#and at this point in the narrative where he's just fucking at peace with the fact he's gonna die

[lupins-hehim-pussy]

I wanna know ur Fontaine msq criticisms 👁️👁️👂I’m all ears

I'm not sure if you wanted me to talk about this secretly or publicly but! Here I go!

The TLDR: Fontaine MSQ aestheticised prison, poverty, child abuse, the justice system/court and didn't properly address any of it.

More:

Focalors/Furina has way too much of a sympathetic angle for a dictator who's lets people drown with her inaction.

Neuvillette feels Bad for sentencing some people to death/prison, but that's it. He's one of the most powerful people in Fontaine. If he felt like there are systemic injustices, I.E sending an abused Child to prison, he should be the first person to DO something about it, not just cry and be sad so the audience can be like aw, that's complex character writing isn't it? No it's not! And guilt doesn't absolve you!!!!!!! (These are stuff we deal with in OTCOJ read my fic now /j)

Meropide has children in it, both Sentenced there (Wriothesley) and BORN THERE (Lanoire), and this is just a quirk of the place. Not only that, Meropide accepts prisoners of all genders and crimes. There are abusers and abuse victims in one place. Do you know how bad that is? How much potential for crimes to happen in a place like that— oh wait, Meropide isn't under Fontaine's jurisdiction. If you are assaulted as an inmate it literally means nothing to the court.

Wriothesley had no qualifications when he took over. Depending on how long he lived on the streets, how old he was when he killed his parents, how old he was when he was first taken in by the orphanage, etc, the man might never have more than 4–5 years of formal education. Sigewinne probably had to teach him how to write reports. And do Meropide's spreadsheets. Edit because I forgot to elaborate on this one: This isn't a point brought up anywhere, which is bad, because when poverty and incarceration robs you of a proper education (and the rights to vote in many places too, too, by the way), it reduces your prospects for jobs, reduces many people's ability to get a home etc etc. Wriothesley was just, narratively, Given his position.

Meropide is an industrialized prison, and they portray this as a good thing. Prisoners are paid in coupons for their labour, and this is also portrayed as a good thing.

The One-Meal-A-Day reform was something Paimon gushed about being so great of a perk, that people might want to go to jail for food (could be interesting and reflective of systemic poverty if MHY had brains, but they don't, so I was just Pissed because essentially all Paimon wanted to say was "Prison isn't so bad, but still don't go to prison guys! Prison labour is really hard!"). By the way, in most real-world prisons they are obligated to feed you three meals a day. Because that's how much food a human needs. MHY went with one meal just so they can say "if you want to eat more, you have to work." And then the welfare meal is a goddamn gacha. So imagine you're a starving child who's too weak to work in the fucking robot assembly line, and you wander up for your first meal in 24 hours, only to luck in with a shit one. I'd kill myself.

They wrote Wriothesley, who's a victim of the system, into a guy who's say shit like "I'm the Duke I can do whatever I want" for a cool moment where he choke-slams an inmate (I know he was a bad guy. But also, in copaganda when cops are violent/disregarding protocols, they are always only portrayed to do that against bad guys, so what does our critical thinking tells us about this one?) They wrote Wriothesley, who was an inmate of a prison so bad, so notorious that it is the literal boogeyman of Fontaine, that has a legal (???) fighting pit, with an administrator who abuses his position to be unreasonable, to willingly stay in the place and become an Administrator who would choke-slam an inmate while saying a cool line about how he has the power to do whatever he wants. They wrote him, the guy who had to be fed on the streets by melusines, to think one-meal-a-day was a good enough reform (while he spends god-knows how much on his boat). This wasn't a victim-turns-into-abuser narrative either, they want all this to be seen as positive character growth.

And then, the final kicker is, they gloss over his entire abuse. You can only read about these shit in his profile, which most people don't because they don't Have Him or doesn't care to unlock it/read it online, and they jammed his entire backstory into a flaccid info-dump at the end of his character story quest. This man isn't Allowed to feel abused and neglected and show any reaction to it within the narrative of Fontaine itself, because if they actually Gave Weight to what happened to him, they'd have to confront THE FUCKING JUSTICE SYSTEM they had NO PLANS on criticising. I don't think they ever explicitly said the fucking Crime-Theatre nonsense was Bad either.

I could go on, but this is already so long. But yeah, I hope this gave you an idea.

[my-thoughts-and-junk]

reading dungeon meshi

[limitlessscion]

been some time since they had such closeness ( it comes with a price, kaeltyr knew, such was the reason for denial to begin with ). and in the end it is better to have loved and lost than to have never loved at all--

head is tucked into the crook of his neck and shoulder, eyes closed, breaths calm. these moments are sacred, for they shall be amongst the last ( perhaps that is why they feel so momentous, so meaningful despite what's unsaid ). "do y'think," kaen breaks the quiet, tone soft, a lazy drawl as they pull away to look up at him, "we'll find each other again?" the seriousness of their question dissolves as they offer a wry grin. "i know y'hate that shit, but..." the thought trails off, leaving him to fill the void left behind.

Precious days ticked down to Christmas Eve. He did his part in the plotting, the training, the tasks that needed to be accomplished that only he could do, but the others have finally stopped asking where he'd disappear to in the rare moments where he wasn't needed, when he was allowed rest. Satoru couldn't fault them for leaning on him so heavily, feeling their faith and all their hopes placed on his shoulders once more. He'd taken the burden willingly, as he'd never been given a choice to be unwilling. He knew he'd fail them, and that was okay, because this time they'd be strong enough to pick up what he left behind.

But here, he could prematurely set that weight aside, just for a little.

It was just peace, the weight and warmth of Kaen's cask against him where Infinity usually hummed instead.

"do y'think, we'll find each other again?"

His immediate reaction was to do something silly to deflect, the mean streak in him wanting to push Infinity out in a layer between them and watch Kaen slip to the floor. It's not like he hasn't pulled such tricks before and it never stops being funny.

But the words and their ache felt so familiar that it pulled him back to another life, another Christmas Eve in the alleyways of the school where he'd faced his own last moments with someone dear to him. He'd looked Suguru in the eyes, smiled, and asked him that same impossible longing:

"We'll see each other again, won't we?" "You could at least curse me a little in the end."

But it had been a curse. Satoru's whole heart had been poured into those words, his longing so strong it had doomed him. He'd known then and he hadn't cared, because he wanted it too much and nothing else mattered.

Just as Yuta had once unwittingly bound the soul of his beloved, Satoru had bound his own fate.

As the curse was fulfilled, he'd seen Suguru again and it'd undone him. But still Satoru could not regret the mistakes he'd made, as he'd called out for Suguru's soul and it had answered. They'd met once again at the end of their separate tragedies and Satoru would not take that back no matter how much it fucking hurt, no matter how big the scale of his mistakes had cost lives, no matter the grief that came with the loss of others he cared for.

It was agony and it was a mistake and it would always be worth it.

As he chewed on the words and his thoughts, feeling no hurry to make a response, his eyes cast down to Kaen on his chest, in his arms, physical eyes meeting even as they Saw each other in every other way.

"I think if you wanted it badly enough, then I would have no say in the matter," he finally uttered softly after a long silence that stretched minutes. His voice was calm, unbothered at all by the thought.

He really didn't care If Kaen cursed him or not; it would always be worth it.

[scoobydoodean]

dean would be the most dedicated boyfriend/husband & i hate the way people talk about him like he’s a player who could “never settle down”.. please he just needs a moment of affection 🥲

People love to rewrite literally every single fucking thing that happened with the Braedens into various made up stories passed on as fact, but when Dean was with the Braedens, he treated Ben like a son. He taught him how to work on cars. He cooked Lisa and Ben breakfast every morning. He contributed to the household. They specifically wrote a scene where a pretty waitress passed her number to Dean while he was out with a neighbor and Dean disposed of it without a second thought (6.01). He didn't leave the Braedens so he could go fuck someone else. He left because his presence put Lisa and Ben in danger and then soulless Sam (who had ulterior motives) convinced him he was going to ruin their lives and probably get them murdered and his PTSD went haywire and 6.01, 6.02, 6.05, and finally 6.21 reinforced all his fears about them being hurt because of The Curse Of Loving Dean Winchester, and it left him feeling so upset and scared of them being hurt that he thought it was better for their safety if he cut ties.

Long before all that, Dean was so in love with Cassie that he told her about hunting after just a couple of months and then he was heartbroken when she rejected him and he was willing to be vulnerable enough to tell her so directly. The idea of Dean as some kind of suave playboy who could never settle down because he likes to fuck and suck too much is just ???? Like quite arguably, Dean seeks out casual sex as a substitute for the affection he wishes he could share with a life partner, but liking sex and having casual hookups isn't a crime and doesn't preclude a person from being interested in a long-term relationship and/or a stable home (something we know Dean was actively aching for at various points from episodes like 1.13, 2.20, 3.10, 5.12, 5.17). It was that he felt he couldn't have those things because of the circumstances of his life, and the narrative repeatedly reinforced that belief, and Dean eventually settled into peace with the fact that he has a family anyway despite everything!! It just isn't a traditional family. And he also gets a stable home and his own room!!! It's just underground and warded so he feels safe and cosy. People not recognizing that Dean DOES have a family and a home carry the same confusion as John in 14.13 (who also—btw—always knew that Dean wanted a home THE MOST).

JOHN My fight. It was supposed to end with me, with Yellow Eyes. But now you – you are a grown man, and I am incredibly proud of you. I guess that I had hoped, eventually, you would… get yourself a normal life, a peaceful life, a family. DEAN I have a family.

HE HAS A FAMILY. It just isn't the traditional family!!! And Dean is very loyal to that family and he takes care of that family he is the hearth of the house!!!

