#because they're both /fascinating/

[aparticularbandit]

so there are pros and cons to having spoilers (of various forms) when it comes to first-time playthrough of the danganronpa games.

i'm frequently spoiled on the killers/victims of cases (i think 3-2 is the only time where i went in completely blind, and i loved it, actually), and often i have more information than that but without context (and this last one is important).

what this means is that most of the time when i'm playing a class trial, i'm not looking for the mystery of who did it, i'm looking for the puzzle of how did they do it. and that can save me from the game making it blatantly obvious who did it why aren't we voting because i'm over here okay, but i want to figure out how they did the thing.

this probably helped me enjoy the trial in 3-3. (that said, due to triggering content, i will probably not play that case again.) i enjoyed the story beats of everything going on with himiko and just like. avoided all of the frustration of we all know it's kiyo why aren't we voting because like. i already knew it was kiyo going in, i'm here to see how he did the thing and also why, which was totally a let-down there, ngl. but i'm usually not here for the who. i'm here for how and why.

however.

i also run into spoilers without context like miu suddenly adopted monotaro and see it in discussions on miu's character where this is a huge deal so i'm waiting for something that ends up being, you know, two or three back and forth lines. and, yes, there's a wealth of space to headcanon and enjoy there, but getting to that point after reading about how important it is, it feels underwhelming because like. i go in expecting a bigger character moment from that. i go in expecting something like himiko drama (not that big, not that big, but you know what i mean). and then it isn't that.

which is probably why the dr2 ending was so underwhelming for me. i built up the hajime/izuru reveal so much that it was like. it was a throwaway line. technically not a throwaway because it was important, but it was a thing that got brought up and now we know and let's continue on. in my head, that was so much bigger.

even junko, when she had all of her chewing the scenery at the end of thh (and the end of the anime), was underwhelming for me. because i knew. because i saw how much people loved her. and i built her up in my head as something that wasn't what she was. and so i was underwhelmed and disappointed. (and then i read dr0. and then started pick-pick-picking.)

and like - this isn't a uniquely danganronpa experience either. i've mentioned before how my relationship to junko from a fan experience is extremely similar to my relationship to agatha harkness. both were built up in my head as a really big deal. both were underwhelming when i first encountered them because they didn't live up to what i expected based on what i'd hear about them. and then i started puzzling over intricacies (usually for fanfic - i did not care about agatha until i needed her for finding family and then started analyzing) and got sucked in.

but like.

this is a place where spoilers are failing me. because the hype probably would be right for the character if i didn't encounter the hype first. but i encounter the hype and get overhyped and then the real thing doesn't live up to it.

and i don't know how to better engage with that.

....

but it's possible i'm enjoying the puzzles of the murders more, so that's fun?

[vaguely-concerned]

in his and davrin's banters, lucanis exhibits a certain little shit energy I don't think we see him have with anyone else other than illario and honestly I am living for this

[rabarbarzcukrem]

Ok so it's like.

The motorcycle scene: Touga is obviously imitating Akio and failing miserably. Represents an attempt at achieving maturity and adulthood through adopting empty symbols of power. Gives the impression of movement and progress, but in reality is going in circles. It gets faster and faster, there's a sense of danger and agitation. Touga is driving and Saionji sits in the sidecar, they're not on the same level and Saionji disapproves. Seems like they're heading towards some destination, but they're going nowhere.

The bike scene: A reference to their shared memories. Represents clinging to the past and trying to return to the time of childhood. The wheels may be turning, but the bike stands in place. It get slower and slower as Touga gets more tired until he finally stops completely. There's a sense of nostalgia and emotional fatigue. Touga is the only one pedaling, but Saionji doesn't comment on it (meaning that perhaps Touga being in control wasn't the problem in the first place. Maybe it was always about wanting to restore their lost connection and equal footing). They're facing opposite directions, but at the same time leaning on each other.

