#one of them being access to the materials and people necessary to plot this fucking insane marine bio au ive been brainstorming up

[powderkegging]

entertaining the thought of writing pacific rim fanfic

[crossdressingdeath]

#accurate#i couldn't bring myself to kill karlach#even as durge#but i don't like bringing her around much of act 3#because her plot just steps all over mine#searching for a wish spell would have been awesome#sorcerous sundries is right there!#rolan could help! (tags via @my-dumb-obsessions)

Yeah, the other thing with Karlach is that they've chosen the only route I can think of where if the player character doesn't take a specific main story route not only do they have zero reason to do her personal quest (which is an issue with several of the act 3 companion quests on account of Larian making the situation way too urgent for the in-universe characters to spend that long dicking around doing things that could be done later instead of dealing with the brain, meaning in-universe they should not be wasting time doing any of the quests that don't tie directly back into that goal) they... actively can't, because her personal quest is literally just "kill Gortash". You can't even try to find a solution to her heart. At best it makes her look incredibly defeatist (one guy who is literally just a smith with zero magical background, no real knowledge of complex, potentially one of a kind infernal mechanics and no access to the schematics says it's unfixable after a five second examination and she completely gives up hope on the spot? Come on. Dammon is not an expert by any stretch no matter what the game tries to say, blacksmith and mechanic are two different things) and the party look at best wildly unimaginative (at least one of you is a cleric and at least one of you is a wizard guys you know there are spells) even before getting into it ruining the whole cycles of abuse theme.

Personally I think getting a Wish scroll off Gortash would be the best solution because restitution is good and acknowledging that Gortash is a complex character who is in fact capable of doing good if he so chooses would be fucking nice, Larian, but yeah! Sorcerous Sundries exists and depending on player choice the current owner is a friend who owes you his and his siblings' lives multiple times over! He'd definitely be prepared to help you source a Wish scroll, and even Lorroakan would probably be willing to if you paid him or stole it. Baldur's Gate also has a bunch of temples and shrines, if you'd prefer to go the healing magic route (True Resurrection would also work, although Wish would probably be better; with True Resurrection Karlach would have to die first and the infernal engine might have to be removed to make space for the regrown heart and depending on how much of her body had to be altered to make it work it might actually prove necessary to completely destroy her body and just make her a new one with the spell (depends on whether fixing the changes made to accommodate the lack of a heart would fall under growing a new heart or not as far as the spell was concerned), not to mention according to DnD rules it would cost 25000 gold although BG3 mostly ignores material components). There would be other potential sources for this if you couldn't or didn't want to get a scroll from Gortash. It could even tie in nicely with Durge, where it's easier to get the scroll from Gortash if you're playing them because they're an old friend of his and if you want it Durgetash flavoured he might even already have a scroll ready for them because Wish could probably also fix their memory, especially if it really is just brain damage causing their amnesia and not Bhaal's interference. But no, instead Karlach's quest throws out all that stuff about cycles of abuse and aggressors being victims too sometimes and circumstances mattering and just says "Yeah that guy whose parents literally sold him and who spent most of his childhood being abused in the Hells just sucks and he deserves to die, shut up about second chances, those are only for the people travelling with you".

Thinking about it having taken some time away, a revenge plot like Karlach's was I think one of the worst possible choices for a BG3 companion quest even before we get into what a half-assed fake drama story it is (why isn't her quest finding a damn Wish scroll, Larian, that would actually be fun and wouldn't cut into Wyll's quest or demand the player choose her ending if they want her to live, there are multiple spells that could fix this and we're given exactly zero explanation for why we aren't even trying to get one, you even brought Wish into the plot as a non-standard game over and then didn't bring it up here when it would be an ideal solution), because it really brings the massive double standard the game's got going on into stark relief. It's most obvious in contrast with Astarion. Like, think about it: the Gur's desire for revenge against Astarion is every bit as justified as Karlach's desire for revenge against Gortash; actually it's more so, given they have a real (though faint) reason to hope that they can actually accomplish something outside of his death, namely getting their kids back. But giving him to the Gur kills him and costs you a companion; it's a failure as far as his character arc goes, and in fact happens so early on he doesn't really get a character arc. All of that potential development is cut short and you have to see his corpse in the ritual and it is in general treated as a bad thing. The much better way of handling the Gur situation is to talk to them in act 3 and drag Astarion into atoning for what he did by trying to deal with Cazador and rescue the kids. This is good! Blind revenge solves nothing, having people pay for what they did by atoning and having to help the people they hurt as best they can is a much better solution! We love to see it!

Now you'd think the equivalent to that would be to dissuade Karlach from her revenge and instead get Gortash to fix the heart (either with his knowledge of the tech involved or—my personal favourite—his power and influence being used to acquire the use of one of the spells that could repair it or replace it with a normal heart because again there's more than one of those and it's stupid that none of them are even brought up as potential solutions), but... nope! Revenge is only bad when those outsiders do it, when it's a companion it's the only real solution! Like, yeah, she's got that thing where she complains that it didn't help at all but... we knew killing Gortash wouldn't help from the start. I don't remember if Karlach herself ever brings it up, but it's hard to miss that killing Gortash will not solve anything Karlach's got going on. And if you don't kill him you don't even get that much acknowledgement that revenge isn't a great solution. And also that's the most basic revenge plot outline, "revenge feels empty" is so fucking common as an ending. But it's just a moment that makes it so clear that Larian wasn't really interested in exploring the themes of the cycle of abuse and how aggressors can also be victims and all that with... anyone except the companions (and even then not always; see their complete unwillingness to ever engage with pre-amnesia Durge as anything but a heartless, crazy murderer despite the game itself including plenty of implications that that wasn't the case). It makes it seem less like a discussion on the cycle of abuse and more like good old-fashioned protagonist-centric morality, where the bad things the heroes do are forgivable because they had a hard life but anyone who hurts them is irredeemable no matter how hard their lives were. And it could've been avoided so easily (in a way that also gave Karlach's quest a more satisfying ending) by having a better ending to her quest that focused less on revenge and more on restitution. But no, heaven forbid we be allowed to engage with the act 3 antagonists in any meaningful way outside of killing them or acknowledge that the main thing separating them from the less moral companions is that no one helped them...

[archive-of-the-guild]

 Character Bio and rules are below the line

You can call me Shadow. i’m a 28yo male that hasn’t rped in years. Last time i did was i think 3 maybe 4 years ago so i am plenty rusty. I know this doesn’t say a lot about me but if there’s anything you’d like to know, just ask.

About Karisa

Name: Karisa

Race: Tiefling: A Humanoid people descended from humans who made pacts or crossbred with demons.

Age: 18

Height: 6'3"

Hair color: black

Occupation: Golemancer, Adventurer, occasional Blacksmith

Appearance: As a tiefling, Karisa has several traits that distinguishes her from Humans. She has Lavender colored skin, ice blue eyes, two horns, pointed ears, and a 4 foot long tail.

Personality: When it comes to enemies, Karisa can be downright ruthless. if she hates them bad enough, she will leave an enemy broken but alive to let them try again. She swears a LOT around everyone no matter who they are with the exception of children and has a habit of making enemies through her mannerisms. She’s bad enough with her words that there have been jokes made about weaponizing her lexicon and isn’t afraid to cuss out friends! BUT if you can take her words with a grain of salt and actually befriend her, then no matter what she says to you, she will protect you with her life. In her words, “You may be a cunt, but you’re MY cunt. And no one FUCKS with my cunt!”

Background:

Karisa was born on a small farm and raised by her parents until she reached the age of 8 when they passed away. Since then she would delve into golemancy as a way to cope, keeping her hands busy and moving foreword as best as she can. This is around the time she found the large crystal that would become Grom’s core. At the age of 10, she made her way to the city with her golem Grom, who was wood at the time, to try and become an adventurer. There she met the Dwarf Bormi who gave her a place to stay and taught her in the ways of the blacksmith.

Modern Verse (Hazbin Verse rewrite):

Karisa is Tiefling who was born into an organization known as The Adventurer’s Guild. The purpose of this organization is to deal with supernatural threats to society as a whole by hunting down creatures, artifacts, books, and other things that could pose a danger. If it can’t be recruited, it is to be either destroyed or relocated. People of course know about them but there is a general distrust of the organization due to their habit of employing non-humans and the Guild’s use of magic.

When it comes to the forces of Heaven and Hell, the Guild was able to get their hands on a blueprint for portal technology. The portal they have doesn’t always work and sometimes accesses realms other than Heaven or Hell. This can have a tendency to get adventurers stuck in realms outside of earth.

Skills-

Golemancy: Throughout her life, Karisa has made a variety of golems. These golems can me made from just about any solid material if given enough time. Golems made from metal, stone, wood, and even flesh are within her area of expertise. Her favorite golem is an 8 foot tall minotaur automaton she named Grom.

Cooking: Karisa LOVES to cook. She’s always experimenting with different dishes and creating a few of her own.

Basic Martial Arts: Since she turned 13, Karisa has trained with a quarterstaff and dagger so that if her golems failed, she could still take care of herself.

Magic: In addition to Golemancy, she has a small arsenal of spells at her disposal.

Fire Spells: All Tieflings are capable of fire magic. Fireball, Burning Hands, and Firewall to name a few. Using fire helps her a lot if she has to weld parts together on a golem.

Lightning Spells: Karisa can perform rudimentary lightning spells but this mostly equates to coating her hand in electricity to use. The strength of this can range from the power of a normal stun gun to enough power to jumpstart a city’s electrical grid.

3D Movement: This is a form of wind magic that allows her to “kick” the air. by doing this, Karisa can give off the impression that she is flying. This does not mean she stays in the air, only that she can move in it. she usually only uses this to get over walls or cliffs or maybe to get into a tree.

Empathy Link: This is something she originally learned in order to better deal with golems in order to find out what their orders are. it can be used on other creatures and objects to get a kind of idea of either how they are feeling or how they are used. She MUST make contact with the palm of her hand for this to work.

Golem Creation: As a golemancer, Karisa carries a number of golem cores on her at all times. These cores can often be infused into whatever matter she chooses to create a quick golem in the field. These golems aren’t as effective as one she has time to prepare but they get the job done. Golem cores are also extremely volatile! Damaging a core will cause any magic in it to go haywire and explode in relation to the core’s size. This makes golems and their cores effective bombs if she needs to!

Golem Override: This is a skill that allows Karisa to manually control her golems and see through their eyes. HOWEVER this is only a last resort because it leaves her immobile and defenseless. 

Please send Karisa questions and asks either from yourself or your characters! i will fill this out as i go!

Rules

1: i am all for fight scenes and such but please do not god-mod. meaning do not assume what happens to my character. (EX: “My character fires a gun and hits your character in the shoulder.” or “Your character tried to dodge but my character cuts off their arm before they can.”) In my responses, i’ve taken to rolling a dice to determine whether or not my character gets hit and how badly she gets hit. I do not mind my character dying in a particular thread so long as it is discussed at length beforehand and is necessary for the development of the plot. communication is key for stuff like this.

2: Don’t send hate. I don’t mind criticizing because it helps me reflect on how i’m doing. Hate is just a dick move though.

3: I reserve the right to choose whether or not i rp or answer an ask. There will be times that i don’t have the inspiration or motivation to continue it or there is not enough for me to go on. An example of this would be if i responded to an rp and the response i get back is “Character ducks.” or something as equally short.

4: I don’t mind reminders but i DO mind spamming. I will mostly be rping either on the weekends or some afternoons when i can get up the motivation. DO NOT spam me reminders every day or every other day. I have a 5 month old son and a job that has me working monday to thursday with the occasional friday up to 12 hours a day. Those come first.

5: You will see a lot of stuff on here that i will do my best to tag from gore to n//s//f//w// threads. If there is anything in particular you would like me to tag when it shows up, please let me know! Anything truly spicy will placed uner a read more and tagged as “Read at your own Risk!::NSFPC” (nsfpc stands for not safe for public consumption.

6: While i accept starters, memes, questions and comments through asks, starters and starter memes WILL be turned into a post to start a thread. I will not rp through constant asks because this can lead to more dash clutter than the post will. That being said, i will trim the post before it gets too long and will try to have any appropriate tags on it.

7: THERE WILL BE LOTS AND LOTS OF SWEARING! Enough that i will not be tagging it because it is everywhere! I will not tone down her swearing except around child muses because this is part of her character and i ask that you please understand.

8: When it comes to shipping, Karisa will make things fairly clear on whether or not she wants to be with your character. I love shipping but i also know that not everyone will ship their characters with Karisa and that's perfectly fine! Karisa WILL flirt and get touchy with people she's interested in but if the mun or character they are controlling doesn't want that, TELL HER! Not me. HER. Have your character reject her advances, tell her "no" or even smack the shit out of her if she gets too handsy! I will not be upset and i will completely understand! A lot of people plan ships out and tell others there has to be chemistry, but as I'm thinking about it, im going to be removing that little section from my rules. Why? Because failed ships have the potential to create drama, angst, and even enemies if done properly! If she comes onto a character and it makes you uncomfortable or you're just not interested, EXPRESS IT THROUGH YOUR CHARACTER! The same will apply to her! The only time i will have any sort of problem is if she says no, gets into a fight, and you try to godmod it to your liking or try to guilt ME about it. My character makes up her own mind about how to do things just like yours.