[trashyjester]

Btw, me and my friend were talking about Deadpool &(×) Wolverine bcs we both liked it a fucking lot and I'm in brainrotting and he's the only one who actually listen to me while I yap about Wade and Logan and this is what came out of it after I said that the fact that Vanessa is with someone else and Wade seems to totally respect that and he is not trying to go back with her means that they are both in new stages of their lives where they are just friends (thanks to @/charcubed for the analysis on that)

"I mean, in the ending Logan kinda acted like a wingman for Wade, telling him to talk to Vanessa, (maybe bcs he likes him but he doesn't think that he is good enough for Wade?) but yeah, Wade and Vanessa sure as hell are not back together, it's more of a "I am now at peace with you". Also Wade introducing Logan to Al had quite the romantic vibes, even though I'm not sure Logan is going to stay with him, as he said he wanted to part ways when they wasted the shawarmas (the pain I felt seeing them throwing the food...my lord lol).

But the super soft expression that Logan had while looking at Wade yapping about them and dogpool to Al makes me guess they didn't really parted ways in the end.

It's kinda left in the air. Probably left to interpretation.

It seemed like Logan wanted to go, but then you see them together and Wade introduces him to Al and they literally look like someone who is definitely gonna stay together from now on.

Wade frames it as "let's do this one last thing before you go". But Logan doesn't really have a place to go actually...

Also he's still there for the party, which I don't think happens on the same day as the Al scene.

Also also, I see a clear parallel between Logan's backstory and his current situation with Wade, in particular the whole "I didn't want them to know I wanted to stay with them", and also also also Logan said he wears his suit because it reminds him of his comrades, so the fact that it got destroyed in the finale has the clear symbolic meaning of him overcoming his grief and finally becoming part of a new group (other than being an excuse for showing off his muscles), which would also be the ending of his redemption arc, which in turn would not really sound that redemptive if he were to go back to the exact situation where he was at the beginning of the movie.

So yeah, narratively speaking, everything points to Logan and Wade staying together."

[ot3]

hey, i only just recently finished bridge to turnabout (the final case of the aa trilogy) and wanted to go back and see your thoughts on godot since personally i have very mixed feelings on him altogether. you can just reply with a link to a post where youve already explained how you feel in more detail (i remember seeing a post where you have but tumblr search function is ass so i cant find the one i was thinking about) or use this as an opportunity to bitch about him if youd like. but i generally think that you have a knack for putting opinions i already have into words perfectly and wanted to revisit ones on him specifically with a new set of eyes now that i finally understand the context behind everything. peace and love ✌🏽

ohhhhh man godot. a lot to unpack there. I feel like for the most part whatever thoughts i've posted about godot have been kind of piecemeal so ill try and put it into something more coherent and comprehensive here. well first of all congrats on finishing the trilogy i hope you enjoyed it!!! bridge to the turnabout is SUCH an excellent case on almost every level but. the writing centered around godot really spoils it and stops it from living up to it's full potential....

i was warned i wasnt going to like godot going in so i was really surprised that up until bttt, i actually did end up liking him! i thought he was hysterical! and i still do. but i really can't Like him because of what the writing centered around him does to the integrity of aa3's arc. I don't like what it does to mia's place in the narrative and I think it undercuts the emotional realism that makes ace attorney's slapstick ass nonsense murders manage to land right. i guess ill address each one of those points on their own?

I don't like what godot's writing does to mia's place in the narrative!

Mia's death is something that's completely within her own agency; it is her own phone call with her own sister, talking about evidence for the case she herself has spent years building, that gets her killed. None of this has anything to do with phoenix. She is no strings attached presented as his mentor figure and I think this dynamic is what prevents Mia's death from feeling like fridging despite it technically being something that has to happen to allow phoenix to take center stage in the upcoming events of the game.

then godot comes in and the narrative he imposes on her death feels like it retroactively turns it into Fridging! I mean 'is this character death the Fridging Trope or the Death of the Mentor Trope' is kind of milquetoast tvropes brained level media critique here but im really using these concepts as a shorthand for the level of agency a female character is allowed to have in her own death, and the degree to which that death is used as a tool for men's emotional development. but anyway the point being that the fact that godot views mia death as phoenix's responsibility is an inherently misogynistic bit of character writing. their power dynamic is such that mia was the one responsible for phoenix's wellbeing if anything, as his boss, his senior, and his mentor; the only reason godot presumes phoenix to be responsible for mia's death is because he a man who was in proximity to her! which fucking suuuucks.

Something I don't see talked about a lot is that godot also has beef with phoenix for being dahlia's stooge, which i think is a MUCH more interesting angle for his character. but that's presented as a separate thing from his feelings about mia's death

Godot: …… I never liked you. Six years ago… …you helped the woman who put me to sleep by hiding her bottle of poison. And then�� While I was sleeping… …you let Mia die. But you didn't care. You just kept living your pathetic, happy-go-lucky life. You even had the nerve to follow in her footsteps as a lawyer. I could never forgive you. That's what I thought.

now to be clear i don't think the narrative frames his blaming phoenix as something we're supposed to agree with. Godot has his whole confession at the end where he admits he views himself as responsible for failing to protect her. but it does basically mean that her death stops being something that was About herself and the choices she made and her relationship to her family, and instead becomes About the effect it had on the men in her life. which i really don't like!

NUMBER TWO. I think godot's writing lessens my ability to get emotionally involved in this case

Even within ace attorney's fucking moon logic bridge to the turnabout pushes my suspension of disbelief past its breaking point. I don't care about the pendulum horseshit. I don't care about the ghost possession. I'll accept all of that. What I can't accept is: why does no one EXCEPT godot himself seem to care that this entire murder could have been avoided if maya at any point been warned about it? Misty and Iris just as guilty of this as godot is, but the biggest difference between them and godot is that 1. misty has been a deadbeat for ages and is now just Dead. Her primary established character trait is not talking to her fucking kids. 2. Iris has been working as dahlias accomplice for her entire life and so the idea that she would willingly conceal this has much more legitimacy to me.

We are supposed to accept and sympathize with the idea that protecting maya Actually Was Something He Did. I say were are expected to accept and sympathize with that because phoenix and maya sure do! I guess you could interpret this as them trying to give some comfort to a man that is clearly at the end of his rope and about to be sent to prison.

Phoenix: Y-You're wrong! You put your life on the line to save Maya! Godot: Was it really for Maya's sake...? Even I'm not really sure. [cut some lines for brevity] Godot: You were the one who made me realize my folly. You never ran away from Mia's death. Instead, you picked up where she left off, as a true defender of the people. In that one moment... I understood everything! Phoenix: Mr. Godot... Godot: I think you already know this, but if you don't... My name is... Diego Armando. Maya: M-Mr. Armando! I believe in you! I know you were trying to save me!

then, later on:

Phoenix: (So I guess it's all over... The way everything ended... Was justice really served...? The man who risked his life to save Maya is being sent to prison by my own hand...) Mia: Of course justice was served. Phoenix: M-Mia! Mia: ...I'm proud of you, Phoenix. Your defense was... truly brilliant. Phoenix: B-But I couldn't save Mr. Armando! The man who cared so deeply for you... Mia: You're wrong, Phoenix. You did save Diego. You saved him in the only way possible.

I guess technically godot did risk his life to save maya. and I do like the conclusion that basically being laid bare and brought to accountability like that is what godot needed to 'save' him. but i'm just not sure why the fact that maya was only in danger in the first place due to godot's choices doesn't factor into how phoenix feels about him 'saving' her. I just don't buy it!!!

It lacks the emotional weight that other instances of Avoidable Tragedy in the series have had. Ace attorney is at its best when the relatively grounded emotions are contrasted by the zany impossible crime antics. But i think BTTT is an instance where the emotional realism isnt taken far enough to distract me from the convoluted nature of the actual events that have just taken place. Rather than being so in touch with the characters during this case that i can tap into the Tragedy aspect of 'this didnt need to happen like it did' i just find myself frustrated by the fact that it didn't need to happen like it did. It kind of chafes the whole case for me and at the end I didn't feel any sort of cathartic victory regarding the events that had just transpired. but that was clearly the feeling they were going for

i did enjoy godots for the most part, but i think you'd need to make some serious overhauls to the storyline to have this specific case reach its full potential. it's a good case! but as the end to the entire trilogy i just can't help but resent the fact that it has the clumsiest writing out of any of the individual games' finales. and that everything i disliked about it is attributed to the actions godot took and the reactions other characters had to that.

[vaguely-concerned]

Ever since watching The Wire for the first time, my brain has doggedly kept working away at the Especially the lies of it all, and specifically at how much the structure beneath the different stories Garak tells contributes to the overall meaning of what he’s trying to say. While the contradicting narratives of course expertly obscure the factual circumstances of his getting exiled, using them also allows him to tell aspects and facets of the emotional truth I don’t think he ever could have, if he’d simply told the actual story of what happened. (It’s very Varric-core of him honestly.)

The first story — the ‘oh, you think you know me?’ story — says I have done things that would sicken you if you knew any detail of it. It’s clearly meant to scare Bashir away so he’ll leave him to die shamefully in peace already lol. But it’s also one of his (probably much-needed lbr) little lessons to Julian that are so frequent in the beginning, given while Garak still has some hold on himself — “Don’t be so quick to forgive me if you don’t even know what I’ve done; what would you do if this really were the sum total of what I am?” (And Julian seems to surprise him by going ‘Well, exactly the same thing, because no matter who you are I am a doctor. But I sort of take your point.’)