[aquickstart]

ok sure i'll talk about farleigh start. i'll talk about his tragedy of never being enough as it were and then having to deal with fucking oliver. sure. disclaimer: it's about class (and race) and the horrible reality of the rich. the horrible reality of living as farleigh.

another disclaimer: i'm white! and poc definitely pick up on everything i'm talking about here as it is, and better. i was and am specifically interested in farleigh vs. oliver but it's impossible to examine without considering race. definitely let me know if anything abt this sucks!

farleigh and oliver are similar. it's annoying because every intruder that is not himself is annoying, partly because felix's attention swaying from farleigh is dangerous; there is always a threat of being discarded, even if no precedent existed. the potential is terrifying.

but you'd think he's seen this before, every summer (if venetia is telling the truth) or at least often enough to learn to recognize it fast, so he should know this will pass. part of it is i think still the deep anxiety, and i think he hated every boy that was there before, and it is sort of routine.

but definitely a huge factor in farleigh's annoyance is the fact that he's a biracial (black for cattons, that's all they see) man in a white rich household. he's alert and exhausted all the time. of course he's angry at oliver, regardless of whether he's the first to crash at saltburn for the summer or the fifty-first.

but the important thing is this.

farleigh is very jealous of and angry and pissed at oliver because farleigh sees all the similarities between them. outsider, in financial trouble, whatever it is, in need of cattons; and yet oliver is preferred. and farleigh seems to be the only one to really consider it. felix does not pick up on the hint when farleigh brings up the birthday party vs. his mother. felix's clumsy "different or... anything like that" is as much about race as it is about class, of course. the "we've done all that we can" bit is felix absolving himself of guilt because surely they had, surely the mysterious collective cattons that he's not really part of had tried all they could do. to him, farleigh is different from oliver, because farleigh has been helped. felix is rich and white and twofold uncomfortable with farleigh, even if he's nice about it, even if he genuinely enjoys his company; he doesn't look too close at farleigh because he feels too guilty to come too close. and farleigh can't do anything about it. he can't nice himself into it. the fucking tragedy of him is that he's never enough in the world of the ultra-rich white, even if (especially because!) he's born into it.

farleigh is very pissed at oliver because farleigh also sees all the differences between them. you know who can be nice poor white enough to fit in? fucking oliver. felix says "just be yourself, they'll love you" when oliver first moves in. farleigh was also probably told the same thing, and felix also probably believed that farleigh could just be himself, but even if the cattons were magically not racist at all (impossible), it wouldn't make a difference to farleigh. he would still self-censor, keep in check, be in dangerous waters (because racism is not just about the individual, but about the system). we see that he'd won himself leeway by years of trial and error by the way he speaks to the family, but it's still within the boundaries of acceptable, built by the cattons. he's part of them because they allow it, and farleigh is very, very aware.

the annoying thing is oliver can be himself. like, truly, genuinely, he can just be. and farleigh can't help but envy that.

as a side note, oliver is obviously jealous of farleigh in the beginning as well, because regardless of the reality of farleigh's situation, he was born into it, and hence, at least in oliver's mind, has his position solidified. oliver's whole thing is unquenchable thirst and hunger for whatever and everything the cattons have (including themselves!). he wishes to have been a catton from birth. to oliver, at first, there's nothing farleigh can really do to lose it. and until he figures out the cattons completely, he can't help but envy that.

but i think farleigh senses something different about oliver early on. at least on the level of the text, we have "you're almost passing [for] a real, human boy", which is so important because farleigh is the first to point out oliver's weirdness. the next to do so is venetia in the bath scene calling him a freak, but it's too late. farleigh is too early.

and i like to think he clocks oliver too early because he sees the jagged edges that he recognizes in himself. i think that one other thing that farleigh envies is oliver's freedom to let go. freedom to let go is very similar to freedom to be, but not quite the same.

to be is about perception: farleigh knows he cannot fall out of line, but would like to, and oliver does not have to worry about it at all (i mean, he does, because oliver also performs for felix, but farleigh doesn't know that).