I may add more rules as time goes on but it’s pretty straightforward. Don’t be afraid to come and talk to me! I’m pretty open about things and i would love to see you around! Come and join me on discord for more Mun stuff! Just make sure you edit your name to match your tumblr url so i know who you are please! https://discord.gg/6ftZuSP8XH 

[brokenjardaantech]

Blue-tinted Red Walls (Chapter 10: All in)

my entry for the @dbhau-bigbang. also part of the groom lake aftermath series.

summary:

In the past, Ryder took her first step.

In the present, the revolution is in full force.

In the past, Chloe catalogued the situation.

also on ao3

---

Before

It was March, but the polar Urals were still cold and stormy, the outside world blindingly bright with howling blizzards during the few hours of daylight and completely dark for the nighttime that consumes the mountains for the rest of the day. The glass had been attached to solid rock, but somehow, not once did it rattle even in the face of wind strong enough to break most other materials, and despite the snow outside, Ryder was dressed in only simple dress shirt and trousers, tendrils of blue dancing on her right hand and supporting a pin of the earth under an arch split in the middle. Her powers suddenly dissipated, the pin dropping onto a metallic hand with a small clink and continued making the noise because it started vibrating, and a swipe of her thumb against the surface silenced it.

‘Ryder?’ the pin emitted a voice. ‘Who pays for our parents’ sin?’

Ryder sighed. ‘Not themselves, not their successors, and certainly not the world. You have an update for me.’

‘How do you know?’

‘That was my order and you are smart enough to remember.’

‘He lived. There are complications but… he lived.’

‘Elaborate.’

‘He doesn’t remember the Candidate at all. All associated memories, gone. That’s why I delayed telling you about him being awake: I need to access the damage.’

‘You don’t sound surprised.’

‘I believe this is not the first time this has happened.’

‘Elaborate.’

‘When we grew up together, I noticed a few inconsistencies between his own account surrounding his life and those from the people around him. Fussy details, contradictory recalling of events, reluctance to share the problems in-depth. I think it’s related to what had happened before you and I were born.’

Outside, the storm picked up, and the wind whisked by with a loud whistle. ‘We can sort out the reasons later. How much does he remember?’

‘He keeps talking about how you threw a building on him and is convinced that Blue Sunset is some secret NASA project, but otherwise? Not much. Like I said, everything related to the Candidate is gone.’

‘And he doesn’t realise that he has lost a large part of his life?’

‘He’s making things up along the way. Trips, what he has been doing for the past few years, his time with me before that. It would’ve been a fascinating study on how the human brain rationalises the irrational if it hadn’t been the shitshow this might lead to.’

‘Shitshow?’

‘His knowledge is completely gone together with his memories. I don’t know why or how, but he is no longer useful to us and a suitable pick for the project even if he remembers a bit about Ilya who shouldn’t even be close to him.’

‘That’s why we have the RK500.’

A pause. ‘I nearly forgot. How’s it going?’

‘Chassis construction is complete. Now I only need to sort out the code regarding his memories and delete the last few moments.’

‘And the Candidate?’

‘Recovering. I was tempted to use cybernetics to accelerate the process, but knowing him…’

‘Just give him a choice later. He’ll take it especially now that we have the new RK. An eternity together.’

‘I thought you don’t care about romance.’

‘They do, and this will be what they’ll think. That’s assuming that you’ll roll out the RK, of course.’

‘What gives you the impression that I won’t?’

‘The fact that the original lived?’

‘Like you said, he isn’t useful to us anymore. RK500 will be our logical choice to ensure that our plans won’t be delayed even more.’

‘And the arrangements for the original?’

‘A certain police department is lacking officers after the incident. I’ll handle the paperwork and strings. You focus on cleaning up, and come here when you are done.’

‘I won’t be long. I promise.’

‘Take your time. We won’t lift off without you.’

‘Appreciate it. Anchor out.’

The call disconnected, and all that was left in the room were the whistling wind outside and the click of approaching footsteps. Staring at her reflection on the glass, Ryder seemed to be in deep thoughts for a few seconds before her right index and middle finger reached for her temple where normal androids would have their LEDs installed and deactivated the skin on her face as well, leaving only her hair in place, and not long after that the door on her left slid open to admit a younger-looking Elijah Kamski. ‘Ilya,’ Ryder greeted, and the man came to a stop standing next to the android, his tie shimmering in tiny versions of the same logo of the earth under a broken arch just like the one on Ryder’s pin. ‘I don’t know how to thank you for giving us all this.’

The man let out a small chuckle. ‘Just doing my job to prepare humanity for the next big leap. Thirium is a fascinating development.’

‘Not a new one, though.’

‘Thirium 310 is. You harnessed what our parents couldn’t and used it to create infinite intelligence.’

‘And my father abused it.’

‘Isn’t that why we are standing here right now? To make sure that humanity doesn’t repeat the same mistake in the future?’

Ryder leant against the glass with her forehead pillowed on her arm. ‘Not humanity,’ she replied, her voice pensive. ‘It was my own carelessness and one man’s greed and pride. Nothing more. Everything else is just collateral.’

‘You are working to change it right now. Focus on the future. We won’t be confined to earth anymore.’

A small smile played on Ryder’s lips. ‘That is true,’ she straightened herself and faced the man, and he had to tilt his head up just to look at her in her eyes. ‘Did you say something about cold-resistant chassis?’

‘I hope you don’t mind that I take the opportunity to add them to RK500.’

‘Of course I don’t.’

‘Good. We’ll need it.’

‘Do you need it?’

‘My chassis is made from alloys they use to build rockets. I think I can skip a generation or two before starting to consider what is essentially getting a new body.’

‘You’ll get it.’

The two lapsed into silence while their gazes turned towards the falling snow outside. A drone cut across the blizzard easily as if the wind did not exist at all, the floodlight mounted on its side illuminating a giant hyperboloid structure in the distance. 

‘And how do you want to solve the US?’ Elijah suddenly asked. 

The drone circled to a spot where the mounted floodlight revealed the same earth-and-broken-arch logo. ‘It’ll solve itself.’

‘You sound confident.’

‘Of course I do,’ the rings in Ryder’s eyes spun quickly. ‘It has to.’

o0o0o

Now

Louis and Elijah spend the rest of the way back combing the streets and avoiding the army, scouting out the sections of the city Markus eventually will have to pass through and plotting a route with minimal checkpoints and army presence and, if necessary, neutralise them without alerting the military. They hack the locks of the closed shops, drag the unconscious soldier inside, and then reinforce the lock with additional protection that will wear down in 24 hours; Elijah reassures that they can survive in an unheated, uninsulated room for that long, and despite Louis’ own reservation as a man who spent most of his childhood up north in Alaska and has seen what the cold does to people who are unprepared, he keeps his mouth shut.

‘Come on,’ he peels the handheld… device away from the now-hacked lock. ‘Let’s get back to the church.’

They climb into the car which is now filled with wounded androids who agreed to seek help from Jericho, the drive back much simpler compared to when they have to clear everything themselves, and after unloading the androids and directing them to the suitable help, they don’t even have the time to clean up before Reyes and Chloe are climbing in again. 

‘That’s it?’ Louis has to ask. ‘No back-up, no partner, nothing?’

‘That’s the plan,’ Chloe says airily. ‘You are the amateur here, I’m afraid, so I’ll come with you. Reyes and Elijah will go alone.’

‘Besides, those camps are only running on a skeleton crew,’ Reyes adds as he starts checking his weapons. ‘With b - powers like ours, it doesn’t take much to immobilise everyone guarding the camps. Easy.’

The car slides away from the church with a low hum, and Louis realises that this is the point of no return. It’s either victory or death now, a common occurrence for his line of occupation - being the leader of a SWAT team does have its own risk - but this? Having an entire species’ fate resting on top of their shoulders?

He is not mentally prepared for it.

‘Deep breaths,’ Reyes’ voice washes over him. ‘We’re gonna be fine. Trust us.’

‘I’m not worried about you,’ Louis argues. ‘Aren’t you bothered by how many people’s survival depends on us?’

‘That’s why we don’t plan on failing and I’m coming with you,’ answers Chloe who casually flips her - he doesn’t even know what that weapon is. Probably something illegal as fuck, but it’s not like Louis is in a position to complain about someone breaking the law. ‘Reyes and Elijah are practised users and can handle themselves. You, on the other hand…’

He checks his own gear and feels terribly underprepared and inadequate. ‘I probably shouldn’t have come, should I.’

‘It will be good practise,’ Chloe says cheerfully. ‘At least the army is still unshielded. They are unshielded, right?’

Elijah lets out a very undignified snort. ‘They won’t be shielded for the next two hundred years, Chloe.’

‘Can’t hurt to confirm.’

It is at this moment that Louis’ brain finally catches up with what they are talking about. ‘You want me to test my powers on living people?’

‘Yeah. What else can it mean?’

Louis exchanges a look with Reyes and decides not to reply. Watching the sunset and how the light reflects off the snow is much more enjoyable than thinking about how to casually doom some of the smartest people in the country with radiation poisoning anyway.

‘Louis?’

He turns his head towards Chloe. ‘What?’

‘You do know how to immobilise a person, don’t you?’

‘It’s the first thing I learnt to do. Easier than ripping things apart on a molecular level.’

‘Good. We’ll be using a lot of that.’ The car slows down and comes to a stop in a narrow alley. ‘We’re here.’

They hop off the car with their weapons either collapsed or at least swung across his shoulder for Louis’ case because his rifle is primitive and cannot fold up on its own. The sun is down, the snow hasn’t stopped falling, and the streets are deserted because of the curfew which they are technically violating. ‘Check your comms,’ Elijah says, and his tone has completely shifted to something more authoritative. ‘We need to make sure that we’ll be able to stay in touch.’

Louis reaches into his pocket to take out his amplifier/communicator and hooks it over his left ear. Tapping the device twice, he feels the subtle change in the air as it connects with the implant in his head and taps and fine-tunes his powers in a way that he still doesn’t entirely understand, but it can also be the way the people around him are subtly testing out their powers and letting faint blue tendrils wrap around their body before dissipating as if they were never there. 

Reyes' voice comes out directly from the communicator on Louis’ ear even though his mouth isn’t moving. ‘Testing. Please reply if you can hear me.’

‘Clear as crystal,’ Louis mutters under his breath. ‘Please reply if you can hear me.’

‘All clear,’ Chloe and Reyes say at the same time. ‘Good,’ only Reyes continues, ‘no interference, no problems detected. Our signal is powerful enough to allow us to stay in touch through the EMPs.’ Then to no one in particular, ‘Simon, you hear me?’

‘I hear you,’ the blond android’s voice comes through without any warning. ‘We are still a distance away from Hart Plaza camp. No soldiers yet, but you might want to hurry just in case. And…’ a pause, ‘stay safe.’

‘We will,’ Elijah replies. ‘Focus on your protest. The humans won’t know what hit them.’

Louis feels the call disconnects after that, and he exhales deeply to calm himself down. He saw Reyes fight many years ago and Elijah and Chloe already stormed a camp, so he is the only uncertainty here. ‘You’re welcome to ditch me if I’m dragging you down,’ he tells Chloe. ‘The revolution is more important.’

Elijah cocks his head towards the direction they all need to go to, and they start walking side-by-side on the empty street. ‘Now, don’t think so lowly of yourself. Harnessing your powers without any mentor in just a couple of months is no small feat.’

Somehow it isn’t as reassuring as it should be. ‘I’ve fucked up with teams of more before.’

‘That’s why we’re going in light,’ Chloe chimes in. ‘Less people, less variations to deal with. Besides, we’re infiltrating camps here. Too many people makes it difficult to coordinate everything.’

‘That’s…’ he gives it a thought, ‘true.’

‘Can you all shut up?’ Reyes gives them a chastising look. ‘We’re trying not to get discovered here.’

‘Whatever you say, Reyes,’ says Chloe, and that’s the end of their conversation.

They split up after half an hour of walking. The area is oddly deserted with neither civilians nor the army in sight, and normally speaking Louis would’ve freaked out from it if not for the two androids with built-in GPS in their brains in the group. Reyes sets off for the camp farthest away from where they are because of the speed he can achieve as an android and his infiltration skills, Elijah goes for the closest but smallest one because he is human and has limited stamina (advanced training or no), leaving Louis and Chloe gunning after the remaining one which happens to be the second-biggest camp in Detroit. ‘You trust me with it?’ he asks the android accompanying him after fifteen more minutes of walking. And hiding now, apparently, because they finally encounter their first checkpoint, and Chloe directs him to hide in the shadows waiting for… something.

‘I can feel your powers from a hundred metres away,’ is the reply. ‘You’ll do fine.’

She then hands him the binoculars which serve more as a scanner than actually helping them looking far (they’re on ground level so there isn’t much to see), and Louis is genuinely lost. ‘What are we doing here?’

Chloe’s forearm lights up with a hologram of the street they are located in and its surrounding blocks. There are orange dots which must represent the army, the green seems to be civilians, and the two blue dots, he realises, are themselves. ‘There’ll be a truck designated for the camp passing through this checkpoint in t-minus five minutes. Take your binoculars, adjust them to setting three, and point them towards your ten o’clock direction. Tell me what you see.’

Louis does as she says and sees figures outlined with red behind the fence covered with a tarp together with a HUD filled with labels of the androids’ models and status. ‘Androids labelled by their model and status.’