The second story — the letting the orphans go story — says I have failed to smother my soul in its cradle when it was required of me, and I regret that more than anything I’ve done. To my ears this is the one most shot through with active self-loathing too, which is interesting. He’s officially lost the control he’s been clinging to and it’s about to get ugly. His TL;DR is ‘Sentiment is the greatest weakness of all’, even all the way back here. (Which is the one lesson Julian steadfastly refuses to learn, which I think in turn does some serious rearrangement of Garak’s soul over the course of the show haha. Get uno reversed into the process of loving and being loved without shame asshole.)  This is also where he builds up to admitting to having any sort of need for companionship or closeness at all and — so much worse — that Julian’s role in his life actually has fulfilled some of that need, and he’s DRIPPING with defensive venom over it b/c well I get it Garak vulnerability is scary it can take a person like that. 

(I also feel there’s something honest and forbidden in ‘Suddenly the whole exercise seemed utterly meaningless’. I suspect ‘actually… why the fuck are we even doing this???’ is not a welcome sentiment in an Obsidian Order water cooler environment, no matter what you’re saying it about lmao. The very first seeds of him deconstructing the things he’s been taught about Cardassia and his work might be hinted at here, though they of course take a looong time to come to any real fruition.)   

The third story — the ‘Elim was my best friend’ story — says hey, remember that thing you said once, about how sometimes, you have to be loyal to yourself before you can be loyal to anything else? Well. guess what. I couldn’t even be that lmao. It also furthers that thread of being divided from yourself, split, that having ‘Elim’ as a separate person around in all versions of the story brings in. He’s in control of himself again, but he essentially hands his life and soul over to Julian to decide what should be done with them. 

I’ve done horrible things and it finally caught up with me, I’m getting what I deserve → I let sentiment master me and the fact that I’m too weak to do what’s needed of me shames me more than the evil I’ve done → I fucked up. I betrayed myself and everything I held to, all for nothing, and I have no one to blame for it but myself. But it’s very nice that you’re here anyway, Doctor. (Wow. I didn’t realize quite how isolated and lonely that last one was before right now. The way Tain has shaped him really has just… locked him completely into himself, huh.) We can also see a movement through from a completely professional context in the first story, to an intensely interpersonal and internal context in the last one — even his fake stories spiral in towards intimacy, which I think is what he longs for here even if he can’t quite like. Touch that without the stories as a buffer yet, it’s clearly like touching a hot stove for him to interact with it too directly. 

And you know what I find incredibly interesting the whole way through? Even on his deathbed, where he’s dying from the thing Tain had put in his head, he’s protecting Tain. He puts all the blame for where he is on himself (‘My future was limitless, until I threw it away’), even if he has to employ a strange twisty logic where he’s split himself into two to do it. Don’t get me wrong, Garak has done horrific things all on his own haha, but it’s notable that he almost isolates Tain from that. ‘Tain was the Obsidian Order. Not even the Central Command dared challenge him. And I was his right hand.’ Tain in Garak’s stories is this infallible implacable weirdly distant figure, even now. Indeed, as will make a lot of sense with the revelations further down the line, more than anything it seems the gaze of an abused child desperate for recognition looking up at an idealized (if not in any way nurturing) parent.‘He was retired at that point; he couldn't protect me’, Garak says, as if what he’d need protection from in the first place isn’t Tain himself lmao, as if Tain had no active part in any of this. He never lets blame touch Tain at all. At this stage he would rather consider himself a broken flawed tool than accept that the hands that have wrought and wielded him have ever had any fault in them. AND in the middle of it all, with plausible deniability, on death’s door and knocking meekly to be let in before he must finish the mortifying ordeal of being known and test the even more daunting possibility of being loved, Garak at the same time manages to drop the breadcrumb trail of clues to make it possible for Julian to find Tain if he so chooses and gets in the ‘sons of Tain’ thing too for future dramatic irony purposes. Truly he is the Michelangelo of lying. Every falsehood a multifaceted masterpiece. Elim ‘achieving a state of intertextuality in real life is possible if you work hard and believe in yourself’ Garak. I love him so much. 

I think all of this is why “I forgive you. For whatever it is you did,” works so well, because it too works on a structural level. It’s such a deceptively multilayered response — it has the syntax of a joke, in a way, and it is kind of funny even under the circumstances, but delivered with such earnest warmth and fondness. It’s both recognition and acceptance (forgiveness!). It’s saying ‘I finally understand enough of what you’re trying to tell me beneath and through all that, in whatever way you’re capable of, I see you’ and ‘my answer hasn’t changed (bitch)’. The forgiveness Julian offers here is complete — on principle, and out of personal feeling and empathy (only one of which Garak deigns to respond to during the second story, where he calls it ‘smug Federation sympathy’, placing it more completely on the principle side than it probably is. ‘Dude you’re my friend please don’t just lie down and die in a completely avoidable way on me, who else is going to not only tolerate but actually gleefully enjoy me being annoying as fuck over lunch’ seems to be the subtext that’s a lot harder to acknowledge and invite in for both of them. And yet Tain seems perfectly clear on the fact that Julian is Garak’s friend, which, y’know. Must be fun living with the knowledge that Tain has eyes everywhere looming over you every day haha guess you’d just have to tune that out.) 

Most of all — ’Don’t give up on me now, Doctor’... and he didn’t! He didn’t. Augh. Ow.

[oneeyedoctogod]

Gods this fandom sometimes, I swear. I'm sorry I read two deeply bad takes back to back, and I have to rant. I'm sure others have said it better than I, but really. Come on. I actually have to wonder if people who talk about the extras actually read them because...

Wei Wuxian and Lan Wangji didn't leave the cultivation world in canon. They elope, and then they come back. The fact they're not involved in the bigger politics is... pretty much to be expected, but they very much do participate in the day to day lives of the Lan sect. They go where the chaos is to night hunt, they teach, Lan Wangji comforts his brother in his seclusion, and Wei Wuxian meets some new Lan disciples.

As for the cottage fantasy... Again, I honestly have to wonder if the people talking about it actually read the extra it's in? Because it's just that. A fantasy. A dream. It's basically a representation of Wei Wuxian's wants for a domestic life, something he definitely has now! He's always been characterised as someone who wants to help others and who loves cultivation. Why would you think the dream is to be taken literally?

And the idea that Wei Wuxian has 'several important relationships just floating there', that he's not dealing with... Where? Which ones? He teaches the juniors and grows closer to Jin Ling. He doesn't exactly interact with Lan Xichen, but he asks after him. He meets Mianmian again and wishes her well. He asks after Wen Ning after Lan Sizhui comes back then has some father-son bonding moments with him!

Nie Huaisang and Wei Wucian aren't close. They were friendly once, but they didn't ever meet after the lectures. I don't see how that qualifies as an "important" relationship, especially with Nie Huaisang never openly admitting to his part in Wei Wuxian's resurrection. But even then, Wei wuxian says he'll be keeping a close eye on him, so one can imagine they meet again at some point.

As for Jiang Cheng... what more do you want Wei Wuxian to do exactly? Even if you want a reconciliation, why can't Jiang Cjeng be he one to actually grow up and do the work for once? He's the one who never apologized. He's the one who is still openly hostile in the extras. If Wei Wuxian wants to move on and not interact with him, he's well within his right to do that, given how Jiang Cheng treated him. Hell, he's more generous than most since he encourages Jin Ling to talk to Jiang Cheng. If I'd been treated by someone like Jiang Cheng treated Wei Wuxian and saw him hit our nephew several times, I certainly wouldn't encourage them to meet. (But that's Wei Wuxian for you, the moral ideal and better than all of us.)

Anyway, I really don't understand why people insist on making Wangxian have a sadder ending than the one they actually did. It's a HEA for them, sorry guys. And yeah, maybe Wei wuxian has some trauma to work on... but the whole point of the character is that he doesn't let his trauma define him. That he wants to forgives, forgets and moves on.

(Also, just because he doesn't have a breakdown or the cultivation equivalent of therapy in the extra doesn't mean he's not working on them? He finally is at peace, with a solid support network. Maybe he does talk about his past hurts with Lan Wangji - Lan Wangji certai ly knows when to comfort him when he needs it. But the narrative point of the extras is to show they're moving on from the past! And you know what, sometimes the beat thing to do to heal is to do just that. They're living their best lives, deal with it.)

And finally... shit did you really read the whole book and come to the conclusion Wei Wuxian should have 'learned to accept help'? Who the fuck offered help? Who did he refuse?

(Don't say Lan Wangji. 1) I love him, but "Come back to Gusu" is very much not an obvious offer to help, and when Wei Wuxian understandably misunderstands him, he never manages to correct it.

And 2) once Wei Wuxian tells him explicitly he's not leaving the Wen remnants behind, Lan Wangji understands and backs off. He approves! I'm sure he'd do more if he could, but just like Jiang Yanli, he can't!)

Jiang Cheng literally said, 'No one will help you, no one is on your side' (and then made sure that was true by saying Wei Wuxian was the enemy of the cultivation world). Jin Zixuan chose to ask the one who was ambushed to disarm rather than the 300 cultivators attacking him and lunged at him when Wei Wuxian refused to comply (because he'd be killed if he did!!). How is that help?

Who else tried to help? Whose help did Wei Wuxian reject?

Wei Wuxian was presented with a series of bad choices and took the best he could, the ones aligned with his principles, accepting he'd have to face consequences at some point but also knowing it was still worth it. He's not the one who failed or made a fatal mistake or betrayed his word.

Rant over. Sorry about that.

[waffowo]

I cannot stop thinking about how Metal Gear Solid V: The Phantom Pain ironically fits as the missing link of the Metal Gear Solid franchise by being this ambivalent and spiteful text that could only be possible because it exists after Metal Gear Solid 4: Guns Of The Patriots.