to let go is about the self: farleigh is too scared to even want what oliver eventually does, to even consider the possibility. oliver can let himself want. oliver can let himself act. oliver just can do things and want things. i'm not sure farleigh can.

and so in this scene, when oliver's wants and actions have landed him nowhere with farleigh, felix, venetia, the cattons, of course farleigh gloats. he can let himself do that, because if the cattons are slowly discarding him, farleigh can allow himself this one small victory. he's relieved because despite the dangerous similarities, oliver is, thankfully, not really the same as farleigh, right?

but like. this movie is a love letter to all things gothic. oliver is a white man. he prevails. the brief performance that oliver put on did eventually end up more effective than farleigh's lifetime of constraint. my heart fucking breaks for him to be honest.

the issue that remains is the fact of farleigh's survival. i like to think that oliver came to respect him. oliver is smart, but farleigh is clever. he picks up on everything oliver does (to refer back to the karaoke scene, farleigh immediately retaliates in the cleverest way, in the moment), and he's the only one to do so consistently (venetia, again, for example, comes close, but too late; oliver doesn't like that, there's nothing to work with). hence, stay with me for a little longer, the paradox: farleigh survives because he was never enough for the cattons, but he is very worthy of oliver's attention. in his own freaky way, oliver wants him. look at that.

so. farleigh. farleigh might come back. he always comes back. and i think oliver wants to try harder next time.

[silverwhittlingknife]

"the fault, dear Brutus -" (Julius Caesar)

Quotes from A Critical History of English Literature by David Daiches. Panels from Death in the Family, Under the Red Hood, Lost Days, and Batman and Robin.

[bonefall]

I personally like Thunder's prosthetic. Explained it to my friend (who does use a mobility device, a cane and wheelchair, and listens to me rant and infodump about BB) and they agreed, it's important to know that not every person needs what someone wants to give them. It's another example of "bad ableist person does a thing that hurts a disabled person because they are bad and ableist".

Clear Sky got Jagged Peak killed and would have killed Sunlit Frost! He would absolutely force his disabled son to be "normal" and present it like a privilege. "I wouldn't do this for anyone else, it's special, why don't you want to be helped?"

Thunder Storm should toss it in Clear Sky's face. (I would say toss it into the river but we do not pollute waterways in this house)

Thank you for telling me this, and tell your friend I'm thanking them too! If they have anything else to add please forward what they have to say

Since BB!DOTC tackles some of the heaviest topics in the entire series because its canon equivalent is so dark, I think very carefully about what I do here and how I show it. I take feedback on its sensitive aspects very seriously. If I'm understanding the criticism properly, it's that I should avoid stigmatizing prosthetics by making sure Thunder Storm's not the only one with it-- which he's not! And I'll add even more.

I don't want to avoid something only because it's uncomfortable if the topic is important, and my portrayal is respectful. Ableism IS uncomfortable! There are some situations where a prosthetic is not wanted! I think the rejection of this particular one is both a good opportunity to show a type of ableism and ALSO is very fitting for the characters.

In BB!Clear Sky's mind, the villain, he's fixing an old mistake. He can't admit that he got Jagged Peak killed or take REAL accountability for it (though he will, occasionally, apologize insincerely), but deep in his bones, he knows what he did was cruel. He'll never tell anyone this because he doesn't really cognate it himself, but Thunder Storm NEEDS to take his gift.

If Thunder doesn't take it, it blows a hole in his newest story. You see, throwing Jagged Peak out was All That Could Have Been Done back then. It was a Tragedy and he simply Made A Hard Choice. He regrets it very much, But You Have To Understand.

But now? Now? Well, behold. Look at what he's accomplished since the tragic death of his little brother. His cats are well-fed, cared for, and stable enough to make such incredible advancements. If only Jagged Peak had been able to hold on longer, if only he could be here now, I could fix him.

Just like I can (MAKE YOU JUST LIKE ME) fix you.