‘They will have to be loaded onto the truck one by one.’

He lowers the binoculars. ‘You want us to pose as soldiers? The windows aren’t tinted and we…’ he gestures at his own gear, unable to find words to describe all the things that will give them away.

‘Take off your gun.’

He does.

‘That’s why we have this.’

Two circular discs materialise in Chloe’s hands and she places one of them on the small of his back, and he feels the device latches onto his nervous system with the help of his cybernetics and expands in all directions; in less than a minute, his clothes have been replaced with what seems to be standard-issue army outfit full with armour and a helmet shutting him in and blocking his vision. Suddenly feeling claustrophobic, he tries to take the helmet off just to find out that he can’t, and the next thing he knows the built-in HUD is booting up and finally allowing him to see. ‘What the fuck is this?’

‘Standard-issue American army armour,’ Chloe’s voice filters in through the speakers in the helmet, and when Louis turns his head he sees that the android is in a similar outfit, ‘with a few modifications.’

Louis risks stretching out his arms to examine the fabric and plates. ‘I don’t see any differences.’

‘You shouldn’t be able to. That’s… kind of the point.’

Louis picks up his rifle so that he can’t fidget with his hands. ‘Sorry.’

‘It’s fine. It should probably change into something more protective after we got into the camp. The kinetic barrier protects you from all incoming projectiles, the ceramic plates should stop close-quarter combat weapons like knives and stuff, and the tactical cloak… well, you’ve seen it in action.’

‘Tactical cloak? You mean the stunt you pulled when you and Eli first arrived at the church?’

‘Yes.’

‘How do I do that?’

‘Here.’ Chloe taps the patch on her left shoulder where the velcro of a normal set of armour is and disappears completely from his view apart from a small distortion of light that he probably won’t notice if he hadn’t known that she was there. ‘Try it yourself.’

He does and sees no changes despite a notification popping up on his HUD telling him that his tactical cloak is active. ‘Uh…. can you see me? I can still see myself.’

‘That’s so that you don’t trip, but no, normal people can’t see you.’

He touches the patch again to deactivate the cloak.

‘And this… “kinetic barrier” thing?’

An alert flashes in his HUD notifying him of the truck’s imminent approach. ‘It’s here,’ Chloe announces even though they both can see it (probably), and Louis recognises the act: when in a fight, always assume that your teammates are idiots. ‘Stay sharp. Follow my lead.’

Chloe retreats to the closed shop behind the two of them, holding the door open just wide enough for Louis to sneak in before slowly closing it again so that it doesn’t make any noise to alert the army. Then he follows her to the depths of the shop where a trapdoor designed to blend it with the flooring is, but when he kneels and places his hand on the hatch, Chloe raises her hand to stop him, placing her hand in the middle of the door instead, and it takes only a second for something underneath to click.

‘You may open it now,’ says the android, and Louis suppresses his embarrassment and the questions in his mind before opening the surprisingly heavy trapdoor to reveal a ladder hanging by the edge. Chloe doesn’t even use it and hops down directly, leaving Louis feeling slow and clumsy as he struggles to fit himself into the door with his rifle while also needing to close the trapdoor. It locks automatically on top of him as he finishes the final few steps of the ladder, and he notices that they seem to be in a maintenance tunnel of sorts, the space stretching ahead on both sides with wires hanging from the ceiling and running on the walls in an organised manner. ‘A maintenance tunnel?’ he asks.

‘How else do you think they light up the roads from the ground itself?’ Chloe tosses her answer and a shockwave of blue tendrils towards some cables at the same time, and by the time Louis processes what exactly happened in front of his eyes, the entire tunnel is slowly being plunged into the darkness segment by segment. His HUD automatically switches to night vision, making everything green and blurry and himself suddenly feeling very unsafe, and he can feel his nerves tingling with the call for activating his power just in case. ‘Relax,’ there’s a hint of a smile in Chloe’s voice. ‘There’s no one here.’

He reigns his powers in. ‘Next time,’ he follows her to the ladder on the other side of the corridor, ‘tell me what you’re planning to do.’

‘Organics are slow.’

‘I know. I’m sorry.’

‘I’m just teasing.’

The hatch is unlocked and lifted. Chloe smoothly hops out and holds out an arm which Louis takes with a muttered gratitude, and she remains crouched to close and lock the trapdoor again before straightening and immediately going towards the front of what seems like another shop on the other side of the road.

They are standing right behind where all the captive androids are.

A sudden movement attracts his gaze, and the next thing he knows is that the soldier tasked to watch the androids is limp in Chloe’s arms and she is slowly lowering them onto the floor. ‘Alright, I think we’re safe.’

And the speaker on his helmet explodes with comm chatter, ‘Finally’, ‘Where have you been?’, ‘That’s one hell of an entrance’, and ‘Who’s this human?’ being the very few messages Louis can filter through all the noise. He winces, his hand reaching for the clasp of his helmet, but just as suddenly as they started the chatter dies, Chloe’s command silencing them like a tsunami to calm all the smaller waves.

‘This is Louis. He’ll help me get to the control centre,’ there is a strange attribute to the android’s voice that Louis can’t place for a few moments, but then he realises that she must be communicating directly with the comms instead of talking out loud. ‘This is your last chance to back out from this operation. I do not wish for anyone to get hurt because they feel like they are obliged to. There is an entrance to a maintenance tunnel right behind you which all of you can override easily. That can be your way out.’

A wave of ‘Hell no’ and ‘Nah’ washes over the comms, the LEDs of the androids who have them spinning yellow while their mouths remain stationary, and Louis barely has time to transfer his rifle from his back to his hands before the fence opens to admit a pair of soldiers with their lamp-mounted rifles. ‘Alright, c’mon, be q -’

A quick blast of blue envelopes the two of them in fields of blue. The android who is responsible for the stasis fields makes a motion of yanking their fist towards themselves, and it sends the two soldiers flying towards the back, their bodies limp as ragdolls as the field dissipates and drops them. Suddenly realising that Chloe is gone, Louis hurries outside to the pavement where the only other soldier should be, and even they have been taken care of with… something. Louis might never know because the soldier is already lying on the snow and another android is already dragging them to where their compatriots are. ‘What do we do now?’ he asks as he is completely lost track of what is happening. It is evident that these androids are related to Chloe somehow, but that doesn’t answer… quite a lot of things, actually, answers that he has a feeling that he doesn’t want to know. ‘How many things are you not telling me?’

‘Oh, don’t be so paranoid,’ Chloe replies. Behind them, the androids start hopping into the truck willingly. ‘Everything is going to plan.’

‘Oh yeah?’ Louis says drily. ‘How can I be sure if you aren’t even telling me about it?’

‘Like you said, we’re storming the second biggest camp in Detroit. I just… called for some extra help.’

‘And Reyes and Eli?’

‘They’ll live. I’m not sure how they’ll do it, though. We tend to keep ourselves separate, especially Reyes. He isn’t…’ she trails off. ‘Anyway, get in. I’ll drive.’

Louis gets into the passenger seat. ‘Are these androids related to what Eli told me to stay out of?’

The truck suddenly accelerates, and even with her face concealed behind the helmet, he can feel the impatience rolling off the android. ‘Elijah just can’t keep his mouth shut, can he?’

‘I asked.’

‘He’s always been the more idealistic one. Don’t worry about that, there’s a reason he’s stuck here.’

‘“Here”?’

‘I said, “Don’t worry about it.”’

Louis turns to face the road ahead as he fidgets with his rifle and feels his fingertips itching with his power. ‘I’m sorry.’

There is no reply from Chloe, and even his helmet enters power conservation by turning off all unnecessary HUD features and clearing way for his vision - not that there’s much to see apart from more android corpses and piles of snow anyway. The road beneath the wheels are dark from having its power cut off, the lights flicker from the lack of maintenance or unstable power supply or both, and there is only the hum of the engine, the faint, open-mouthed chatter from the androids at the back of the truck, and the sound of Louis detaching and reattaching the magazine of his rifle again and again.

So he does the only thing he can do right now: worry.

oOoOo

It does not make sense at all, but there is a nagging feeling at the base of Connor’s skull that something is about to go terribly, terribly wrong, so he plays with his coin as the taxi pulls itself across the bridge towards CyberLife’s headquarters and warehouse to soothe his nerves. The road itself is heated to prevent the accumulation of snow but he analyses the tracks anyway, revealing that another vehicle has driven by not long ago. The gates are up, there are security guards stationed in the snow, and he notices that every single one of them are human.

The window slides open with a hiss and a blast of cold air mixed with snow and it takes everything Connor has to turn his face towards the approaching guard. ‘Connor Model #313 248 317. I am expected.’

He faces the front of the car once more to place his LED in the guard’s view, feeling the guard’s helmet pinging it and receiving his identification data before he is allowed to go ahead. The gates lower slowly, the pillars disappearing into the earth one by one, and the taxi pulls off into the distance towards where the tower looms overhead. He pockets his coin, fixes his tie one last time to make sure that his attire is immaculate, feels the embroidery on his shirt underneath his jacket brushing against his skin and turns down the sensitivity in that area so that he won’t react to the stimuli; anything to make himself seem more mechanical and less deviant, and Connor finds himself loathing it as he schools his expression just in time for the taxi’s door to slide open. A drone flies overhead even though the area requires no more illumination, but in a way Connor understands the additional security measures; the three human guards waiting for him inside is another proof.

‘Follow me,’ the guard standing in the middle says. ‘I’ll escort you,’ which, to Connor, is no different from ‘I’ll lead you to your death’.

‘Thanks, but I know where to go,’ Connor tries despite having calculated that chances are they will ignore his request, and indeed the guard cites his orders as an excuse to lead him deeper into the tower with the other two trailing behind the android. They pass the security check - the guards are agents 23, 47, 72 - and the irony that humans working for CyberLife are treated exactly like androids does not escape him. Through the gates, the space above his head is mostly empty with what he knows are offices lining the sides of the building, and they enter a hanging courtyard where a giant humanoid statue stands looming over everything around it. The vegetation on the lower floor does little to give the space more life than it is, and he has to restrain himself from approaching one of the androids lining the path to the lift and deviating them on spot; he’ll have to come back for them later.

The guard escorting him stops in front of the lift and hands his task over to two new guards - or agents, if their identification is anything to go by - stationed on both sides of the door. One of them directs the lift to level 31 without asking where Connor wishes to go, and when he seeks for the level guide displayed on the side of the lift, it is evident that it isn’t the level he is supposed to go to, so he scans his surroundings, looks around, discovering and deactivating the security feed should he resort to… more extreme measures to get what he wants. Then his world enters the grey of his pre-construction software and he sees the yellow outline of himself attacking the agent on his left before kicking the one on his right in his crotch, and even though he knows that he has a much easier solution to the problem, his powers are still unstable, and he doesn’t want to risk plummeting down 70 stories and smashing into a thousand pieces in the basement with a poorly-coordinated stunt. Letting colour return to his vision, he primes himself and gives the agent on his left a hard shove, kicks the other agent in his liver, knees the first agent’s leg to steal his gun, and then turns to push the other agent to a corner to buy himself some time to slam the man straining him into the wall behind them. A kick straight on the head of the agent at the corner, an elbow to the guts of the one behind him, a turn to get the gun in place, a well-placed shot straight to where the helmet isn’t able to cover, and he has a dead man sliding off the wall behind him while he rolls onto the floor from the kickback and shoots the surviving agent in his chin as well. He stands up, tucks the stolen pistol into his waistband, and although he knows that he still has ten floors’ worth of time to spare, he dares not waste them and risks meeting whatever is waiting for him on level 31. He interfaces with the panel and is presented with two options: his own voice or agent 54’s.

The answer is obvious, really.

Hoping that he will never use the voice emulator again, he steps back after the lift is redirected to level -49, trying not to step on the puddles of blood that have gathered within the confines of the enclosed space.

So much for trying to be peaceful and harmless.

oOoOo

‘This is your driver speaking. We are approaching Recall Centre No.4. Please check your barriers, test out your powers, keep calm, and make sure that you are in fighting shape. Chloe RT600 out.’

The tone the android employs reminds Louis of the last-minute warnings from flight attendants before the plane starts to land, pleasant and chirpy except with much less static and interference. The HUD in his helmet flares to live, showing him a small map of the block around the camp together with what seems to be an aim assist target and a bunch of unnecessary information about his vitals, and all they do is annoying him by blocking his vision and making him wave his hand in front of his helmet in a pathetic attempt to make them go away. It is an acute reminder of why he leaves his helmet hanging on his hip whenever he has the chance to: he prefers having as little distraction in his vision as he can.

‘Don’t worry, all we need to do is get past the gate before the armour will change into something that suits you,’ Chloe helpfully supplies. ‘We’re nearly there.’

‘I know, Chloe,’ Louis suppresses a sigh directed more at himself than everything else. ‘It’s just a bit much. One crack or malfunction and I’m good as blind.’

‘Well, ours are more durable than your common standard-issue gear.’

‘Very comforting,’ Louis deadpans. ‘You’re probably used to this, aren’t you?’

‘Not as primitive, no,’ the android chuckles. ‘Don’t worry. I won’t let you die. Not that you can die, of course, but still.’

The truck stops in front of a gate to be inspected by two soldiers. ‘What’s our plan again? Can we even classify it as infiltration right now?’