Like think about it. MGS4 is Kojima’s perfect farewell in how it encapsulates his complex relationship towards his own series, his own cynical but still very much hopeful take on The Irishman (2019) if you will. The game simultaneously reveals Kojima’s hope and affection by pulling every known idiosyncracy to a hyperbolic degree but also his exhaustion and suspicion through Snake being not a hero but an old killer and his reflections on his role as a pioneer of the military-stealth genre within the gaming industry. It even seeks to tackle the behemoth of closing at least the majority of the loose narrative threads. As a consequence, any future game is attacked with the question of purpose since Kojima has already said what he needed to say. 

Through this question is how MGSV can even be allowed to exist because it affirms that the question is rhetorical. The game chronologically exists in a liminal space in the middle, neither here nor there. It even narratively exists as a structural ouroboros, a almost completely closed system which begins and ends on a mirror. Kojima elevates this sentiment to an extreme level by denying any kind of player satisfaction (or nostalgia) by still being an encapsulation of a lot of overarching themes now filtered through a lens of condemnation. 

 There is at least this sense of valour found in the main cast of MGS4. There might not be any heroes but you can tell that at the end of the game, there is a sense of dignity. MGSV works completely opposite to that. The central cast of MGSV is so pathetic that the game plays like a tragicomedy as they aimlessly wander about, overdosing on some serious fucking copium that taking revenge will bring peace. A particular venture you know that’s doomed but can’t help but watch. Phantom Paz expresses this so unsubtly yet so perfectly in her final cassette tape. Peace Day is always going to be a mirage and has been even since the Peace Walker days, it’s just that Kojima doesn’t always focus on the other reality that these people are all still terrorists and war criminals. 

People who expected Big Boss instead got a confused, empty and depressed war criminal who can be found roleplaying as a cowboy. His other hobbies include non-stop vaping and managing war criminal spreadsheets. Mission 43 doesn’t feel like a descent into evil because Venom is already kind of evil but instead works by acting in perfect opposition to Chapter 1 where you sort through your digital files to identify patterns and promptly send them to death in the quarantine ward. He’s so high up the military hierarchy that of course he can’t help but have a crisis when he is directly confronted with the physical reality he used to be able to meet with mechanical detachment. 

Venom Snake also serves as a perfect way to comment on the overarching theme of agency. However, there’s no final monologue to tell you to think for yourself, no Raiden throwing away the dog tags, no Naked Snake refusing to shake an official’s hand. Instead all these typical moments are denied in every way possible to the point it’s very funny. Venom is not only a castrated protagonist but is also basically a preprogrammed AI with no hope to break free because he’s narratively doomed. Your actions don’t really matter. Even funnier, the ending is perfect by hitting you with the “you, the player, were the war criminal all along” that heightens the tragicomic beats through recontextualisation. What is more mortifyingly funny than realising that you’ve just been playing as Raiden AGAIN but instead of someone that exists beyond the player you have become canonised as an in-world character complicit in perpetuating imperialism. This works so well with how if you listen to the tapes and mission briefings closely, you realise that there are so many contradictions that no one are bringing up. Everyone is lying to you and everyone is telling the truth but it doesn’t matter. Venom just captures the disorientated position of the player, caught in this Pynchonesque paranoid labyrinth that it leaves you confused and speechless. What other choice do you have but to smoke a fat one, it’s not like you can actually resist the game if you’re completely out of the loop. 

Aside from Venom, there is of course Huey who has descended into full on pathological lying and delusion. Even if he didn’t cause the second outbreak, he’s so overwhelmed by guilt and paranoia by his other crimes he’s most likely guilty of that he’s able to beat the truth serum. When you’re rescuing Huey, he literally blames you for the destruction of the MSF. Like literally as you’re hauling ass to get him out. Even more pathetic is Kaz who makes these grand statements alongside Venom about taking revenge that you know doesn’t mean shit. His monologues are so passionate and are so depressing and yet he is met with awkward silence constantly that it’s depressingly funny. 

There’s this amazing usage of comedic timing, after you rescue Kaz and bring him back to Mother Base, where he monologues and says, “Dogs of war for nine whole years…that ends today. Now you’re not sleeping, and we’re not junkyard hounds. We’re Diamond Dogs.” The swelling of the music at the last moment is instantly followed by Kaz being shut the fuck up by a medic who puts an oxygen mask on him and lies him down. No one responds to the speech. Ocelot merely only talks to stop the medic and allow Kaz to get a few more words in out of pure pity. Likewise, Kaz’s extreme cognitive dissonance as he believes he can return to the good old days is so pitiful and poignant you can’t help but to stare with sympathy. 

The end of Chapter 1 shows how far gone he is with a very clever cut as Venom turns away from a vision of Skullface where Skullface is replaced by Kaz himself. Chapter 2 then logically shows him becoming full on paranoid, going full on 1984 Minister of Truth because what else does he have left if he doesn’t have an object of revenge anymore? I remember a moment, where he’s calling you, with this sense of manic fanaticism as he rambles to Venom that it’s time to dig up dirt on Huey and finally get him out for good. It becomes so absurd that even OCELOT tells him to shut the hell up. 

Ocelot is maybe the only normal person on board but that title means nothing in-universe. He’s thriving because he’s happily going along with War On Terror 2. He’s normal because he flat out embraces this and even goes out with his crush dressed as a cowboy. Of course there won’t be those moments where he’s of central dramatic focus here, he is simply here for the ride, his true goal to win the game of 8D chess for the man he’s down bad for. 

This band of losers are completely devoid of real purpose and are so…beta and it works because of how it both confronts an equally important reality of the characters not usually as overt and how MGS4 already closing off the franchise sets up how MGSV’s narrative and characters are already and should be dead. Peace is only possible in the case of war criminals when they’ve been buried. Evoking dissatisfaction might not always be intentional and is sometimes accidental but it works because there is no real satisfaction in beating a dead horse just to see your faves perform one more song. Especially if they already aren’t good people.

[rocketinthesky]

Hi! Hope you're having a good time💜 Any opinions the Haasbands? (Kevin x Nico)

OMG HI! Hope you’re having a great time too

As for the ask game

HAASBANDS?!? BOY DO I HAVE SOME STRONG OPINIONS ON THIS !! So sorry op this might be posted a bit late cuz i have TOO MANY THOTS AND FEELINGS OVER THEM OK LETS START:

Obviously, the HISTORY. Ik the most “relevant���/spoken about F1 rivalries are brocedes/lestappen these days but we really have to look into Haasbands cuz they’re THE enemies to lovers story, like actual rivals who fell hard for eo.

We all know about the infamous “suck my balls” comment from Kevin, about Nico and Kevin butting heads on track, how they apparently hated eo till suddenly they’re teammates and they mesh so well tgt that Nico calls it a fucking “romance”.

There’s soooo much nuance to their dynamic to unpack here though. The general consensus is “guard-dog kevin” and “level-headed nico” but LETS TALK ABOUT THE INNER WORKINGS OF THEIR DYNAMIC PRE-MARRIAGE OK. In an interview, Kevin talked about how the “hatred” was one-sided, that despite the hot-headed comment during that interview, Kevin has never disliked Nico, rather he always respected the older as a fellow driver.

This flips the “level-headed nico” characterization on it’s head because look: pre-marriage Hulknussen was basically a one-sided rivalry where Nico was a petty bitch and giving Kevin the silent treatment, whilst Kevin was leaving all the rivalry and anger on the track, more or less wilfully oblivious to the “enemies” narrative. He respected Nico as a person and just was chill with him off track, but on track Kevin fights for his life no matter who he’s up against.

Now post-marriage Haasbands arc brings us two dudes who are much more mature, definitely have a much different perspective in life (cuz of the families they’ve built). They’ve grown as people obv and when they were more or less forced to be co-workers they had to suck it up like real adults and act like professionals.

But when they were actually working tgt, they found that it was easy. They got along on a fundamental level. Kevin always held that respect for Nico as a driver and person and when Nico actually allowed himself to give Kevin a chance, to talk to the guy and see him for the person he is off-track, not just as the aggressive and fearless fighter in the car, he grew a genuine respect and appreciation for Kevin as a person.

Among all the ships, i’d say Haasbands is the most sane one. They go from genuine rivalry/one-sided hatred and one-sided ignorance, to a friendship, mutual respect, peaceful relationship.

Obviously that’s just the brief overview of it but let’s not overlook the INSANITY within their dynamic cuz i am in no way discounting “guard-dog kmag”. He’s a fiercely protective warrior on the track and we’ve seen firsthand how he will fucking kamikaze for fhe sake of nico getting a point, how he will openly speak up about anything unfair that happens with Nico, like with nico and daniel’s crash this year. Kevin is a man in love and he’s a man who will lay his life on the line for it.

NICO. He’s level-headed alright. He’ll very calmly with the sweetest smile on his face threaten any lifeform that harms Kevin in any way. He’s a sweetheart sure but he’s just as nuts for Kev as kev is for him. His raw thoughts on Kmag’s race ban is a prime example of it.

These two are like actual fuckin husbands, they’ll protect eo to the end. And the domesticity between them makes me gag like ok get a room guys we get it yall are in LOVE

the kmag birthday clip? Them watching sports tgt outside of WORK duties? The way they’re constantly complimenting each other without faltering, almost tryna one-up eo in a compliment battle in the driver rankings videos? The compliments outside of those too like they are genuinely obsessed with each other?! I could go on but we’d be here all day so. Just know they’re sickeningly, tooth-rottingly sweet with eo

Welp i’ve rambled long enough lmao sorry if u subjected urself to my disjointed thoughts i just have so many Feelings™️ about haasbands they’re one of my otps lol they’re just so PERFECT they’re THE enemies to lovers like real fuckin enemies to lovers.