"Everything I've ever done is for Jagged Peak. For Fluttering Wing. For you." Thunder Sky is SPECIAL, but if he rejects any gift, tries to turn down the "privileges" offered to him, in an instant that becomes ungratefulness and arrogance. He both forces him to be special, and then leverages it against him if it's rejected. "Spoiled brat, doesn't appreciate what I've worked so hard to give him."

It all goes back to him and his own guilt. He can NEVER be wrong. He can't accept his family doesn't have to be "normal" or reflect his own ability. He won't see himself as a bully, let alone a murderer. It was never about his son's comfort or finding out what Thunder Storm wants or needs, it was about his own ego.

...All that said I'm still taking feedback if there's anything else I should keep in mind, or if anyone has a counter point, especially if you also have experience here.

(In the interest of having a link trail for posterity, here's the critique/call for feedback this is in response to)

[arabella-strange]

Orym: I'm just a little guy, all I do is fight, I am now openly admitting that I made a deal with a fey [nightmare/grandmother] patron because I think the only way the rest of you survive is if I doom myself

Laudna: I'm already dead, she will always have a hold on me, I'm holding you [specifically imogen] back, the best thing I can do for you now is die/give in so you can live

[lavernius]

Locus and Lopez vs. dehumanization and seeing your own humanity through someone else

AKA 1.5k words worth of me trying to justify a random pairing I've been trying to sell people on for 5 years. Feat. a lot of my own introspection on both characters, CW for mentions of abuse.

It's kind of easy to assume that Locpez as a ship only exists because Locus is one of the few people who understands Lopez and one of even fewer who has had an actual (off-screen) conversation with him with full mutual fluency, especially since they interact directly, like, twice in canon (Objects In Space and the "Holy shit he's bilingual" scene from The Federal Army of Chorus). To be honest, that was my initial reason for shoving them together whenever I got into RVB and there was literally no content for them because no one was really considering them together in any capacity but a brief, funny passing interaction.

I do think language is an inherent motivator in their relationship with each other. It's a catalyst. Spanish, of course, is perhaps the most obvious thing they share--Locus being a Latino man and Lopez being the same in a convoluted and meta-racist metaphor. Beggars, choosers: anyone who knows how I operate knows I lean into reclaiming their depictions for my own brown person machinations. For Lopez it's the beauty of meeting someone who not only understands him, but isn't going to belittle him for the language he speaks or imply it'd be easier if he learned English. Locus will just listen to him talk and respond without commenting on the language barrier; Lopez isn't exotic or abnormal or "broken" for it, he just speaks Spanish, big deal, Locus speaks it too.

For Locus, it leans more toward reminding him of who he used to be when he was a simpler and kinder person. His culture seems like a forgone part of himself in many ways, but even if only because he's so distant from his humanity that he doesn't remember HOW to embrace his culture, or what the point of cultural pride even is. Lopez is like, reverse culture shock for him, where Locus is very familiar with Spanish as a language--grew up with it, learned it young, whatever, he canonically understands it and given he's Latino it's easy to assume it could be his native language--but has divorced himself from it so much to be malleable to his abusers that hearing someone speak it so unabashedly feels new. It's the lack of it that makes it so foreign, but it's so ingrained into him that it's easy for him to just slip back into it.

And Lopez being so stubbornly proud of what he is plays into that language dynamic, yes--now that there's someone who will listen and not judge, he has room to be adamant and own his monolingualism, and having someone as aggressively, straightforwardly prideful as Lopez forces Locus to recognize the beauty in the language too--but it applies on a grander scale, which is what I suppose the point of this post is: Locus and Lopez don't just share Spanish, but also histories of abuse and dehumanization, of being overlooked as living, thinking things in favor of taking advantage of their skills. And the results of this abuse manifest differently in both of them, but they're alike in just enough ways that their differences stimulate each other into bettering themselves and reflecting on what makes them, dramatic pause, human.