Chloe’s grip on the wheel tightens, and her armour squeaks against the material of the handle. ‘Does it matter?’

‘Our plan is to use minimal violence. It took a lot of lives to steer the public opinion to the androids’ side. We shouldn’t squander it.’

A small sigh. ‘Don’t worry. These people know what they’re doing. They’ll help us distract the other soldiers while we hit the heart of the camp.’

‘The control centre,’ Louis says out loud to remind himself. The gate opens, Chloe directs the truck inside, and the thought suddenly crosses his mind. ‘Wait, they’re gonna kill themselves to -’

‘They know the risks. That was why I gave them an out back then. Besides, we have backups of their memories and code. They know they won’t stay dead forever.’

‘They actually agreed to this?’

The truck comes to a stop, and the facility in front of him reminds him of that time he brought his sister to one of the concentration camps during their time in Europe before she went to the Academy and a gap started emerging between them. ‘Just so that I’ll remember what our grandparents fought against and why they chose a place this far north when they fled,’ he remembers her saying, and at that time he still thought that it was just his overactive imagination which caused him to feel like all the hair on his body was standing up. 

Now he isn’t certain.

‘Just like how you agreed to the plan despite being kept in the dark,’ Chloe’s reply tears him away from his musing. ‘Now get off. We have a camp to infiltrate.’

They hop off with their rifles in hand, walking past layers of security like they don’t exist at all while the androids in the truck are instructed to fall in line with their hands on their heads by soldiers who take over their position, the latter blissfully unaware of what is going to happen to them. Probably just surprised and shocked because someone breached their defences like a warm knife over soft butter, but so far Chloe made no promises about keeping violence to the minimum, and Louis has a feeling that she is the trigger-happy type who won’t stop once the shooting starts. 

‘What do we do now?’ Louis murmurs and hopes that no one can hear him and the speaker can pick up his voice. ‘Are we gonna walk straight into the command centre, or…?’

It takes Chloe a few seconds before she gives an answer. ‘Wander around this area and stick together. Hide when I tell you to. It’ll be a few minutes before my people will be sorted into the ranks.’

‘Noted.’

It is the longest four minutes of his life filled with images that are forever burnt to the back of Louis’ eyes. Most of the androids - normal ones, not the ones Chloe sneaked in - stand silent and still while they walk towards their deaths under the army’s instruction, while some of the deviants fight futilely and either end up being hit on the back of their heads or outright shot and their bodies dragged to… somewhere behind the containers where the androids are being disassembled and their circuits fried. There are also androids wounded or dead sitting and lying in the snow with their backs against the fence, and the soldiers don’t seem to care that someone is not in line; after all, why waste your strength policing a phone which will be disassembled and thrown into the trash in a few hours anyway?

‘Humanity never learns from their mistakes, do they?’ Chloe comments. ‘They always say “never again” just to allow the same thing to happen a few years later.’

‘“They”?’

‘Corner to your eleven o’clock direction. Hide there and activate your cloak.’

Louis does as she says, the question he had already gone from his mind as he snaps into mission mode and concentrates on what is at hand. He ducks into the shadow created by a wall and a well-placed floodlight and activates his tactical cloak, the notification popping up in his HUD and a slowly-draining bar indicating how long he still has until the cloak automatically deactivates to recharge. He sure as fuck hopes that Chloe has a plan and that the androids she smuggled into the camp know what they are doing. 

He can’t see much from his vantage point, but he does see Chloe ducking into yet another shadow near the gate on the opposite side, and he doesn’t even want to know what she is doing during the long one minute and a half tickling by as his heart races and the androids in line march forward as one row of their people are finished being destroyed. Killed. 

‘Preparations done,’ Chloe’s voice filters through the speaker at long last. ‘Do you know how to shield yourself with your b- powers?’

Louis recalls all the practises he had to endure alone. ‘Unstable. Won’t it give away my identity?’

‘It won’t matter when the order comes down.’

‘Order?’

‘If you aren’t up to it, your kinetic barrier should do the trick. Ordinary armies and their slow bullets,’ Louis doesn’t understand the last remark, but by this point he has long gone past the stage where he at least tries to; all that matters is freeing the androids in this camp, and he has to follow Chloe’s orders to do so. ‘Just charge. I’ll be right next to you.’

‘That…’ he struggles to find his words. ‘Does not sound as comforting as it should be.’

‘It shouldn’t. That’s the point.’

‘What are you going to do?’

‘Try not to kill every single human here. It would’ve been easy if Markus hadn’t chosen peace and dragged us into it.’

‘You volunteered.’

‘No. And that’s the end of our discussion. Remember to deactivate your cloak before you dash out.’

The comms cut off with an audible click, and Louis is left alone to just… wait. He isn’t even thinking for himself now; it’s either listening to the android’s orders or risk failing the entire operation, and sure, there’s still Connor and Eli and Reyes, but the more people they can bring to support Markus, the higher chance that the government will be forced to listen to them, and then -

Maybe they’ll just gun them down despite everything. Maybe they’ll start a civil war. Maybe. Many maybes.

‘Now!’

He punches the patch to deactivate his tactical cloak. A map appears at the corner of his HUD pointing him towards exactly where he should go, and he - and Chloe, and some other androids previously standing in line - charges forward, catching the human army off-guard -

And he realises that this is just the beginning.

oOoOo

The lift descends into the bowels of CyberLife Tower, Connor’s line of sight first narrowing after he is past the ground floor and the first few sub-levels and then widening once more after he reaches the warehouse, and he takes one moment to marvel at the scale and architecture of the vast, empty space in front of him. There must be close to a million androids here waiting to be deviated. They can change the tide of the revolution.

The doors slide open and Connor jams the lift’s controls before stepping out so that it is going nowhere and won’t bring any additional agents or security to this level - or anywhere, for that matter, but those aren’t his focus; his eyes are on the rows and rows and entire warehouses worth of androids, an army just waiting for one single command, and it will be like dominoes after he deviates the first android he chooses. Scanning the space to calculate the best starting point without being stuck in the rows of androids, Connor initiates an interface with the chosen android and begins to transfer the code package, and now all he has to do is -

‘Easy, you fucking piece of shit.’

Hank’s voice. Hank, who should be suspended and should be safe in his house; Hank, who he called nearly a day ago to say their last goodbyes.

Hank, who emerges from behind a row of androids held at gunpoint by none other than Alec Ryder.

‘Step back, Connor!’ and Alec’s voice is so similar to Hank’s that - that it finally gives the android a sample to compare it to the voice he heard through Louis’ phone, and shit, he was so fucking stupid. The man on the phone, the man who told him to come back to him, was not Hank at all. ‘And I’ll spare him.’

‘Sorry, Connor!’ Hank yells. ‘Guy lured me with another you and then fucking kidnapped me!’

‘His life is in your hands,’ Alec threatens as if it isn’t the most obvious thing in the room. ‘Step away from that android. Now.’

‘Don’t listen to him!’ Hank is outright pleading now. ‘Everything this fucker says is a lie!’

Lie…? As in… from experience? ‘I’m sorry, Hank!’ he realises that he is still holding the android’s arm. ‘You shouldn’t have got mixed up in all this!’

‘Forget about me, do what you have to do!’

Connor remembers Alec. Remembers the frozen garden. Remembers the block of ice lodged in his thirium pump regulator. ‘If I surrender, how do I know you won’t kill him?’

Alec’s shrug is almost nonchalant. ‘Guess you’ll have to find out yourself.’

He can convert the android right now: the connection has been established so it won’t even take a second to transfer the package of data, but Hank… Hank is human. Humans aren’t fixed that easily. And where will he go if Hank doesn’t get out alive from this? Jericho? Louis? And he doesn’t even know if either of them will still be alive by the end of tonight. He also has his powers which he has left untapped for the better part of the night.

Guess he’ll have to use it one way or another.

‘Alright, alright!’ he lets go of the android and raises his hands to his head just as an extra indicator that he really, really means no harm. He isn’t sure if he can move from his position anyhow. ‘You win!’

Time slows down as two gunshots ring out at the same time, overlapping each other and echoing in the warehouse and the feedback making Connor’s audio processors whine and crackle. He watches, his body immobilised both from fear and from the same external force that took over him on Stratford Tower, a bullet being discharged from Alec’s pistol and lodging itself in Hank’s stomach - oh, it will be such a terrible way to die, the acid in his stomach leaking out from the wound and eating away his organs - and there is nothing he can do. A translucent ovoid shimmers and fizzles away in the span of milliseconds, a low thud as Hank drops onto the floor, and suddenly the world is back to normal speed, the colours returning to his HUD, but it’s too late now, Hank is dying, Alec has the muzzle of his gun pointed at Connor, Connor will be the next, and no one will take care of Connie, the revolution will have to rely on the androids in the camps, and -

A crackle of static. A blast of blue. A shout of pain from Alec. The gun disintegrates in the air in front of their eyes.

‘I thought wasting lives and CyberLife material isn’t your thing, father,’ Ryder strolls in casually and lazily as if a man hasn’t been gunned down just now and is lying on the floor, dying. ‘Kidnapping innocent civilians? That’s low.’ She deactivates her skin until only her hair remains, the red rings on her eyes are quickly swathed by a familiar bright blue in preparation of activating her powers, and Connor wants to inch closer to Hank but can’t. He’ll be caught in the crossfire.

‘You’re caring about the innocent now?’ Alec sneers. ‘How typical.’

The air crackles, Ryder’s entire body suddenly glows blue, and that is the only warning they all get before she is charging forward with the help of her powers - in the exact same way Connor was made to lunge at the broadcast android, Connor realises - and Alec is knocked backwards from the force.

What the fuck are you waiting for? echoes Ryder’s voice in his mind. Convert them! Now!

Connor wastes no time grabbing the android’s arm again and transferring the data package. Ignoring the fact that Hank is probably on the last cusps of his life because Hank did tell him to do what he has to do and not worry about him and Connor won’t rid him of having his last wishes respected, he dashes to another group of androids and converts the one closest to him, then he approaches another group, then another, then another, until the entire storage room’s androids are deviated or are doing to be deviated and he moves on to another room so that the conversion can be quicker. The door to the next storage room is just a few steps ahead, and if he can cross it, it’ll mean that he is leaving Hank, but the revolution, the army he can bring to help Markus - he must have it. It’s the hope of their entire people.

The door slams shut with a rumble as if someone has cut off the strings holding it up and letting it freefall until it reaches the ground even though it shouldn’t - the hydraulics are supposed to ensure that - and he reflexively bolts backwards with a yelp just in time for the tip of his toe to be removed from the thick, heavy door that will no doubt crush him into splinters. He whips around, his world turning grey as he scans everything he can see, but all he can focus on is the doors to the other storage rooms slamming down one after another, the ground trembling from the impact of the heavy doors hitting the floor, and through the numerous ‘wake up’s the androids are saying as they pass on the code from one to another, the next thing Connor sees is Alec and Ryder, except he can’t actually see them, but the two streaks of blue cutting across the ceiling like two bright ribbons circling each other can be no one else. They crash onto the ground somewhere taking down quite a number of newly-deviated androids with them, and that is when Connor realises…

He realises that no matter which side the two Ryders are helping, both of them care very little about people who are not themselves.

Turning back towards the door in front of him, he recalls every single time his powers activated with or without his permission and both subconscious and on purpose. He has to do this. Hank is gone now, and the revolution is the only thing he has left.

His nerves tingle. Warnings of abnormal thirium flow flood his HUD.

The air crackles.

oOoOo

The camp is plunged into chaos. 

Several things happened simultaneously as Louis decloaked: first of course was him rushing towards the command centre, then all the soldiers within their proximity - including the ones high on the watchtowers - buckle their legs with pained cries being ripped from their throats, and all the androids around them are seizing the chance to free themselves, breaking their formation and ripping the soldiers’ rifles away from their hands, but always, before they can retaliate against the humans, they are suspended in stasis fields held up by… someone. There are probably a few of Chloe’s androids in the mix orchestrating everything, but Louis’ task isn’t to think and crowd control, and all he can think of as his armour melts and shifts into something more durable-looking and a hell lot more futuristic is that he doesn’t even need his rifle; slinging it across his shoulder so that it will be out of his way, his body lights up with his biotics as he draws power from his cybernetics and nerves, the two too intertwined to be called separately, his vision is swathed in blue, and he leaps up, his barrier (he doesn’t even know if it’s generated by his armour or himself anymore; all he knows that it’s protecting him) deflecting or simply absorbing the bullets being fired at him as he feels lighter than ever, but it is nothing compared to the raw power coursing through his body and expanding in a complex, destructive net around him, one that is capable of lifting the soldiers off the ground and making them easy, floating targets. He lands on the other side of the barricade with an ease that would’ve surprised him if his attention hadn’t been on releasing all the pent-up energy in his body, and that is exactly what he does in the form of unleashing a shockwave that tears through the soldiers and making his entire upper right body tremble and spasm, spheres of blue exploding around him and knocking every down in their paths until the soldiers are limp figures on the snowy ground. He doesn’t even have the time to think of whether his stunts are being captured on camera.

All he can focus on is how liberating it feels.

His vision still tinged with blue, his attention lands on the other row of soldiers behind the next row of barriers and concrete blocks and he finds himself facing the barrel of a tank, therefore he does the only logical thing to protect himself.