(As for my nsfw thoughts i think they’re pure switches but Nico lets his short gremlin male-wife take care of him more cuz he’s very fond and will do wtv Kevin wants THANK YOU)

[ineedtorantaboutjiangcheng]

Fuck, I'm here again. Goddammit. I've been doing well. I've been keeping Jiang Cheng off my mind (and my computer screen). Things have been peaceful.

And then today happened.

Again, a fic. Again, not naming names, both because that's rude and also because this issue is hardly specific to one fic alone. I've seen it many times.

But I've been pacing for half an hour, too agitated to keep reading, so I'm just gonna get this off my chest, and then skim through the fic 'til it stops talking about it.

I need to talk about the golden core reveal.

Specifically, I need to talk about an attitude I've seen cropping up recently in a lot of fics. (By recently, I don't mean it's only recent fics that do it, just that I've only noticed it recently.)

So it'll be a fic, usually canon divergent, but prior to the golden core reveal. Wen Ning or Wen Qing will often be involved (though I can think of a few times it was Lan Wangji). And the character, who knows the truth about the golden core transfer, will urge Wei Wuxian to tell Jiang Cheng.

They'll say "you have to tell him". They'll say "he'll find out eventually". They'll say "he deserves to know".

And... the fic will support this.

Will frame Wei Wuxian as irrational, paranoid even, to keep it secret.

Will sometimes even punish him, narratively, for his "failure" to disclose such a thing.

And I am... completely baffled.

Where the fuck is this coming from?

I suppose, if I'm being generous, I can kind of see why an individual sympathising with Jiang Cheng might have a knee-jerk reaction to this. If you see them as being essentially family, the idea that a family member that you love deeply, keeping what amounts to both a huge sacrifice and a massive disability from you would be extremely painful. You might feel hurt, that they didn't tell you. Angry, at the implied lack of trust.

I get it, as an emotional response you might have in the moment. I don't find it particularly relatable, but I can follow the thought process.

But like... that's an emotional response. Surely, at some point, logic has to kick in, right?

Because the thing is. Okay, there's two aspects to the secret, right? One, is that a medical procedure was done to Jiang Cheng, sort of like an organ transplant, I suppose, but he wasn't told that the organ was donated by Wei Wuxian. And the other is that Wei Wuxian made this huge sacrifice for Jiang Cheng, and didn't tell him.

But thinking about this for even five minutes should tell you that... neither of those things are actually Wei Wuxian's responsibility to deal with?

The first one is the by far the more common argument I've seen. I've read fics where Wen Ning and Wen Qing are tortured with guilt over having performed the procedure without telling Jiang Cheng all the details. I've even seen people have them blame Wei Wuxian, for demanding they keep it secret, had them secretly resent him for it. He's portrayed as deeply selfish, for keeping the truth of Jiang Cheng's operation from him.

But the thing is... if you're going to apply modern medical ethics to the situation... Wei Wuxian was in the right? They all were?

Under modern medical ethics, you have no right to know the identity of your organ donor. That can feel a little weird (it's probably why people often have a knee-jerk reaction that demands the opposite); after all, it's my body, shouldn't I have a right to know where the organ that goes in it comes from? What if it has cooties?

But according to medical ethics, the donor's right to medical privacy is more protected that the recipient's right to that information. Right to medical privacy is pretty highly valued; it kind of ties into body autonomy, which is kind of the keystone of... most modern ethics. You have a right to control what happens to your body, and that includes controlling whether or not people know about any medical conditions/procedures. So you might have an emotional response, thinking Jiang Cheng is valid for being upset that his golden core came from Wei Wuxian without him knowing, but... ethically, Wei Wuxian has the right to withhold that information.

But! some scarecrow says, If a person has the right to control what procedures happen to their body, surely that means Jiang Cheng has a right to control what happens to his own body! Therefore, the procedure was still unethical, because he didn't know everything!

And I say, well... not really. The reality is, we don't actually know how much Jiang Cheng was told. He was told to walk up a mountain, lie to the person he encountered about his identity, and ask for a golden core. And he left that mountain with said golden core... but we don't know how much Wen Qing told him when he reached the top. We know he believed Wen Qing was the Baoshan Sanren. We know he received a fully developed core, not just the ability to form a new one. Was he told that the core was from someone else? Were there signs of the transfer? Did he know the chance of success/failure? Did he not find any of the situation dubious?

(Did he really spend two and a half years fighting a war alongside, and then running a sect for a year with, someone and not realise they didn't use orthodox cultivation even once?)

The truth is, a doctor is required to inform a patient of risks, and answer any questions they ask. Wen Qing may well have disclosed the risk (if there was any to Jiang Cheng, other than potentially the transfer failing) prior to the surgery, we just don't know. We don't have any evidence that Jiang Cheng asked any questions, and from what we see in the novel, it seems likely that he simply didn't want to know. He got a core, his life was somewhat back on track; we never see any evidence of curiosity or confusion in him as to the specifics of how that happened.

The only lie we are sure that he was told was the identity of the person who he met on the mountain, who "gave" him the core. I could be petty and point out that as he was also lying about his identity, it kind of cancels out, but that would be a bit ridiculous, and unnecessary besides. The truth is, ethically, Wen Qing could have knocked him out and performed the surgery from the comfort of her own office. Because one of, if not the main reason you can ethically violate someone's body autonomy... is to save a life. And Jiang Cheng, after losing first his family and sect, and then his golden core, displayed clear suicidal ideation. He indicated, repeatedly, that he wanted to die. He refused food. Wei Wuxian even doubled checked, before giving him hope of getting a new core, that he was serious! (Rereading that scene is horrible; Wei Wuxian's dread, and eventual resignation/resolve becomes very apparent once you know what's happening).

The characters around him, including a trained doctor, believed that if he didn't get a new core, he would give up and die. Under those circumstances, a doctor has authority to make medical decisions, without a patients consent, if they believe it is a medical emergency. Wen Qing was an unquestionably brilliant doctor; if she believed doing the surgery was the right/necessary decision, who the hell are we to dispute her?

So, to be clear, under modern medical ethics (which seems to be what is being applied in these claims), Wen Qing has the right to do whatever surgery she feels necessary to save the life of her patient, no consent needed, and Wei Wuxian has the right to keep his identity as the donor a secret, since that's his own private medical history. Modern medical ethics (a bit ridiculous, when talking about magic powers, but I've seen the argument) supports our protagonist.

Now, onto the other thing. This is a lot less... ethics discussion and a lot more feels-bad-so-wrong type thing. Wei Wuxian kept the loss of his golden core a secret.

Jiang Cheng being upset by this is understandable. Like I said, I can follow the emotion/logic. Someone keeping a big secret from you can be hurtful.

But just because it's hurtful to you, doesn't mean they're in the wrong to do it!

If someone I cared about kept a massive secret from me, and I found out, I'd be upset! But my first thought would be 'Why did they feel they couldn't tell me?' And the answer here is obvious; Wei Wuxian didn't think he could tell Jiang Cheng because he knew he'd be horrible about it! Wei Wuxian admits, after the reveal, that the process of losing his core was distressing, and that he wasn't as okay with it as he pretended to be. If something like that happens to you (not... that it can, but, you know, equivalent), and you're struggling to hold it together, the last thing you want is someone you care about yelling at you about it, insulting you, making you feel bad for what happened!

Wei Wuxian didn't tell Jiang Cheng because he knew Jiang Cheng would be awful to him because of it. Jiang Cheng's jealousy when they were young was something Wei Wuxian felt he had to manage*, and he knew Jiang Cheng would feel inadequate if he realised his accomplishments were made with Wei Wuxian's core. And he would then lash out at Wei Wuxian for it, at a time when Wei Wuxian was already feeling emotionally fragile. Hell, nearly twenty years later, Jiang Cheng getting up in his face was enough to cause a Qi deviation; I can't imagine it would have been better any sooner!

No one wants to think of the people they love keeping secrets from them. And sometimes, people who keep secrets are doing it for their own sake, because they're scared, or unsure, or guilty, or whatever. But sometimes, when a person keeps a secret, the reason is not internal. If someone acts horribly to you when you tell them things, you're going to stop telling them things. And the person responsible for that gap in communication is them; all you're doing is protecting yourself.

And before anyone thinks that I'm assigning reasoning to Wei Wuxian that he doesn't have; he essentially admits it. After the reveal, Wei Wuxian states that he knew Jiang Cheng would react badly (though he didn't expect it to be quite so bad). Wei Wuxian is shown to have been managing Jiang Cheng's moods since they were young**, it's probably not the first secret he's kept. But that's kind of just... how that works; if a king kills every person who brings him bad news, eventually, all his advisors will only ever bring him good news. And he has no one to blame when his kingdom falls but himself.

SO. tl;dr. Modern medical ethics supports Wen Qing performing the golden core transfer, and Wei Wuxian keeping his identity as the donor a secret. Jiang Cheng can be upset at Wei Wuxian for not telling him that he no longer has a core, but it's not unethical, or selfish, and the nature of their relationship, with Jiang Cheng lashing out with impunity and Wei Wuxian trying to manage his moods, meant that secrets like that were pretty much inevitable. Unhealthy relationships are unhealthy. Truly, newsworthy take.

And one final note, on Wei Wuxian keeping secrets from Jiang Cheng and being portrayed as selfish for doing so; I have yet to see a. single. fic. that says Wei Wuxian keeping his sacrifice secret is wrong, but then goes on hold Jiang Cheng equally accountable for keeping his sacrifice secret. Not. One. Jiang Cheng often tells Wei Wuxian afterwards, that he deliberately got the Wens attention, but he's never framed as selfish for keeping that secret. Not. Once.