Some of Lopez and Locus's defining personality traits to me are their shared low empathy (forcibly learned on both of their parts) and the way they feel so alien in any group they're a part of. They're people with a lot of potential who don't care how others see them (at their worst, especially in Locus's case), but are limited by someone who only sees them for their usefulness (Sarge, Felix) and doesn't truly see them as a person. Lopez may be a Red, but they don't really care about anything he says, so he's just a wrench to them. Locus has Felix, but he doesn't recognize that Felix has one-sided power over him and is keeping him on a short leash; he's a shield and a weapon. They're tools, they don't have feelings, and if they realize as much it's a fault in their programming, they can and have to be steered back into place.

They're reflective of each other in this way. However, they're not identical in disposition: Locus resigns very easily to what he's told to be. He had more hope once, made attempts to be humanitarian, but was swiftly taught that kindness is suicide and that the point is to survive, no matter the cost. It was easy for Felix to take advantage of him by saying they needed each other when Locus was at his worst, because having kindness ripped out of him gave Locus little else to rely on but his hands. Locus has no room for questions, because a rulebook is absolute. It takes a reminder of what he used to be to make him falter, but even when Santa is showing him one of the inciting incidents of his "soldier" mindset, Locus can't stop himself from resigning to the mindlessness that Felix and the UNSC have already taught him.

Lopez feels trapped and is hyper-aware of it. He'll listen, but only because there's nothing else in the world for him. He's subservient but not in the same way Locus is, because he's angry about his situation: he knows it's not fair, but what can he fucking do about it? He was made to be Red Team's mechanic, and every word he says falls on deaf ears. He carries this self-awareness like a shield, like a threat: he could do something, but there's no point because his nature as a robot defines him. All he has is a sharp tongue and his hands, and the Reds only need one of those things from him. He revels in being able to complain and reminds himself that he's meant for something greater, but he's so fatalistic that he won't take action.

The balance comes from this anger. They're so alike in how they see the world and how much life has mistreated them, but they don't fully understand each other despite it. Locus sees Lopez as privileged for having a team because Locus has never had people to belong with, but he doesn't understand that Red Team isn't a safe place for Lopez. Lopez thinks Locus is misguided for letting himself believe he could ever be reduced to a mindless weapon, because Lopez has only ever been an object and Locus can't comprehend what that's really like. They see each other for their imperfections first and foremost and it frustrates them mutually: "You could've fixed this sooner, you could've escaped the grief, why didn't you try?"

It's this back-and-forth that they both need in order to reflect on themselves. They're harsh people who don't want to be coddled and admonished, but they're not making forward motion on their own because they're both stubborn and tend to decathect before they even recognize they CAN feel. They refuse to see themselves as human, but they can only see the humanity in each other, and they're both so alike that it could make them hypocrites. For a robot, Lopez's anger is so potent that it's alive: Locus sees more feeling in him than he's ever felt in his own life. Locus wants to be a weapon so bad, but he doesn't realize an object doesn't have heart the way he does, doesn't mourn the years it spent under someone's thumb, doesn't want to fix itself.

They're both brutally honest and they both need brutal honesty. They get along WELL by nature of being as similar as they are, but they argue so much because they want to understand each other and don't realize they already do. They're mapping details of their reflections. It's great: Locus is so hurt that he can only see the damage he causes, Lopez is difficult to hurt and notoriously good at fixing things. Lopez wants true accountability and retribution and Locus has cultivated complicity and guilt to perfection.

After Felix, Locus needs room to command his own life and put others in place when they overstep his boundaries, but he's scared of becoming Felix, so he also needs an anchor to keep him grounded in reality and reasonable. Lopez has never had real control over his own life before and would kill to have the power to make small choices and do as he wants, but he's a very private person who also needs a lot of space to work. They balance each other out and know the other's limits so well that they can easily go "You're hurting yourself and I'm not going to let you get away with it."