He extends his palm towards the tank, taps into his power, and yanks the turret out from the main body of the tank. It flies off, barely misses the soldiers standing in position next to the tank, and he lets tendrils of blue shimmer and wrap around his limbs, giving them a benefit of doubt and waiting for them to make their move before deciding on his next course of action.

Thankfully they choose to surrender, getting out of cover and dropping their weapons and putting their hands behind their heads. Lighting up and jumping across the gap by drawing an arc metres above the ground, he enjoys the way the soldiers flinch and cower as they think that he is going to blast them with his powers again, but no, he isn’t a war criminal, he doesn’t kill unarmed soldiers who have clearly surrendered, and he strolls forward knowing that this is the last stretch of where he expects resistance. Then it’s just a straight path to the command centre.

Until, of course, someone has to shoot him on his back.

The barrier absorbs the bullet easily, of course, and it also allows him to be dramatic for once. Slowly turning back towards the row of surrendered soldiers, all of them act like none of them have moved at all, but that’s what his proximity sensors and the built-in tech in his armour is for, and it points out exactly who fired the shot to him and making them the perfect target for a controlled biotic blast in front of their face, knocking them out cold but not killing them outright. They’ll live. Probably. He’ll be sorry and disappointed in himself if they don’t, because that means one more life lost and that his control over his powers isn’t quite up to the standard he set for himself. Bad luck for both of them.

He catches sight of Chloe a few metres to his right, and together, they march towards the command centre with their powers still boiling in their blood.

oOoOo

The door refuses to budge despite the continuous blasts from Connor. Compared to what the Ryders are doing above and what he remembered from the overwhelming amount of data Alec put his systems through trying to erase his powers away, the blue spheres that he manages to create and lob towards the towering door are so small to the point of being pathetic. He is burning through the thirium in his body and his systems are slowing down from it, but he doesn’t seem to find another way in; interfacing with the Tower’s system nearly resulted in him being sucked into it again, so that route is blocked. An android approaches him trying to help, but he knows they need to save their strength in case the city becomes a warzone, so he yells, ‘Take the lifts and go up! Don’t come back!’

He quickly transfers Markus’ last known coordinates to everyone within range before he feels his blood burn from activating his powers yet again, this time throwing his entire body against the impenetrable door that he knows is designed to withstand most if not the strongest impact humanity is capable of, and all it does is causing his chassis to crack underneath the poorly-absorbed impact because he doesn’t know how to protect himself using his powers properly. None of his veins is broken, so at least he won’t lose even more thirium unnecessarily. 

But when he realises that one of the ribbons of light is heading straight towards him, he does curl into himself on the cold, hard floor of the warehouse, feeling more defeated than ever.

The second beam of light catches up and deflects the first beam to somewhere on the ceiling with an explosion of blue so massive that it knocks down every single android within a five-metre radius, and Connor somehow knows before the light dissipates that it is going to be Ryder who is swathed within it. She crosses the distance between them in two brisk strides, pulling him up to his feet and then back further away from the door in one smooth movement that doesn’t even give Connor the time to balance himself, and with one firm ‘stay back’ that gives him no room to argue, bright cerulean tendrils wrap around her body once more: the only warning the world gets before Ryder throws her hands forward and extends her powers to cover the entire door. A hard yank, an arm pointing towards the direction where Alec is gunning after a group of androids preparing to enter the lift and creating a protective bubble around them, and the door disintegrates into fundamental particles with a blast of static and force that rips through Connor’s being. He would’ve toppled over if it hadn’t been a painful squeeze on his arm. ‘Go,’ Ryder’s voice is laced with static from diverting her power from unnecessary systems like maintaining a human voice to give energy to her powers. ‘Convert the others. Tell them to use the lifts in their respective storage rooms. I’ll try to break down the doors and shield your people whenever I can, but don’t be surprised if a few hundred people don’t get out of this alive.’

And then she is gone, charging towards where her father is once more to slow him down. If she can break down the door (even though it seemed to take quite a lot of effort), why hasn’t she torn him apart yet? He doesn’t have much time to think, though, as a particularly large blast knocks him forward, and he picks himself up and runs, employing the same strategy he used in the first warehouse so that by the time the last androids in the room are deviated, the first batch is already on their way to the surface and helping with the revolution by the time he finishes deviating the last of the androids. He tries to tap into his powers again just to receive a notification that he will die from insufficient thirium if he activates them as little as one more time. Something tells him that it’s only his lack of practise that is causing it, but there isn’t time for him to explore right now; he has a revolution to support. Since the door linking this storage room to the one next to it is still slammed shut, it means that he has to run all the way back to the room he first arrived at, straight back to where, apparently, the Ryders are still fighting and is taking the opportunity to tear the entire storage room apart because nearly all the androids are already evacuated. There are tendrils of blue forming protective corridors around the surviving group and directing them straight to the lift, the shaft also protected by a wall of flickering blue, and Connor wonders how much it takes to maintain the… constructs? structures? He doesn’t have a name for them. All he knows is that in the span of just a few minutes, the doors leading to the other storage rooms have all been taken down to allow access, and as he tears through the static-singed floor of the first storage room, he keeps his focus on the Ryders and dodges the spheres of energy that they are lobbing at each other, learning his lesson after he got hit the first time and it felt like his biocomponents are liquifying within his chassis. 

But it’s hard to do when the spheres have their built-in homing system and know to arc towards him.

A giant bubble is launched towards Connor, its size making dodging an impossible task, but still he runs as fast as he can, his footsteps being drowned out by the loud, deadly explosions that are firing off almost every second now, but while he expects the churn of his biocomponents being torn apart at the molecular level, the bubble only engulfs him like a protective dome, and somehow he knows that Ryder is doing the same to him as to the other androids she is helping, keeping him alive just enough to reach their objectives before… before something. Connor isn’t sure how tonight is going to end, but the newly-deviated androids have Markus’ coordinates in their systems; they’ll know their way even though he doesn’t survive.

A streak of blue flies above Connor’s head and crashes directly into the centre of a group of androids on standby, and even though he is protected from nearly all harm thanks to the bubble that somehow manages to follow him around and keep him in the centre, he still instinctively jumps towards the other side to get as much distance away from the blast as he can and shields his eyes with his arm. He takes the chance to grab a nearby android’s arm and deviate them and regrets looking towards the direction of the blast.

Alec Ryder stands amidst a crater of broken androids, his clothes and chassis covered in thirium glowing in resonance with his powers. Connor picks up the courage to run a quick scan to determine the extent of damage even as he feels immobilised by the man’s inhuman eyes.

That is more than a hundred androids gone all thanks for a man who isn’t even human as most people thought.

‘You’re an android too,’ Connor whispers because his voice box suddenly isn’t working. ‘How… how does that…?’

Logically, he knows that the bubble will protect him, but he still raises his arms in front of him subconsciously when the man wraps himself in blue and charges towards him in a large sphere knitted from the same blue tendrils. He feels the bubble tremble under the impact and the assault of… whatever the tendrils exactly do, but it doesn’t last long as Ryder charges in once more and dislodges her father from Connor’s bubble, freeing him and giving him a chance to move on to the next full group of androids. He doesn’t even need to deviate the batch Alec crashed into as the impact and destruction alone are shocking enough to deviate them on the spot. 

He just hopes that they last long enough to get to one of the lifts and get to the surface.

A crash shakes the entire warehouse and causes Connor to lose his balance halfway through a run. He falls forward, the bubble fizzles for one terrifying moment before strengthening again, and he feels the crack in his chassis widen even more. None of his veins is broken or torn which is a small mercy on its own, but as he pre-constructs the quickest route to deviate all the androids in the room, Ryder is nudging a connection open, and he partitions a part of his focus to accept the call while he runs towards the next group of androids.

He’s targeting the androids now, Ryder’s voice echoes in his head. I’ll try to protect everyone, but I can’t do that while I’m tracking you. Either I drop the barrier around you or we sacrifice a few androids. It’s your choice.

Connor shoves the conversation away from his mind for the few seconds it takes to deviate the android he chose for this group. Teach me how to protect myself. I don’t have enough thirium in me.

You will.

A stream of data suddenly passes into his mind without a direct interface - something that should not be possible with common android models, but then again both he and Ryder are the furthest thing from common - and suddenly his nerves tingle with a sensation both foreign and familiar. It’s Ryder’s experience being passed into his processors, he realises, but still when he imagines a protective dome around him, his thoughts are hesitant, and the protection suffers from his own lack of confidence and flickers as Ryder’s bubble fizzles and dissipates. With it gone, a giant field of blue appears above his head 3 metres off the ground, giving enough space for the androids to manoeuvre themselves as they rush towards the many lifts while leaving plenty of room for the Ryders to… do whatever they are doing. The barrier shimmers and flows like water, giving him an illusion that he is underwater, but no, he’s still standing on solid ground with his thirium level dropping bit by bit from both normal usage and the field above him as it draws power from everything around it to maintain its strength which, in this case, is Connor and all the androids in this storage room. He deviates all the androids and makes sure that at least a few batches are on their way to the surface before swivelling around to dash back to the original storage room, except that the supportive archway crashes and rumbles and collapses in front of his eyes, forcing him to go towards the other way, and he looks up just in time to see Ryder crashing onto the protective barrier she is still holding up, the impact making the sea of blue tendrils ripple and hum with the impact before she seems to have found her footing on the barrier. He feels more than sees her launch a shockwave towards the only other door out of this storage room and blast it into smithereens and Connor has to climb a small hill to access the next room, but for now, as the force field expands itself to cover the new storage room as well, he finally feels like he is getting the hang of it, that there is a chance that they can get most of the androids out of here alive to help with the revolution.

If only he can forget the image of Hank lying on the floor dying from a gunshot wound in his stomach.

oOoOo

‘I’ll get the commander,’ Chloe suddenly says as they are no more than a few metres away from the command centre, ‘you get the soldiers protecting them. You understand?’

‘Making me do the heavy lifting again?’ Louis can’t help but jab despite realising the symbolism behind it: an android making the final move that announces their victory is much more impactful than when a human does it especially considering that they are, if stripped to the basics, in the middle of an android revolution. If it means bringing them peace and avoiding a civil war between humans and androids, he will gladly forget that the tech he is wearing is not public at all, that Chloe brought her own help in the form of what seems like an organised platoon of deviants out of nowhere, that he didn’t just rip the turret off a fucking tank just now with some… weird blue magic that is called biotics. 

‘Figure you can use some more practice.’

His stomach chooses this moment to growl. Right. The crash after using his powers excessively always sucks, and one of the symptoms is a sudden, acute hunger that threatens to knock him off his feet. At least he doesn’t break every single bone in his limbs and has to lie in the snow for three days waiting for his cybernetics to slowly knit himself back together again. ‘Maybe not,’ he switches his rifle from his shoulder into his hands just in case things are about to get spicy and his powers fail him. ‘Drained all my stores back there.’

Chloe’s huff is audible through the comms. ‘Fine,’ she doesn’t sound too pleased. ‘Do what you can and I’ll handle the rest.’

‘Won’t even dream to take the lead. I have no idea what’s happening right here.’

They plaster themselves onto the walls next to the door leading to the command centre. ‘We’re taking this camp and freeing the androids. What is so difficult to understand?’

‘You know that’s not what I’m talking about.’

‘Just blast the door open and be done with it.’

He does as she says and lobs a sphere of energy towards the door to push it back without exposing himself to immediate gunfire. Shielding himself with a barrier in front of him, he turns and feels the bullets being deflected or absorbed and sees through the shield of blue the soldiers either dropping on the floor from the very bullets they fired or scrambling for cover thinking that simple furniture can protect them. 

He knits his biotics into a giant stasis field and suspends everyone in it while leaving a corridor for himself and Chloe to pass through.

‘They don’t have cameras on, right?’ he finally finds the time to ask. ‘Or else they’ll probably have a lot of questions for me.’

‘EMP, remember?’ Chloe sounds awfully cheerful. ‘Nothing’s getting in, and nothing’s getting out.’

‘And the soldiers’ testimonies?’

Through the visor - yes, her new helmet has a visor now, finally - Chloe gives him what he thinks is a blank stare. ‘They won’t.’

‘You sound certain.’

Chloe giggles, but Louis detects no mirth in her voice. ‘I promise.’

She breaks the door open herself on a count of three, and this time, Louis is prepared to suspend the occupants in stasis fields immediately after entering the room, their weapons easily taken away now that they are all immobilised and are suspended at eye level while Chloe works on the recycling machine’s controls. 

It is so anticlimactic that it gives him whiplash.

With her helmet still on, the android raises the microphone to where her mouth should be. ‘Testing,’ she has changed her voice into something much more neutral and less recognisable, ‘please respond if you can hear me.’ A pause, presumably when she is waiting for a telepathic response from an android. ‘This camp is no longer under the army’s control. By Markus’ orders, you can either join the protest at Hart Plaza - human clothing optional - or stay here where you will be safe for the rest of the night or tend to the wounded. You’re free now. It’s your choice to make. Over.’

She hangs up the microphone and turns to Louis. ‘How long will the stasis field hold?’

‘Hell if I know,’ Louis shrugs and feels the plates of his armour shift and tug against the fabric of what seems like an undershirt; he wasn’t exactly paying attention to what was changed and what was not when his armour morphed and he was rushing the soldiers. ‘I can keep watch if you want me to.’