* see post-Xuanwu argument, when Wei Wuxian drags himself out of his sick bed, having just woken up from a coma, to reassure Jiang Cheng that he's no threat to his birthright. Because Jiang Cheng was jealous that his father acknowledged Wei Wuxian's skill in surviving, under horrendous circumstances. -_-

** childhood flashback; after arriving in a new place, having a massive change in lifestyle and meeting many new people (and, it seems, trying to make a good impression), Wei Wuxian took the blame for his broken leg, despite it being because Jiang Cheng locked him out of his room and threatened to sic dogs on him. Entirely because he knew one of them would get blamed, and he wanted to keep Jiang Cheng happy. People who grow up with aggressive/abusive family/people around often end up learning to juggle mood changes.

[the-bi-space-ace]

So far I think we have all the makings for them being together by the end of the series. Maybe not all together all the time. But all alive and all at least orbiting around each other in some way. I think Echo and possibly even Crosshair will join the rebellion or at least help with Rex’s network. Pabu might end up being a place to settle or a home base for everyone else. Maybe not. Maybe it just shows us that peaceful places still exist. Maybe Tech goes back to racing.

I’m very doubtful of the everyone dies ending so many people are fearing. ESPECIALLY an ending where Echo ends up dead. Say what you want about the last domino falling but I don’t think Echo’s story is ending here. Because why? Bring him back from the dead to do nearly nothing with his storyline and then kill him off again??? No. I refuse. I know we’ve been fearing for Echo’s safety throughout the series but I’m so hopeful and optimistic about his survival. I don’t want all of us to be riddled with anxiety the entire time we’re watching.

Same with Crosshair. No way this man spends the entire run time in misery only to sacrifice himself in the end. That’s absolutely ridiculous and I refuse to believe that.

Wrecker is safe in my book. I can’t even fathom a situation where he’d get killed off. I’ve always seen him as safe so it’s hard for me to even think about him dying.

There’s no situation where Hunter ends up dead. They want him to be the favorite of the series and since he’s such a focal point I don’t see them killing him off. So to all the Hunter fans out there: I genuinely believe he’s making it. I’d be shocked if he didn’t.

Tech is alive. There’s no doubt in my mind. And if he was really dead then I’d have to question what this story is actually about because I’ve always had an idea of what it’s trying to say and I don’t think it could end with him not being there.

I’ve always thought this show was about breaking this family apart and then putting them back together. They’ve been through terrible shit and seeing them all come together in the end would be the perfect ending.

None of their stories would have an interesting end in season 3 if all they ended up doing was die. We’ve been complaining forever that clones get introduced to us, we love them, then they die. Why do that again?

If that’s what’s going to happen then what the fuck have we been watching for all this time then?? Certainly not the show I thought we were.

Mostly because I don’t think it would make any narrative or symbolic sense. What’s the point of this series then? That no matter what you do you still sacrifice yourself in the end? That fighting the empire is hopeless? That you’ll never be safe in this galaxy so give up now? Idk. I don’t think that’s the direction they’re going.

I think Tech’s return will put the ‘they’re all together in the end’ thing to good use. There’s so many fun things to be said about each of their paths. That healing is possible. That you can fight for what you believe in and do what you can. That there can be life outside of being a soldier and fighting a war. That there’s hope in this galaxy. That we aren’t alone. That the clones aren’t alone. I think that’s much more in line with what this show is attempting to say.

I’d be totally shocked if they end up killing off the batch. Not only do I think it’s a stupid decision but I’d call it lazy (and probably many other choice words while I’m at it.)

Plus. It is a kids show. I’d be more worried if this show was geared towards adults but I don’t think you’ll gain much love in the hearts of the young audience if your show ends with all that death.

I genuinely don’t think this show is ending in fire. And I will remain steadfastly optimistic and positive about it. It’s a fun show and I’m very excited about the new season and getting to discuss and interact with everyone again.

Take a breath. Enjoy the final season and have some fun with it. I’m certainly going to. I hope you all will too 🩶

[thetrashthatsmilesback]

My issue with how Naruto is portrayed as hokage in Boruto, and subsequently the treatment of the surviving Uchiha (Sasuke and Sarada) in Boruto, is that it undermines the political messaging of Naruto completely.

So Naruto (the character) agrees with Nagato and Sasuke regarding the abuse they faced and the need for an overhaul of Shinobi society. This is not where he disagrees with them. Naruto (the character) is the closest thing the manga has to a pacifist (though he's a poor representation of one, I'm not going to harp on that too hard as I'm not expecting the shonen manga to get too deep into leftist political theory for its audience of 12 year olds). He is not shown to actually disagree with Nagato or Sasuke on the basis of their beliefs, but instead on their actions. Naruto doesn't believe that mass suffering is needed to bring peace (Nagato's plan of causing pain to bring empathy.) He also doesn't believe in killing all of the kages or martyring Sasuke as someone to be eternally hated for the sake of peace. His issue with killing the kages has to do with the instability that would lead to (what we're shown).

So in modern terms, Naruto is closest to a socdem - someone who wants to work within the system to bring about leftist changes to the system.

Okay

But then we get to Boruto and we have:

The Uchiha tablet has been moved to the middle of the woods, effectively erasing their culture from Konoha completely

Sarada has people making comments about her carrying the curse of hate and faces discrimination for her ancestors part in the fourth war - meaning the very conditions which facilitated the Uchiha massacre/genocide are still in place, furthered by a lack of history education of the Uchiha via the removal of their cultural texts to outside the village (the tablet)

Children still are sent to fight and die for Konoha

The council of elders still has political strength

The anbu still exist

Those who took part in hiding the truth behind the Uchiha massacre/genocide have faced no consequences and have maintained their positions of power

The hokage still has an unlimited term AND is not elected by the citizens of Konoha - the hokage still falls under the control of the will of the elders if they wish to keep their position

And the thing that gets me is that there is no evidence in Naruto (the manga) that Naruto (the character) would hide the truth of the Uchiha massacre. He immediately went to tell people but was held back by Kakashi, but Kakashi would have no power over him once he's hokage.

So is this some commentary about how revolution is the only path forward towards change? I'd be shocked at kishi's sudden change in political beliefs but fair enough, i can totally work with the narrative through that view point.

But the why the fuck is Sasuke, the main revolutionary of the series, now an asset of the state?

Or was the idea that change takes time?

But why were they able to erect a statue of Itachi whilst moving the last of Uchiha culture literally outside the village.

Is it that Kishi didn't think about his own political messages before writing Boruto, effectively ruining Naruto's character as a fighter for the oppressed?

Most likely.

Because at the end of Naruto, Naruto vowed to fight for the oppressed. He wanted to fix things for Nagato, and Neji, and Sasuke. He wanted to overhaul the entire system, he just wanted to do so in a way that wouldn't result in more civilian deaths.

That his time as hokage in canon has finished the eradication of a culture from konoha, continued the abuses of children, did not end Konoha's economic reliance on violence, and more is a complete destruction of his character.

And the thing is that Naruto didn't have to end by validating Nagato, Neji, and Sasuke's beliefs. Kishi could have gone full ally of the oppressive state and painted them as incorrect wholly and completely.

He didn't.

He made the choice to have them be objectively mistreated and to have his protagonist agree that change was necessary. HE is the one who validated them. He is the one who wrote their oppression into the story, and also had his protagonist agree they were oppressed and that change is necessary

[euryleli]

I don't think anyone from the byers-hopper family is going to die!

I would love to hear more about your theories regarding this subject if you really think there's an actual chance of characters like Will and El (or even Jonathan) dying in st5 - because from where I stand, I just... can't see it happening!

It doesn't make sense to me for a number of reasons!

First there's Will: a closeted gay teen from the 80s living his WORST life in smalltown, Indiana. Will, a boy who has been bullied his entire life not only by his peers but also by his own fucking father - all in the name of this inherent otherness he carries that's been associated with his queerness since episode 1 from s1!! The boy that's always described as kind, honest and sensitive - the little kid who changed the world of every single one of his loved ones with his absence. William Byers, the boy who went to hell, spent a week there and then came back all wrong, slowly losing his identity because he was fucking possessed by this otherworldly creature - who was burned out of him, mind you AND the after effects of his frolicking in the upside down for seven days straight and late possession by freaky monster #1 led to a connection that haunts him TO THIS DAY!

THEN (because it can't get better) we have stranger things season 3 and 4 where will byers gets beaten time and time again by forced conformity, internalized homophobia and, of course, the usual supernatural Horrors that we're all acquainted with (and that have a canonical narrative connection to all the issues previously mentioned but wtv)!

Ur telling me that this boy who hasn't known A SINGLE DAY OF PEACE in his LIFE (because Will had it bad before the upside down), who's the only confirmed gay character (as of now) AND the one who doesn't believe he can or even deserves love?? Is going to die??? This boy is not gonna have his happy ending? Will Byers, the starting point of this whole story is gonna be used as a pawn to... what? Further develop a straight relationship that actively hinders the arc of the female main character (El)? His death is gonna "complete" his arc and we'll deal with another case of the "Bury Your Gays" trope? Mike's character is gonna be buried alongside Will then because if his ending is one of conformity then all his actions throughout the series make no god-damned sense - basically he's just an asshole and an awful fucking friend? What the actual fuck??

So... Will dies, saves everyone but leaves Joyce and Jonathan completely heartbroken? Even when their love for Will is what kick-started the whole show? The show started with us rooting for them to find Will and they did!

