that unreliable of a narrator. No joke, one time this guys he has a gay thing with called him his "companion" to someone who had just killed him (long story) and this bitch thought "oh wow he's doing it for the coins (another long story) he's so smart i wish I'd thought to that. He's terrible. He literally has an exchange with something called the Fourth Wall (an even longer story) where it said "you're crying" and he said "no I'm not" but he was crying. He makes me insane because the reader is supposed to project onto him. He made me see how much of an unreliable narrator I WAS. ORV is just like that tho.

#kim dokja #kdj #orv #omniscient readers viewpoint #once again #if kdj gets this poll blacklisted again im blowing him up #eugenides #the queens thief #queens thief #unreliable narrators battle #unreliable narrators #polls #semi finals

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