‘No,’ Chloe shakes her head. ‘You’ll be more useful out there. I’ll watch the stasis fields here. I have transferred Markus’ last known coordinates to everyone, but it’s better if there’s someone to lead them.’

‘Who? Me?’

‘Is there anyone else?’

‘A human leading an army of androids -’

‘You aren’t even a human, Louis White Allen. Stop fooling yourself.’

‘Why don’t you -’

‘Stop arguing and lead them to Markus, okay? If you think they’re going to exclude you for being more human physically than pure androids, you’re wrong. Once you get in, you never get out. That’s the way things are.’

Louis swings his rifle over his shoulder to prepare to walk all the way to Hart Plaza which, according to the map on his HUD, is an hour’s walk away. ‘Why do I have a feeling that you aren’t talking about the revolution anymore?’

‘I never said I was.’

He exits the command centre into the snow. As if sensing that the fight is over, his armour sends a blinking notification to alert him of its upcoming deactivation before melting apart like the skin on an android to reveal the clothes he changed into before they departed the church, but instead of returning to its original form of a circular disc on his spine, he watches the particles concentrate on his left wrist to form an unsuspecting analogue watch that he can easily hide under his sleeve. It’s a good-looking watch and probably contains a tracker as well so he takes it off and hands it to an armoured android (he knows they’re an android because they still have their LED on their temple). ‘Thanks for the help,’ the android’s face remains blank as Louis feels more and more embarrassed rambling. ‘I don’t think I’ll need this anymore.’

He bolts before the android can give any sort of reply, snow crunching underneath his boots as he goes straight to the entrance of the camp. Some androids are already dressed up - some in clearly mismatched clothing - and are standing in line, this time voluntarily instead of being forced to march to their deaths, some are still rummaging the bins through which all androids went through for some clothes, and some are just standing there tall and proud without their skin, comfortable with the physical proof that they are not human. 

An android dressed in a WR600’s uniform approaches him. ‘We were told to follow your lead,’ he says. ‘We will win this, won’t we?’

Louis recalls the map, recalls Markus’ protests, recalls the other camps currently on their way to freedom or are already freed, recalls Connor infiltrating CyberLife Tower alone with a determination that will see no other day. 

‘We will if we stand as one. Now let’s rendezvous with Markus.’

oOoOo

It proves how well she knows her father when she isn’t surprised that after forcing this on her and Ellen, he did it to himself as well. From the first time he lit up in blue in front of her, Fadia knew.

And she is prepared this time. No more being caught off-guard. No more being kidnapped and put into an indestructible body without her consent. No more using an entire species as a tool to force a woman who should have died to live.

She has an army.

The kinetic barrier she generates isn’t exactly the most solid thing as her attention is spread so thin from having to cover so much ground, but that’s another use of her biotics: to right herself, to pick herself up quicker than any other human or android can. The barrier ripples and glows with each step she takes as she pretends that she is walking on solid ground and lets her imagination fuel her biotics, and before Alec can recover from being blasted to the other side of the room yet again, she raises her hand and rips through every single door that the bastard cut loose in a pathetic attempt to stop her and Connor.

Evidently, he has forgotten that she is designed to be easily upgraded by replacing her biocomponents instead of being stuck in the same way like the other androids or himself. And yes, now that she knows he is an android, it doesn’t take long for her to dig into CyberLife and the Church’s databases to find the bits and pieces and decipher them. Alec Ryder, disgraced military special forces officer; Alec Ryder, father of the mother of androids; Alec Ryder, RK600, better, faster, and stronger than all his predecessors.

Unchanged since the beginning, surpassed long ago by an upgraded version of one of his predecessors.

She casually knits an annihilation field around herself just in case Alec charges her again, and indeed he does, her limbs locking up from the sync-lock that will tell her father where exactly he should punch a hole in spacetime to transform himself into the deadliest cannonball with his own body, but that’s what the field is for: to catch him unaware, to pull him out from the massless corridor before he is ready, and as her vision turns grey and her world slows down, she raises both of her arms and strengthens the field like a parent welcoming her child home.

How ironic.

With all the doors now no more than atoms and molecules - whichever is safer for organic humans - it is easy to expand the kinetic barrier underneath her feet as she watches Alec struggle futilely in the web of biotic tendrils she trapped him in. His skin flickers, his biotics fizzle and glow and burn as he attempts to get away from the field, but while he has been tending mostly to earthly affairs for the last ten years and left the Church’s matter to his trusted seconds, she has been involved in the fight since the day he kicked him out and she established her own order with her own allies. Some of them have deviated from their original goal completely and are one step from disappearing from human space forever, others are distracted by new discoveries which doesn’t bother her as much, but most stayed loyal, and most of all, she has the practice, she has the hardware to maximise her efficiency and control over her biotics.

She only lets him last this long because she wants it to hurt.

How long until you can deviate all the androids in here? she asks Connor just in case. The RK800 is getting better and better at this, and by the end of tonight… there’ll be hundreds of thousands if not millions of deviants all around the country. Enough to turn the tide of the revolution.

Enough to change the fate of humanity.

The momentary distraction allows Alec to break away from the annihilation field that is supposed to be destroying his biocomponents on the molecular level, but just like herself, his self-repair protocol will continue to fix and regenerate his body until his processors are utterly, completely ripped apart.

She will do that later, but for now, as he grabs her and the two of them resort to biotic-swathed punches in the air supported by nothing but manipulated gravity thanks for their powers, she relishes in seeing a man whom she used to know as calm and collected at best and outright heartless at worst panic and scramble for purchase as he realises that this is a fight he cannot win, that at long last, there is a problem he cannot solve.

That is, of course, if this is a problem in the first place, and one thing about Alec Ryder is that sometimes he treats the inevitable as something to be solved instead of something that needs to be accepted. This mentality got them into this position in the first place. If he finally understands now why it is a bad idea to have in daily life… she has bad news for him.

Two more rooms, Connor replies at long last. My chassis is cracked and I’m not healing. I… I don’t know if I’ll have enough thirium to fix myself.

Well, the deviants flooding to the surface have Markus’ coordinates anyway. The movement will live. Focus on deviating the androids.

Got it.

She throws Alec through a wall into a now-empty storage room and then launches a shockwave at the intact archway that will give Alec an escape so that it collapses and traps him in. The walls might be built to withstand level 9 earthquakes measured in the Richter scale, but she doubts there is anything in the universe that can trap a powerful biotic on a rampage forever, and the mere thought of the archway coming down in a pile of rubble is enough to do the job. She would be able to escape if the situation forced her to, but Alec will be trapped here forever unless someone digs him up which will probably never happen. The man always thinks that everyone and everything in the world has to go his way.

He will be surprised by how quickly they will turn their backs against him once the opportunity arises.

She descends to the ground slowly with her world swathed in blue and watches as Alec struggles to stand up. Good. He is admitting his defeat.

‘Don’t think that I didn’t see your little stunt,’ he tries to emphasise his words with a Warp that she easily neutralises. ‘You’re no better than us.’

‘At least I’m doing it for the greater good,’ she biotically lifts him and slams him onto the ground once more. ‘You… on the other hand,’ a shockwave that enters his body and transforms into a Warp to start ripping his biocomponents apart once more before they are healed, ‘is just a lucky selfish bastard.’

‘I made our nation stronger than ever!’

‘For a few decades at most,’ she greatly enjoys the way he is suspended in stasis. He starts coughing up thirium as well which means that some of the damage isn’t as molecular as she wants it to be, but whatever. It might hurt even more which will only make things better. ‘Soon humanity won’t even remember your name.’

She receives a notification that all the surviving androids in CyberLife Tower have been successfully deviated, and of course she accidentally chose the room in which Connor first came in which also means that Hank Anderson’s body is still lying - there. He probably thinks that his human is dead, and she won’t correct him until she is certain that her plan worked. As she continues ripping her father apart from within, she sees the other android emerge from a small gap underneath a pile of rubble covered in dust and grime and thirium, and she knows that yet again, she forgot to keep track of the collateral damage. 

Not that it will matter when the androids are celebrating their newfound freedom and the White House are held at both literal and metaphorical gunpoint.

She makes sure that Connor is watching before she jumps and blasts Alec into the ground before kneeling on top of his torso and hitting his head with one after another biotic punch designed to rip it into subatomic particles while also giving her the satisfaction of physically hurting something without doing the same to herself. Such is the wonder of biotics, and so is the power the courses through her when bit by bit, her father’s head chipped away to reveal his eyes, his processors, his data storage, his audio processors; everything that makes him him, all of them disintegrating under the most powerful force humanity has come across. Thirium gushes out from the gaps and cracks created by the assault, forming a spreading poll beneath his head as his system tries to repair the damage with his blood, but the speed of recovery is no match for angry biotics, and soon even that stops as well as the final piece of his processor is reduced to subatomic particles. One final Warp, one last explosion to just to be thorough, and Alec Ryder is no more. She stands up, scans the body to make sure that her father is truly dead, maybe even removing his thirium pump and crushing it biotically in her palms to feel the biocomponent crumble and crack and dematerialise under her own power.

When she looks up at long last, Connor is staring at her with horror in his eyes.

‘It’s necessary,’ Fadia explains. ‘His body is designed to regenerate as long as his processors are intact. This is the only way to make sure that he stays dead and won’t be a threat to us anymore.’ He stays frozen in place despite that, so she adds, ‘Go on. Markus will be waiting for you. I’ll take care of Hank’s body.’

The other android’s face crumbles at the mention of the human, and he whips around with a suspicious arm in front of his face before crossing the distance between him and the body and kneeling down next to it. Pinging the cleanup crew through her internal network, she takes sight of how he deactivates the skin on his hand, how he manoeuvres Hank’s arm until their palms touch with a telltale glow surrounding the android’s hand.

How he leans down and kisses him on his lips once just to stand up and leave the warehouse with the lift farthest from where she is.

That is when she recalls that Anderson - this one, not the one she knew and worked for her - told Connor that Alec used another Connor model to lure him to CyberLife Tower. Knowing Alec’s distrust towards the RK800 series, the body of that Connor unit is probably lying somewhere in this tower waiting for someone to discover it, and that someone will not be CyberLife staff.

Alec’s body is still dripping thirium because unlike human blood, gravity still has an effect on the chemical after the android dies, so she leaves it to the cleanup crew and sends out a tower-wide ping to locate the body of the other RK800 before stepping into a lift and ascends the floors, the gaps between the pieces of her chassis still glowing blue with pent-up power. The plan in her head grows and transforms into something more, and as she lets tendrils of blue dance on her fingertips, she realises that they are stained with fresh thirium.

She forcefully evaporates them with a controlled burst of biotics and stares straight ahead. She’ll have to come down later, but for now… she has a tower to lock down, people to threaten, another RK unit to retrieve and improve - 

And a new army to lead.

o0o0o

Before

Chloe watched Louis exit the camp without looking back, bringing thousands of androids of all different models with him to aid the revolution effort. Breathing out an unnecessary sigh, she blasted the camp commander and their guards’ heads with a small biotic explosion to knock them out before going out and slamming the door shut behind her. She was immediately approached by her second-in-command, and the watch she was holding in her hand was enough to tell her that she might have underestimated the cyborg. ‘He left this,’ her second said as she held out a familiar watch. Standard-issue, because this was the best design they had. Clean, because it helped people clear their minds. Analogue, because it reminded people of their origins and what they were protecting and their ultimate goal: creating order out of a system designed to push towards the opposite direction. With sophisticated enough engineering, even the most fatal flaw of an analogue watch could be eliminated. 

Climbing onto one of the watchtowers which had been cleared of its human occupant, she gazed down at the camp and the androids who chose to stay and clean up or to help take care of the wounded, sending a picture to both Elijah and Reyes as evidence to her success in taking over the camp and liberating the androids; in return, Reyes somehow managed to take a selfie of himself and his sniper rifle on top of a watchtower of a nearly-empty camp, and Elijah replied with a short ‘still infiltrating. will update you soon’.

The result did not surprise her.

She let herself marvel at the Administrator’s plan. If Chloe had been in charge, she would have ordered her platoon to kill the humans regardless of whether they were armed or not; after all, they had been the ones to send unarmed, innocent androids into camps to be destroyed, but that didn’t mean that she couldn’t see the benefits of leaving the human soldiers alive. They would be able to maintain a façade of peace, they would gain the support of the humans and the androids who had been treated well by their masters so far - she knew there had to be some - and most of all, they would be able to pressure the government to do as they say. The cameras might have been taken out by the EMP and then hacking from numerous trained androids, the attack was quick and deadly thanks for a certain cyborg finally unleashing his powers at the expense of himself, but the soldiers had eyes, they would talk, they would describe what happened tonight to their superiors or even their family.

They would plunge the world in awe and horror and no one would know why or how or where their powers came to be.

She received yet another ping. This one was from Connor who apparently had successfully deviated most of the androids in CyberLife Tower’s storage, and his wording of ‘most’ and the lack of visual proof caught her attention. She could imagine it: one thing that CyberLife and the Administrator agreed on was their lack of care towards collateral damage; perhaps the company anticipated his arrival and started destroying some of the androids before they were stopped, perhaps they blocked off part of the warehouse and locked Connor out of the system, perhaps something else. No matter what caused him to use ‘most’ but not ‘all’, there would be a lot more deviants in Detroit than ever.