But oh... wait... he died lol

It doesn't make sense, narratively speaking.

"What about El, then?" you ask!

Look, I'm slightly scared for her too but I genuinely think they're not gonna kill her off and the main reason is Hopper. What's the point of having Hopper grieve Sarah, his first daughter who tragically dies at a young age from cancer, just to make him start coping with her loss, bonding with El - actively viewing her as his family - to then take that family from him A SECOND TIME?? WHAT'S THE POINT OF THAT?

Aside from El's arc and her development as a young girl who was robbed of her childhood and sense of self for so long finally coming into her own person (not Hopper, not Mike, just El), killing her off is an efficient way to ruin not one but TWO of the most beloved characters in stranger things.

Having either Will, El or both of them dying in the finale would be a tragedy and yes, stranger things has it's moments where everything goes wrong and people die (and stay dead) but...

It's not supposed to be a tragedy.

That's not the kind of show we're watching.

Hell, you can say that they're going to kill the other family members then! But I don't see them killing Joyce or even Jonathan (although I can admit I'm not fully confident on that last one) because - again - it defeats the whole purpose of the show and Hopper came back from the dead already, the duffer brothers are not gonna kill him AGAIN (El grieving her father a second time is just as bad as Hopper grieving Sarah, then El)

The Byers are the heart of the show and sure... stranger things s3 and s4 kind of lost the plot on that front, but we're definitely getting back with willel and their final arcs in s5 (their family, now with Hopper and El, will be heavily featured in their development)

So, yeah...

Stranger Things is, fortunately, not a tragedy - and considering the love I have for all the characters (especially the Byers-Hopper) I can't say I'm upset about it.

[mitsuristoleme]

The Odds Is Gone

Written for @kentopedia ‘s collab event- Love Through The Ages

I present to you my take on the tragic love story of Mark Antony and Cleopatra VII! Except picture Sanemi as Antony and Reader as Cleopatra!

cw: 2.4k words, historical au, fem!Cleopatra!Reader, Mark Antony!Sanemi, angst, smut, praise kink if you squint, they banter just a little bit, mention of Sanemi cheating on his wife, suicide, this one is beta read yall!!!, 18+ minors dni (i swear if i see a minor/ ageless blog interact i will block you)

a/n: The amount of rewriting and research i put into this fic is so fucking unreal i kid you not. I switched between 4 POVs and so MANY plot points to cover or leave out, it made me lose my mind. Also I feel like I need to mention that I hit 2k words right when Sanemi says “I love you” for the first time. So. Do with that what you will. Also this is my first time writing smut, and also angst, please go easy on me.

A hugeeeeee thank you to @forest-hashira for helping me out. Without them, this fic would probably not be what it is. Go show them some love (threat)

This fic switches between the narrative and a bunch of flashback scenes. The flashback scenes are all in italics and I've put in dividers between each one, just so there's no confusion in what's going on.

Caesar intended to keep you as a trophy.

You let out a prideful scoff, sandals clacking loudly as you strode towards the medical wing of your palace. 

Did the man truly think he could bring you, Cleopatra VII of Egypt, as a fucking war trophy, to show off to all of Rome? 

You paused in front of the ornate door, your heart urging you forward, yet your feet frozen in place. 

The door swung open, interrupting your silent debate with your own body. As if the Gods themselves would not force a decision this cruel on you. 

The chief doctor’s eyes widened slightly as she took in your presence. She recovered her composure quick enough, bowing low in respect. 

“My Lady,” she greeted, “I was just about to send a message to you. I suppose the Gods would rather I tell you in person.”

“Kocho,” you dipped your head in acknowledgement.

“Lord Shinazugawa’s body has been embalmed and it is ready for whenever you decide to hold the ritual for his entombment.”

You nodded.

You suspected she would have to do this exact charade with someone else if you carried through with what you were planning. 

“You’re dismissed for the day, Kocho.”

“But My Lady-“ 

Your gaze softened as you met your friend’s worried eyes. 

She seemed to hesitate as she asked, “Are you alright, My Lady?”

“I am, Shinobu,” you nodded reassuringly, “Truly. Thank you for everything. I will come find you later. I would like to see him. In solitude, please.” 

She bowed and left, but not before throwing a worried glance over her shoulder. 

You waited until she had vanished down the corridor to throw open the gold embossed doors to the medical wing. 

As you shut the doors behind you, your gaze landed on him. Sanemi Shinazugawa. Roman Consul. Triumvir of the Second Triumvirate. Mighty warrior. Your lover. Your ‘Nemi.

As you stepped closer, the wound on his chest, where he had stabbed himself with his sword, was glaringly obvious on his alabaster skin. 

You had seen him with scars, memorised every inch of the ones on his chest, his face and his arms. You never thought there would be one that would lead to him, lying lifeless in front of you. 

He did not seem dead. Only as though he was sleeping, as he did every night beside you. He seemed as though any moment, he would wake from his seemingly peaceful slumber and land his adoring lilac gaze on you, his lips curving into that beautiful smile.

Oh, what wouldn’t you sacrifice to have his eyes on you again. You would take every bit of disdain he may have towards you for your betrayals during battle, for faking your death. You would give everything just to have him back.

Every nerve in your body screamed to rudely interrupt his sleep and demand his affection, his hands over your body and his lips on yours. 

But you couldn’t. 

Your lover had taken his life two days ago. He had impaled himself on his own blade because he thought you were dead. 

He had bled out in your arms, on the floor of your chambers as you had wept in regret and heartache. 

Sanemi was dead. And it was all your fault.

“He has vowed to kill you himself, My Lady,” your messenger said.

You couldn’t blame him. Not really. If you’re being truthful, you understand the impetus.

So why did hearing your lover’s declaration (could you even call him that anymore?) coming from your messenger’s mouth feel like a knife being driven into your heart?

The thought that the very man who would spend hours whispering sweet nothings into your ear, making silly jokes that made you double over laughing, the man who made you feel like just a normal woman instead of an Empress equated to a Goddess, had now taken it upon himself to bring about your demise, was agony to your heart.

You took a deep breath, steeling yourself, ever the picture of grace and composure to your subjects.

“Tell him I have committed suicide.” 

“My- My Lady?”

“You heard me.

You had sent the damned message to protect your life.

But what of your heart?

Your heart that he’d held in his hands. 

The same hands that had held his sword as he fell upon it. The same hands that had held yours, bloodied and broken, but still warm. The same hands that had wiped away your tears as they fell, smearing blood over your face as he whispered his final confession of love towards you, smiling the way he always did.

“We shall meet in another life, my love,” he’d rasped before his hand went limp against your cheek and his body lifeless in your arms.

“SANEMI!”

You lunged forward to grab him from your guards with a piercing cry.

His mouth quivered into a wobbly smile as you clutched onto his broken form with a fierce protectiveness. Or was it a grimace? You sank to the floor, unable to support his weight any longer, resting his back against your raised thigh, holding him by his waist and supporting his head.

You shot a look towards your chamber doors, your guards taking the unspoken order to leave you alone.

“Well hello, dearest,” your lover’s weak voice said, drawing your attention back to him, “It would appear that you’ve lied to me once more.”

How this man found the gall to tease you, even on his deathbed, was admirable.

“Gods, I love you,” you whispered, running your hand along his stubble. It must have grown out during the time you’d been apart. 

He coughed, blood making its way out his mouth, as he clutched at his chest with an agonised groan. As his coughing fit subsided, he grinned at you, showing off his now blood stained teeth, “I love you too.”

You pressed down on his wound the way Shinobu had taught you, looking at him worriedly.

“I shall call for Kocho. You require medical att-”

Sanemi pressed a bloodied hand against your mouth, stopping you from continuing.

“No,” he whispered, “I’m afraid this is where it ends for me. I have decided it does. I fell on my sword because I couldn’t bear to live in a world without you in it. I shall not go back on my decision now.”

You shook your head, eyes pooling with tears, “Yes, but I am here, you fool. I am alive and you must stay with me. How am I to live without you?”

He took a shuddering breath, raising his hand to gently wipe your tears off your face. The metallic sting of iron hit your nose as his hand smeared his blood across your cheeks. His actions did nothing to soothe you, only making you sob more, hugging him tighter to your chest.

You cupped his face and watched as his own tears fell, rivulets of salty water, carving their way through the crusted red near the corner of his mouth. 

“I love you,” he said, his voice shaky, his hand never having left its task of wiping your tears away. “I love you so much, it hurts more than stabbing myself in my chest.”

Another pained exhale. 

“We shall meet in another life, my love,” he rasped, his hand slipping off your cheek and his head lolling back against your leg.

You hugged his body close to you, sobbing against his shoulder, knowing that his fingers would never comfortingly run through your hair again, that he’d wiped your tears off your face for the last time.

“I miss you ‘Nemi,” you murmured, ghosting your fingers across his now clean face. The memory of his features crusted over with blood had made your mind its home, Sanemi’s final moments coming back to you in your nightmares. 

The night of his death, you had refused to part with his body, laying in bed with his cold corpse, desperately praying to Isis to bring him back. To Ra to give you back the man you loved. 

But such is fate. 

The next morning you woke, feeling horrible, still in your royal robes, your eyes puffy from crying, Sanemi still dead, and Caesar’s declaration to take you as prisoner looming over your head.

An idea formed in your head, a way to escape the loss of your dignity and to be reunited with your lover.

“More,” you near sobbed between kisses, “Sanemi, please, I need more.”

His hands were running over your body, trailing over your sides, grabbing at the fat of your thighs, tweaking your nipple, leaving a trail of blazing need behind his touch. He was everywhere. Except where you needed him and it was driving you crazy.