It's about understanding yourself through someone else and vice versa. Realizing that you share so much that if they deserve good, you do too. Reclaiming pain, experiencing freedom, finding support. They will deconstruct each other to the metal and muscles and rebuild one another over and over again, and they'll never get it perfectly right, but they're both going to learn more and more as they go. Flawless navigation of a road you've driven a million times, forward and back, potholes and all.

[adhd-merlin]

Christian iconography? in my Merlin??

[mantictiger]

I'm fascinated by Gwendolyn Bouchard for a multitude of reasons (love me a girlfailure) but what I'm the most curious about is why she's so hellbent on having Lena's position at the OIAR. It's been established that the Bouchards are a very well-off family (I can't remember if thats tmagp-specific lore or if that was mentioned in tma as well) so it's not like Gwen needs the job, especially a job that doesn't seem very glamorous. She seems incredibly dedicated to it though (her being so insistent with specific filing of cases in episode 1 I believe? is what piqued my interest) and is so insistent on climbing a corporate ladder that only seems to lead to Lena's position for no real reason. I get the OIAR is a part of the UK government and that could look good if she's trying to get higher-up positions, but the OIAR is certainly far from a respected or well-known organization (as far as I am aware) so I'm not really sure what her goal is here, and I really hope we find out

[starry-bi-sky]

if i had the tools or the knowledge to make a Cult of the Lamb animatic, I would make one to "We Become We" from Journey to Bethlehem, but instead of being Narilamb it would be through the ages with Lamb and their follower spouses. The followers would be Joseph's voice, and the Lamb would be Mary's.

The song would go through at least four spouses, and each new spouse the wedding ceremony steadily grows grander as it signifies the passing of time, the expansion of the cult and the lamb's influence, as well as how many bishops have been defeated until by the fourth spouse, Narinder is already apart of the cult. As well as Lamb steadily growing more demure and reserved with each new spouse, until eventually the love is completely one-sided.

The first spouse would be before Leshy was even defeated, where the lamb is still getting the cult started and still trying to defeat the mini bosses. The ceremony is humble and they're both essentially wearing slightly nicer versions of their clothes. The only lights they have are the stars, the fireflies, and a fire. We would stay with this couple until the lines; "hopefully not ending in estrangement"

By the next line; "it's a step of faith" it would change to the next spouse. There's a bigger audience, the cult is bigger, their clothes nicer. The lamb has defeated two bishops by now, they look a little less in love. More demure. The ages has weighed down on them like water erodes a canyon.

We move to the next couple at "can mine become yours?" the lamb is actively trying to defeat Shamura now. The cult is near it's completion. The wedding ceremony grounds are ceramic and decorated, with lights stringing from pole to pole. The Lamb looks radiant and nearly outshine their spouse. The spouse looks less in love and more in complete overwhelming devotion, they don't even notice that the Lamb is not as engaged as them -- oh they look pleased, content. But not in love, but it's not like anyone by then knows what it looks like when the Lamb is in love.

We meet the last spouse by the very end when the dance and song ends. "I could never choose to love another." / "Maybe one day I could learn to love you, too". The Lamb is disengaged, just going through the motions. Demure and modest, the picture perfect radiance of a god among mortals. Their crown is a veil. They're looking into their spouse's eyes, but not really seeing.

Anyways that's what I would do if i had the tools to make an animatic.

[kairithemang0]

Do I not ship tadmore romantically because it's straight? yeah probably. they will stay lesbian and bisexual besties with Tadius having feelings for a bit that he gets over and they're just good close friends until the end of time thank you good night <3

[stop-breaking-my-heart-dragonage]

my experience with maxing out the twins' friendship is just-

Hawke: So, Carver, my dear baby brother who I love and adore, I only need +10 more points to max out your friendship. I've done the grind; through gritted teeth I've kissed templar ass so that we don't raise suspicion. I've supported and defended you and let you take the lead whenever I could. You're my favorite warrior. I took you to the Deep Roads with me because you desperately wanted to go and then made you a warden and you found a place, a purpose. I've practically written my own guide on how to earn as much friendship with you because I love you and it's totally worth it so can I please please have the last +10...? Carver: Hawke: Carver please I'm begging you Carver: Carver: +5 Friendship Hawke: AAUUGGGHHLKSAJDLKAJSDLK-