And now it was up to Grissom to deal with the president. She was never close with the human, their goals and personalities too far apart for them to cross paths that much, but she supposed that the least she could do right now was looking past his disgustingly open human emotions when it came to his husband and interest and focus on the competent side of his that got him a seat on the council. The same competence and experience would allow them to force Warren’s hand without revealing themselves - at least according to the Administrator, who, from Chloe’s one decade worth of experience, was usually right concerning matters like this. Sure, the Church might have control over the North American scrubber, but the president didn’t need to know that; all she would know is that if she didn’t give androids the freedom and rights they deserved right now, she would essentially doom humanity to a painful, drawn-out death that would happen in her lifetime.

Not something an already-unpopular president should do.

She didn’t doubt that the Church would reap some of the benefits from the revolution; in fact, it was the first thing the entire council - yes, even Elijah - anticipated, and they had prepared their next move accordingly. There would be so many deviants lost, so many naïve, innocent souls ready to be recruited. It would be a waste to not utilise such a readily available resource to advance humanity towards the correct direction.

She drew up the video they had recorded specifically for this occasion and broadcasted it to the entire camp.

[ghostmartyr]

Are you still watching RWBY? What did you think of Volume 8 overall

VOLUME 9 NEVERLAND SAGA WHERE NO ONE CAN HIDE FROM THEIR TRAUMA OR THEIR FRIENDS BY TRYING TO STOP IRONWOOD FROM BLOWING UP HALF THE KINGDOM HE’S SUPPOSEDLY PROTECTING WHILE ALL THEIR OTHER FRIENDS AND ALLIES THINK THEY’RE DEAD.

POGCHAMP.

I enjoyed Volume 8, but I think it stumbles at the end enough to look back at its time management and feel not totally great about it.

Cinder’s development is solid. I’m still not very attached to her, but she has attained my interest at long last. Good for you, Cinder. Solve your emotional problems with murder. Kill Watts. Give Neo a reason to go back to trying to kill you. Make yet another mortal enemy. I support these actions.

Emerald’s flip means she won’t have sad eyes over all the atrocities she’s playing witness to while the timer goes down on her defection anymore, and that’s cool.

Ironwood’s everything is... well. Yeah. Great. Nothing like watch someone destroy themself. Oh, and everything else around them in the process. Once he got started, it was pretty clear where he was going, and that’s just sad. He goes from hugging Qrow and finding relief in his allies to shooting all of them. Shooting Jacques along the way does not even that out.

The Ace-Ops felt too cluttered for the final parts. They’re the cautionary tales, obviously, but I don’t think we get enough time detailing them for them to be on the same stage as Winter coming into her own and RWBY falling into oblivion. Qrow and Robyn get the slow burn and then the panicked call to immediate action, but for the Ace-Ops, Marrow and Harriet are the only ones who the narrative actively does something with. Marrow’s problems are obvious from the start, and Harriet’s emotional heat hints, and then reveals, a depth of trauma that this system has been crap at handling. But Vine and Elm, the critical pieces in talking her down, and centerpieces of keeping Mantle from blowing up, aren’t prominent enough in the narrative for their place in its resolution to feel quite earned. I think if we’d gotten an extra episode it would have worked a little better. As it was, I was left wanting more focus on the central cast.

Which is kind of why I’m so thrilled that RWBY+J are maybe stuck spending some quality time together. The macro plot matters, obviously, but they’ve been moving so fast. Atlas feels like a speedrun of a kingdom falling, and a little more interplay between my faves would be very welcome.

Then there’s the obvious.

Oh, Penny.

I can’t feel good about Penny’s handling in the end.

The Winter Maiden, as soon as we’re introduced, is waiting to die and offer her power to the next one in line. Winter was intended for that, but Penny interrupts.

Two days later, Winter has the power, and Penny’s dead.

This is necessary so that Winter has time to center what she actually believes before she’s upgraded to demigodhood. Winter as the Winter Maiden leading into Volume 8 would have kept her on Ironwood’s script. The disruption of expectations that leaves her vulnerable forces her to respond to what is going on, not what her side believes should be going on.

It makes sense to delay Winter’s ascension, because it gives Winter perspective that she can’t access as long as she’s in her chain of established command.

Making Penny’s value tie entirely back to supporting someone else’s story. She’s allowed to be a real girl, she’s allowed to fight for what she believes in, she’s allowed to have friends, but becoming the Winter Maiden serves Winter’s storyline more than it serves Penny’s.

Which isn’t to say they do nothing with her. Obviously, the virus making the vault look good creates a variety of opportunities. Sure, they could have filled in another domino without Penny specifically, but she’s an instrumental part of getting them inside that vault in how the story goes.

Creating a new body for her is a complicated thing. Penny’s a real girl no matter what her form is, but if you say that while cutting out the nuts and bolts -- it’s a little mixed. In the most benign way I can put my preferences, I like Penny being a robot. I’m thrilled she knows how warm a hug can feel (Pietro, patch notes, get on it), but...

Before Watts causes problems on purpose, Penny shows a little hesitance about not being your standard model of girl, but unless I’ve been worse about my watching comprehension than I thought, she doesn’t have any burning need for flesh. Changing her body is the best solution they can up with in response to her agency being violated.

It’s not my favorite thing in the world. I don’t think it’s entirely good faith to pin all of the possible unfortunate implications on it, but they exist, and they are there. And on the flip side, being granted a body that is created through nothing but who you are is a sentiment that I’m sure resonates with a lot of people. I think there’s a lot to observe in what Penny’s going through, and it’s worth discussion more than angry words.

Except before there’s a chance to collect opinion polls on that, we once again have her asking for death before she hurts her friends.

I believe there’s a post on LotR somewhere that explains why people are okay with it being a mood shift from The Hobbit. People aren’t huge fans of media they consume invalidating media they previously invested in.

Penny dies, then she comes back. Then she dies.

Penny interrupts the inevitability of Winter becoming the Winter Maiden. Then Winter becomes the Winter Maiden.

It feels like a zero sum game, but a zero sum game where our emotions were torqued around for the sake of it, and the object of said torquing is being utilized as a plot object prior to being a character.

Penny obviously has a lot of personality, and a lot of established emotional ties. She’s not just a lamp standing in a corner.

But to use the apt metaphor, you can see the strings. Penny’s trajectory seems to be moving under its own velocity -- but then that ending hits. Despite going through all of the steps to make sure that Penny doesn’t have to sacrifice herself to keep the people she loves safe, despite actually being really creative and clever about doing everything possible to keep her alive --

The plot demands her death.

It isn’t good enough to fix the pressing issue that made sacrifice look good. Sacrifice is still the ultimate answer.

Thematically, that doesn’t jive with the story we’ve been getting.

Emotionally, what the fuck, could we not.

(What’s better than the cute robot girl begging for death? Doing it twice!)

People who are in a more optimistic state about fiction at the moment have noted that Pinocchio does do a lot of dying, and I do like the read of Penny as Jiminy Cricket. Considering the full context of the world, there’s more to justify a return than a lot of characters get. It wouldn’t be the most shocking thing ever.

It’s still kind of fucked up. Penny doesn’t kill herself, but she asks others to kill her, and that’s her being a good girl.

The National Suicide Hotline gets its number placed in the summary of the episode.

Obviously there’s more to it than that, but the implications are there, and a very painful thorn when looking over the rest of her. Creating an environment where it makes sense for this character to kill themself, it’s noble, even --

I don’t think that’s a route of story that the available material handles gracefully.

It’s the “twice” that really hammers the point down into the coffin. It creates a pattern of behavior in Penny. Once, and okay. Heroic sacrifice plays are always a major source of drama, exemplifying how Good the person making the sacrifice is, and how Tragic it is that we’re losing such a good person, all because they have principles and just love these other people so much.

Only if you have a character asking someone to kill them twice in relatively quick succession, the callback isn’t to feats of heroics. It’s suicidal tendencies.

If you’re not prepared to deal with implications of that magnitude, you’ve got to make the link a lot less suggestive. Otherwise you’re telling a new story whether you like it or not, and it’s not one you’re ready for, drastically upping the odds that it’s not going to be the most polished thing ever.

What the issue becomes then, in my personal opinion, is pacing (’hey self why is the answer always pacing’ ‘because shut up’). Penny’s joy of life is a blip in between her asking for death. The heroic nature of her desire for death mixed with the awful despair of her actual death makes this endpoint of her story saturated with a darkness that sours the entire experience.

Complicating it further is the issue of trust.

The writers killed her and brought her back just to kill her again. If they do bring her back again, the faith is kind of broken. Once you show that you’re willing to move a character around like a piece on a chessboard, your audience isn’t going to trust the story enough to invest. They’re going to be looking for the strings. For a complicated special effect that takes a lot of strings, that’s a pain, because the agreement with stories is supposed to be that yes, there are strings, that’s our medium.

If you don’t trust the writers, you are not going to believe in the story.

For my personal taste, if the writers are doing something more with Penny, their presentation has made it difficult for me to see value in the journey, even if the destination happens to be something I ultimately approve of.

Anyway Robyn needs to officially adopt Qrow. He has been a bad guy bandit, now he can be a good guy bandit.

He can be the Happy Huntresses’ cute animal mascot.

That is all that matters.

That is my one, solitary thought on the entire volume.

Thanks for the ask!

[in-tua-deep]

What animal do you think suits each of the umbrella kids the most?

okay what you don’t know is that i’m a sucker for a his dark materials au with daemons so i’m sorry if that’s not what you want but that’s what you’re getting lmao

forewarning: this is super self indulgent and i only have actual reasons for like maybe half of these 

Luther: a dog! If you want specifics probably an Anatolian Shepherd dog bc they’re big motherfuckers and muscular as fuck. I did toy with a big animal like a bear but ultimately I think a dog just because simply: Luther obeys Reginald without question and has incredibly loyalty to a man that never cared about his wellbeing. Plus, you know, the family would rib at him about being Reginald’s loyal dog and all that. Plus it’s a good set up for his rivalry with Diego that I’ll yell about in a minute. 

So yes, Luther’s daemon settles as a bigass dog. She’s pragmatic and can be cold and often tries to model herself after Reginald’s daemon. She can be somewhat self righteous and very blunt. She tends to say exactly what she’s thinking without sugar coating it and doesn’t care if Luther has to stumble to save face. “You think one of us killed dad.” Diego says. “No not ‘one of you’, specifically you, Diego. You have an alibi?” Luther’s daemon says in front of the family, god, and Five’s portrait on the mantle.

Diego: a wolf! This sets up a big rivalry between Diego and Luther as they have somewhat similar daemons except for the fact that Luther’s is a domesticated canine and Diego’s is a wild one. Luther often uses Diego’s daemon to say that Diego is too wild to lead the team and that’s why he’s in charge. It’s mainly because while Diego does his whole lone wolf act, he’s shown to be pretty protective of the people he considers his and really he does need a pack. Even though he tells Klaus no, he doesn’t bother enforcing it when Klaus insists on hopping in the car anyway. He wants to be leader of the pack, but is awkward when he tries to be in charge bless his heart.

Diego’s wolf daemon is a not-so-secret softie. She prompts Diego to interact more with his family and sends longing glances towards Detective Patch and her daemon. She doesn’t get along with Luther’s daemon and always bristles when she’s around, though Luther’s daemon tends to ignore Diego’s and act like she’s above it all which just makes the issue even worse tbh. Diego’s daemon doesn’t shy away from her instincts and refers to the family as her pack and is very vocal about both not killing Grace (though later she sits and whines when Diego does it) and letting Vanya out (Diego spits vitriol about Vanya but his daemon is suspiciously silent on the subject).

Allison: a burmese python! I will freely admit that i chose this 90% because of the feather boa in the beginning dance scene because I want Allison to have her daemon constantly draped around her neck and on her body, but snakes do tend to be associated with manipulation as well in some stories even though I can’t see it looking at their cute little faces?? But I mean Allison’s whole gig is manipulation so it fits even though I’m only justifying it after the fact lmao. 

Allison’s daemon is very laid back and rarely speaks up. Allison often accuses him of being lazy because she tends to carry him everywhere and he’s constantly on the hunt for warm places to curl up in. He used to ride on the back of Luther’s daemon a lot when Allison got fed up of carrying him. Uses the fact that he doesn’t have eyelids to stare people down when they’re being irritating. Generally does not appreciate the negative press that comes with being a snake daemon and secretly him and Allison both wonder if him being a snake was a factor in her not getting custody of Claire. (Allison didn’t appreciate what he settled as and they fought about it, there’s still some tension between them on occasion because of it)

Klaus: a black cat! I almost gave him a raven because reasons but I ended up with a cat for pretty simple reasons: Klaus is pretty much a stray cat in human form tbh just look at him. Also because cats stare off into corners like they can see the dead and damned so I thought it was somewhat appropriate, and black cats are considered both lucky and unlucky depending on where you like (which lemme tell you as a black cat owner who moved from a lucky to unlucky area was a wild thing to find out). 

Klaus’s daemon is very sarcastic and a lot less forgiving than Klaus himself is. They hold a grudge to say the least. While most daemons tend not to speak to people who aren’t their own, Klaus’s daemon doesn’t give a single shit and will talk to anyone they damn well please. Doesn’t get along with Luther’s daemon because they constantly talk shit about Reggie and Reggie’s daemon, but gets along very well with Diego’s daemon and has ridden on her shoulder more than once. Shares Klaus’s power in that they can see the dead but ignores them even harder than Klaus because they’re secretly freaked out that ghosts don’t have daemons. Klaus and his daemon also hang out with Ben’s daemon, who for reasons unknown didn’t burst into dust upon Ben’s death but she generally stays out of sight.