You could feel his achingly hard dick pressing into your stomach. Just above where you wanted it.

Gods, this man was going to make you go insane.

You let out an almost embarrassingly loud moan into his mouth when his finger brushed against your clit, bucking your hips up, seeking more of his touch. 

“Desperate are we, Your Majesty?” he teased, relenting his attack on your lips to trail hot open mouthed kisses down the column of your throat, stopping to suck at your breast, and continuing further down, before suddenly pulling away.

A light smirk played at his lips at your despondent whine. He leaned down, grabbing your wrists and pinning them above your head, hovering his lips above yours.

His lilac gaze darted between your eyes and your lips, “If only Egypt could see the little whore their almighty queen becomes for a filthy Roman, hmm?” 

“If only your wife could see you fucking the Queen of Egypt, hmm?” you bit back, relishing in the way his eyes widened, the scar on his nose crinkling as he grinned at you.

His hand wandered down to rest between your thighs, parting your folds to rub slow circles around your clit, cocky grin never leaving his face. “Don’t you worry, My Queen. I know just what you want.” He brushed his lips along the shell of your ear, before whispering, “And I am going to give it to you.”

With that, he lined himself up with your dripping cunt and gently pushed in, inch- by- inch, drawing it out, making your eyes roll back into your head from the delicious stretch. 

“Alright there?” Sanemi’s voice forced you to open your eyes to meet his concerned gaze. 

Always one to take consent before he obliterated you. 

Letting out a pleased hum, you reach up to thread your fingers through his hair, pulling him closer to kiss him, your tongue moving languidly against his. “Move, ‘Nemi. Please. I can’t take it anymore.”

“Shh I got you, pretty,” he soothes, pulling his hips back, thrusting back into your pulsing heat, eliciting a wanton moan from your lips. 

He set the pace almost torturously slow, his cock moving in and out of your wet heat with sharp calculated thrusts, kissing your cervix every time he sank into you. 

He shifted slightly, pulling your torso up before settling a pillow he’d taken from the currently unused side of the bed under your lower back, gently setting you back. The change in position had your hips propped up, giving Sanemi a lot more leverage over the speed and depth of his thrusts. 

He gave his hips an experimental roll, his lips curling into a self satisfied smirk when you moaned, your fingers digging into his forearm. 

“So- so deep-“ you gasped.

“Am I now?” he groans as he picks up the pace. “C-can’t help it, darling. This sweet cunt is just sucking me in. Gods, you’re so warm- So wet for me. All f’me, huh?”

“Mh-Mhmm- Only for you, Sanemi, only you,” you whined, your walls clamping around him. Your hands found their way to his back, fingernails digging into the battle hardened skin as you clutched onto him, as he feverishly pounded into you.

“I love you,” Sanemi whispered reverently. “Dear Gods, I love you so much.”

Tears rolling down your cheek snapped you out of your reverie. 

The night he’d said 'I love you' for the first time. 

You’d spent the rest of the night tenderly making love, whispering hushed confessions of love to each other. 

He would never say the words to you again. 

Gods, how you missed him. 

You moved aside your robes to reveal the wicker basket hanging next to your leg. Your hands were shaky as you freed it from the rope tying it to the  inside of your robes.

Setting the sealed basket down on the floor, you turned to your dead lover, running a gentle hand along his jaw, leaning in to press a gentle kiss to his forehead. 

“We shall meet once more, my dearest. In another life, you shall be mine for longer. And I shall cherish your smile with the fire of a thousand suns. Thank you. Our time was short, but precious all the same. I love you.”

You opened the basket, revealing the hissing asp. Smiling, you held your hand out towards the poisonous reptile, allowing it to slither onto your arm. 

You shivered at the coldness of the snake’s skin against the warmth of yours, a pained exhale forcing its way out of you when you felt the fangs pierce through the skin of your forearm. 

By no means were the effects to be immediate, you had done enough research to know that. 

You sat on the floor, next to where Sanemi’s embalmed body lay, for the longest hour of your life, watching the flesh of your forearm begin to bruise and swell up, stinging painfully. All the while you pondered if you should get up and find Shinobu. Make up some excuse about the bite. 

Would your people not consider you a coward should you go through with this?

But was it not a bigger disgrace to be paraded around as a trophy of war? 

No. You would not turn back on your decision. Just as Sanemi had not.

Consumed by the urge to see the face of your lover one last time, you pulled yourself off the floor with great effort, only for a wave of intense nausea to hit you, causing you to double over as you vomited your guts out.

Your legs trembled before giving in under your weight. You vaguely registered your ankle twisting, surely causing a sprain, as your senses dulled. Black spots danced around your vision and your mouth started dribbling foam.

The last thing you heard was a panicked shout of “MY LADY!” before giving in to the warm embrace of death.

tagging: @forest-hashira and @wifeyana

please dont repost or copy my work without my permission

reblogs and comments are always appreciated!

check out my masterlist

dividers by @/saradika

[milkywayes]

dreamt a cipher

a shepard/garrus post-destroy ending longfic.

[AO3 link]

I’ve debated a while about when to start posting this. Now it’s the new year, and I’ve been working on Cipher for over a year and a half, and I’ve waited long enough to start sharing it with you all. I’ve decided it’s finally time to start uploading while I work on the final chapters.

I started writing this before I ever drew a single piece of fanart for Mass Effect. It’s all the things that were bouncing around in my head after choosing the destroy ending with a mostly-paragon Shepard—consequence and responsibility and self-recrimination; her relationship with Garrus and with herself; their ties to each other and how much weight they can bear; their differing perspectives and how they slot together—all that fun stuff—compressed into a story, a place, a narrative. 

I believe in the power of love, and I promise a happy ending. They’ve just been taking the long way to get there. Feel free to yell at me in the meantime.

A huge thank you to @callista-curations for her meticulous and invaluable beta work, and to @that-wildwolf and @gammaraydeath for being the best hypemen I could ask for!

A more detailed list of warnings can be found on AO3.

I've posted the full cover art here.

────

Summary:

Pairing: Female Shepard/Garrus Vakarian Rating: M (subject to change) Important Tags: post-destroy ending - angst with a happy ending - slow burn (of sorts) - arguing - reconciliation - survivor guilt - minor original characters Her own personal Noverian peak. That’s what it was supposed to be. Nothing but the discovery: no distractions, no comfort, no windows looking out—no familiar faces. But it's starting to look like her winning streak might have ended in that pile of Citadel rubble, if it ever extended that far to begin with. ──── “How does the Earth idiom go? No use beating a dead—” A long-suffering sigh. “What was it again?” “A dead horse. And yet, you’re here. Beating it.” Pot, kettle. She wishes he’d just fucking say it.

-> AO3.

Read the start of Chapter 1: Constant Velocity under the cut!

────

The overhead lights flicker as they always do when the data screens are up and running. It’s not something one gets used to, even so. It stings at her ocular nerves—or something like that, anyway, somewhere along the delicate wires that extend from her eyeballs into her brain—but her focus on the data doesn’t waver.

“In that case,” says Shepard, squinting against the ache, “what we need is salvage from a relay outside the immediate burst zone. Four jumps away. Five, if possible. There’s no point to any of this if we can’t scrape together a control group.”

She glances back at Elsawy, who so far hasn’t made it more than a meter into the room. She nods without looking up from her omni-tool; orange shimmers off her shiny, black hair, giving her the uncomfortable air of a Cerberus operative. Not the worst comparison, except that Miranda would waste no time letting her know if her logic took a faulty turn somewhere. Elsawy’s just as likely to agree now and write a message detailing all her crap conclusions later.

Leaning her hip against the conference table, Shepard shifts her weight off her left leg, bites down on the sigh that almost manages to slip out. Once in the clear, she grouses, “Where the hell is Meyer? He’s the one that called this meeting.”

As it is, it’s three people in attendance and she’s the only one talking. She could’ve achieved the same results with a voice call from her quarters, where she could elevate her leg in peace and without witnesses. In the dark.

“Lab Two,” answers Elsawy, finally ripping her attention off the omni-screen and gracing Shepard with a second of eye contact. Maybe in another life she could appreciate the effort—Jesus, as if she hasn’t had her fill of lives already. “We’re close to a breakthrough on the initial output patterns. Sorry. He’s been feeding his data to me.”

“Right.” She blinks once, twice, in time with the flickering. It doesn’t help; it never does. “I’ll swing by later, then. Anything else he asked you to relay?” 

“Just that, Commander.” Elsawy is mumbling just enough that her voice has to compete with the drone of the air vents. The translator takes a second to filter out and amplify it. The result is less than perfect: “More salvage—” bzzrt—“bigger picture, you got it.” She narrows her eyes, and Shepard raises a brow. “Left leg or—” bzz!—“left hip?”

“I don’t know what you’re talking about.”

“Commander.”

“It’s nothing relevant,” she says pleasantly, forcing herself to stand up straight again. There’s a brief tremor shaking up her hamstrings; she waves a hand to distract from it. In the frenzy of the lights, the movement looks jerky, nervous. She soldiers on. “Old field injury. Unrelated. Anything can set it off.”

Funny, kind of, since it’s that very leg that ends in the most perfect, cooperative example of a foot she’s ever had the pleasure of treading on. It’s cloned; a replacement. Not the only one either. They should’ve just done away with the whole limb, but she hadn’t been consulted. Same with her trick shoulder. Not even Cerberus had managed to get that one back on the straight and narrow.

“I’d rather you bring it up with the doctor,” replies Elsawy. This is, apparently, what it takes for her to finally speak at a reasonable volume. “If we manage to fill even one of the data gaps…”

“I know,” she says. “I know, and I’m telling you, it’s unrelated.”

-> continue reading on AO3