Hawke: So, Bethany, my dear sis- Bethany: +50 Friendship Hawke: Bethany: :)

[crescentfool]

does anyone else want to stick these two in the same room together or is that just me... i simply think they are adjacent in vibes... (+a bonus thing???)

get u a fictional guy that makes you feel like this... seeing these guys just evoke a Similar Kind of Brain Chemical and Response. Help Me.

also have bonus yosuke doodle featuring the same brushes used here...! from january 23rd, lol.

[deeplovelydark]

statistical probabilities

bashir: we have to surrender to the dominion because we cannot win this war

sisko: we will continue fighting for our freedom no matter how slim our chances are

inquisition

bashir [to sloan]: you cannot violate the federation's principles even if your goal is defending them

sisko [to julian]: given the opportunity you will join section 31 to spy on them

in the pale moon light

sisko: I need 85 litres of a very dangerous substance

bashir: but I can't give it to you not knowing what it's for

sisko: I order you to.

[telesodalite]

Sort of a ramble, sort of me just writing my thoughts out while I'm stuck with writer's block, but I keep thinking about how Fulcrum was in stasis for roughly 3 million years??

Like, that's a long time, even for Cybertronians. Not a really long time, not an entire lifespan. But still, it's a large chunk of a normal lifespan just gone. Poof.

One second you're crawling across the pockmarked terrain of an alien planet, surrounded by the sound of gunfire, and the shouting and screaming before and after each earth shuddering impact of another k-con hitting the ground. And then it's quiet. You're not there anymore. You're drifting somewhere between not alive and just asleep. Preserved somewhere in the background of a doomed body, ignored by time and space, still here, but also not.

And then there's sound. Not gunfire. Not shouting or screaming. Not the sounds that'll haunt you till your dying days, your own death sentence pounding in your head. No. Just voices, talking, standing out against a silent, dead world. Wondering. Joking. Bickering. Familiar. Just, not familiar to you. And you're awake. Pulled back from the nothingness you've been frozen in, consciousness tugged forwards with the yank of a fuel pump and the nearness of life.

These two moments are roughly 3 million years apart, but only minutes, maybe even seconds, to him. From a hectic harrowing battlefield, to an old silent graveyard in one blink.

How long did it take to really sink in? I mean, he seems to just roll with it. He doesn't seem particularly bothered. But like, what happened outside of what we see? How did he really feel?

Also, his body aged without him. While his mind preserved itself, freezing him as he was right then, his body was left to weather Clemency for all those years. No wonder it crumbled to dust when he jumped off the world sweeper. It's probably a miracle of some kind that it didn't just fall apart each time someone leaned on him.

And even after they rebuild him, give him a better, newer body. His spark, it's casing, all the irreplaceable core bits that make up their inner bodies, it aged in the time without him. Does he feel it? Does it make his body even more foreign to him?

Then he's also a technician with information that's 3 million years out of date. Lucky him that the scavengers probably weren't working with top of the line material. But still it's gotta be weird when faced with anything brand new, because a lot can change and progress in 3 million years, and now some of the knowledge he once prided himself in is obsolete.

Besides those things, his view of the galaxy, of the war, of their kind, of other kinds, is one of the few things actually pointed out when it comes to him being stuck in the past. So, how often were his old views challenged? Facts of life he held close proved to no longer true? There's 3 million years worth of new science, new beliefs, new words, new terms, new views.

And sure, some of it can be familiar, because they're an ever evolving kind, and they have patterns, core beliefs, repeating behaviors, but a lot of it's gonna be unfamiliar at the same time, because it's 3 million years worth of catch up, it's not like missing last week's trend.

In a way, it makes him a living relic of a bygone era for Decepticons. It would've been really interesting to have had that explored a little more.