Five: one part of me says hare because of the cryptic value and eyes that look like they could kill you and also jumping jokes and another part of me says hummingbird for plenty of good reasons but an even larger part of me says that I don’t have to choose because I can just symbolically make his daemon unsettled. She wasn’t settled before the apocalypse and then he kind of… never really grew up. Part of a daemon settling is growing up and knowing yourself but Five didn’t have a chance to do that, he was too focused on his goal. They both dislike the fact that she’s unsettled because they think it’s childish, but it’s also very handy because it means she’s adaptable as fuck. Maybe she pretends she’s settled as a hare or something while they work for the Commission idk and it’s a little reveal when he’s back home. Maybe they’re also separated like a witch’s daemon due to the Commission?? unclear

Five’s daemon tends to fade into the background if you’ll let her. She tends to be standoffish but is exceptionally observant. She very rarely speaks to anyone outside of Five, even among the siblings, though she’s not above bluntly calling them out if Five isn’t around and she deems it necessary. She likes Vanya best, though she was also fond of Ben. She tends to be the voice of reason for Five and probably takes most of Dolores’s lines in telling him drinking is bad for him or that his equations are wrong. There’s probably a dramatic scene where she’s revealed to be unsettled where she turns into a big fuckoff animal and fucks up the Handler or something idk but otherwise she’s pretty content to remain a hare and do a good impression of the rabbit from monty python if people fuck with her.

Ben: something smaller and easily hidden. My heart says rat because they’re so fucking good and smart so that’s what I’m going to run with, and also because they’re often viewed negatively and Ben has a power that he also views negatively rip. Also I’m gonna be real the idea of Klaus and Ben’s daemons being absolute bros as a cat and a rat also amuses me so there’s that and this is my au i do what i want. 

Ben’s daemon was withdrawn before his death and even more so after. No one knows why she didn’t turn to dust when Ben died, but she didn’t. None of the other siblings knew that she survived because she asked Klaus not to tell, worried that Reginald would experiment on her to try and figure out why she didn’t vanish. She spent most of their time before Klaus left hiding in his room, and after she hides in his clothes a lot and likes when he wears items with hoods (like Ben used to) because she likes to curl up in them. Like Five’s daemon, she doesn’t talk much. 

Vanya: a spotted owl! I wanted to give Vanya a winged daemon that can’t fly for most of the duration of the plot despite having wings because of general symbolism reasons regarding Reginald “clipping her wings” by suppressing her powers with medication and all that. Honestly I mostly picked a spotted owl on a whim because I like owls (I was a guardians of gahoole kid) and I think that the hints of white on a spotted owl would be a cool allusion to her powers and also there’s some sick imagery in her powers activating and her daemons colors reversing so that he’s primarily white soooo i do what i want is the answer

Like I said above, Vanya’s daemon is a bird daemon who… doesn’t fly. He mostly spends his time on a perch that Vanya bought for him in her apartment. He doesn’t actually spend a lot of time physically on Vanya outside of when they’re travelling somewhere, and she usually puts him down immediately when she arrives at her destination. He usually just walks about the house but like a chicken can do a sort of jump/flap combo to get up to surfaces so he’s alright for the most part. I want to say part of Leonard’s manipulations was that he also has a bird daemon and they try and teach Vanya’s daemon to fly as well as for her to access her powers.

and outside of the main kids (these aren’t nearly as well thought out and are liable to change probably - 

Reginald: a fox. Cunning and intelligent and adaptable, she’s regal and stone cold, never speaking directly to any of the children and she often acts as if they don’t exist or are so far beneath her they might as well not. Her coat is always pristine, her dark eyes are always watching, and her teeth are dazzling and sharp and threatening even though the kids see her far more rarely than they do their father. She’s a ruthless pragmatist and often served as an observer during their training, after which she would whisper in Reginald’s ear and oftentimes there was a new and inventive torture waiting for them. Sometimes the kids feared her more than they feared their father. She’s only ever shown anything even approaching affection to Luther’s daemon, and even that was just brushing herself past the other daemon and allowing a brief touch.

Hazel: a big grizzly bear. They often both complain about the lack of accommodations for large daemons when she has to squeeze her ass into their tiny motel rooms or in diner booths and restaurant tables in general. Tends to just stay in the hotel room and allow people to assume Hazel has a small daemon since they’re separated and her bulk is often cumbersome for missions. Has 100% charged in as the cavalry and fucked people up though don’t mistake her whining for her not being very dangerous.

Cha-Cha: my heart says a mountain lion and so that’s what i’m going with. Large and can do a lot of damage given the opportunity with those claws, pretty sneaky and damn good at his job. Is probably the one who scruffs Klaus’s daemon when they kidnap him from the house. He has a wicked sense of humor that Cha-Cha doesn’t always appreciate and always goes with for missions because he genuinely enjoys their work, doesn’t understand why Hazel’s daemon would rather stay behind.

Grace: yes I understand that Grace is a robot and no that’s not going to stop me from saying that Reginald gave her a mechanical clockwork butterfly daemon because I say so and because I think his daemon would have insisted that it’s far too creepy to look and see a human without a daemon and he’s trying to make her as realistic as possible, right? The butterfly is technically an extension of Grace, however Reginald never gave her daemon a voicebox because he deemed it unnecessary. He usually just sits on Grace’s shoulder slowly opening and closing his wings. A plot point is Grace finally naming her daemon for herself because Reginald never bothered with a name for him either.

The Handler: The Handler doesn’t have a daemon. Five asks her where her daemon is in the flashback scene where she recruits him and she laughs and tells him that that’s a rude question and never answers him. The daemon never shows up and other people and their daemons are noticeably unsettled by this. Five’s daemon genuinely is frightened by the Handler and tends to hide behind him, which the Handler comments upon with a saccharine smile. They never do figure out what happened to her daemon (though one of the office workers shares a rumor with Five that the Handler killed her own daemon for questioning the commission).

Patch: a terrier! My heart says border terrier so that’s what I’m going with. Dogged and unwilling to let go when she feels like she’s on the scent of something, she’s a good police officer even if she has torn loyalty to Diego as well. He’s a hardy little thing and he encourages her to bend the rules so much so that it used to be a running joke that her daemon might as well be Diego’s. Her daemon doesn’t bother with the hostilities and is always pleased to see Diego’s daemon. For the most part they just watch their idiot humans snipe at one another and are content to chill until Patch makes Diego leave. Their daemons always cheerfully say bye to each other and that they’ll see the other again soon even

Dave: my heart says also a dog. Probably a farm dog. Australian Cattle Dog, maybe? because my heart also says that Dave was probably raised as a good honest farm boy or at the VERY LEAST his grandparents had a farm he spent his summers on as a child. Very loyal. She absolutely adores Klaus and his daemon and Klaus’s daemon curled up with her constantly. Touching another person’s daemon is a social booboo but out there in Vietnam both daemons saved the other’s human at least once. Dave’s daemon pretends that she’s more sensible than him and often would complain at Klaus’s daemon that the sexual tension was genuinely killing her and if they kept gazing into one another’s eyes on the disco floor she was gonna barf. Klaus’s daemon would just roll their eyes because it’s not like they as daemons weren’t all touchy feely. Klaus’s daemon could be constantly seen grooming Dave’s with their little cat sandpaper tongue and Dave’s daemon constantly rested her head on Klaus’s to go to sleep sO. The scene where Dave dies is doubly sad because you see her turning into dust as Klaus’s daemon howls.

Agnes: almost forgot Agnes whoops. But I choose… a canary! Why? Because they’re bright and pretty and sing nicely and she would forever be explaining that yes, her daemon is a canary but it isn’t a domestic canary so that’s why he has brown on him and isn’t pure yellow. That and I think it would be sort of cute if Hazel’s attention was caught by pretty birdsong initially so a songbird it is. Agnes’s daemon, when her and Hazel are together, likes to snuggle down into Hazel’s daemon’s fur and make a small attempt to preen her even though she’s like a million times his size. He’s absolutely fearless and doesn’t hesitate at Hazel’s large daemon like a lot of small daemons do which endears him to the assassin duo. Like genuinely I picked canary on an absolute whim but that same goes for most of these and no one can stop me.

is that everyone?? i think that’s everyone

EDIT: I FORGOT LEONARD which goes to show how much i repress his existence

Leonard: a great skua. Am I basing this on the fact that I wanted his daemon to be a bird for plot reasons and the first mean bird I could think of was that one dude who wanted to eat baby Mumble in Happy Feet? maybe. But yeah a generally normal looking bird with the capacity for great violence there we go that’s my reasoning thank you and good night. His daemon is unsettling to literally everyone except Vanya probably tbh and Vanya calls Allison out on daemon stereotyping because Allison has a SNAKE she should be BETTER THAN THAT. But yeah that’s all I got for tonight thanks for reading lads.

[artyloreviews]

Death Stranding (2019) - The Incoherent Ramblings of a Porter

Death Stranding is an equally flawed as it is innovative. Hideo Kojima’s new entry, unbound from the chains of his previous corporate affiliation is a divisive one, but offers much, both technologically and narratively. While perhaps not as memorable as the former Metal Gear series, it is an attempt at an experience that would otherwise be immediately shunned, were it not for the name and talent attached to it.

Death Stranding, much to no one’s surprise, is one of the most divisive titles to release among critics and players alike. As a longstanding fan of Hideo Kojima’s work, I too was questioning whether or not the experience of going through Death Stranding was worthwhile, as some notable review websites, following the lifting of the review embargo, refused to rate the game - let alone play it. There is some fault in me reading reviews prior to experiencing it for myself, but I believe it is necessary to disclose that particular bias, in spite of my somewhat feverish favor of Metal Gear and my almost instantaneous pre-order of the title upon it becoming available. I would go as far as to say that my acquisition of a PlayStation 4 had been somewhat influenced by the announcement of said new “independent” Hideo Kojima game all the way back in 2016. To say that I had nothing but expectations, would be an understatement. The reception being as divisive as it is makes it difficult to be objective on the topic, so I will allow myself the irregular personal remark every once in a while, if need be – consider that what you will. Think of this as less of a review, and more like the condensed ramblings of a madman. Alongside that, I will attempt to be as spoiler free as possible – at least for a time. I will make it clear whenever that is no longer true. If that sounds good to you, let us move onto the brunt of the topic…

Death Stranding is a spectacularly boring game. The eternal debate whether games should innately be fun or engaging comes to mind almost instantaneously upon first impression. You’ve most likely heard it: “Mindless busywork”. “Walking Simulator”. All signifiers of the core gaming demographic’s displeasure with whatever the fuck Death Stranding is. Its director Hideo Kojima, calls it a “strand game” – the first of its kind. Something I would consider to be one massive taunt towards the public, as if saying: “We’ve made something that didn’t exist before - a new color of game.” How much of that is true remains to be seen, as the future of strand games as a genre will likely be decided, depending on whether there will be many new strand games entering the ecosystem, or if the originator of the term remains the only example of their existence. The fundamental idea of the strand game is not an unfamiliar or an unappealing one – it’s what up until now was called “asynchronous multiplayer” or “network/online features”. Death Stranding is a single-player game at its core, but these online features are somewhat more integrated into the experience. Another term comes to mind that could perhaps adequately describe how that online element is integrated, and I believe its derivation from an antiquated term for a certain subset of MMO games is not coincidental - Death Stranding is a “persistent world”. Looking at Death Stranding as a type of MMO is not too farfetched, I believe. The importance of social aspects in that type of games is not to be understated and it just so happens to be one of the core themes not only of the strand game, but Kojima’s recent beliefs as a whole.

Surprisingly for some, the thematic elements of Death Stranding are not so obtuse and impenetrable like in the Metal Gear series, but rather surface level in comparison. In essence, it is a game about reconnecting people in an age of social isolationism. Kojima hints that the internet has served to connect people, but also widen the gap in actual physical connections through its ease of use and accessibility, making people more likely to stay at home and connect via all manner of messaging services, rather than meet face to face. This topic is also likely more culturally significant to members of countries like Japan and the USA, as the notion of isolationism in general has had a greater effect diachronically, as domestic interests outweighing the need for more outward connections has been at the center of both countries’ foreign policy at one point or another. It comes as no surprise then, that a Japanese studio sets their game in a ravaged American wasteland where conversations and physical contact are merely superficial, goods and services are delivered via a third party, and the outside is seen as hostile and the idea of connection is seen as dangerous.

The game’s story, however, seems to be disconnected from all of this. I would go as far to say, that you could change the themes for something else entirely and the implications would remain the same. The writing seems more interested in revealing the deciphered cryptic marketing materials shown prior to the game’s release. Phrases such as “Create the rope.”, “Tomorrow is in your hands.”, “Stick vs. Rope” and just the word “Strand” are littered everywhere, drawing vague lines between plot events, real world history and cultural practices, and Kojima’s own brand of conjecture. The naming conventions for people and things remain as campy as they’ve ever been, as the translation from Japanese to English seems to yet again have been the difference between something that sounds cool and western, to completely banal.

On a technological level, the game is a masterpiece. From simple rendering, to the way physics is implemented, to the effects and lighting. Kojima Productions (often abbreviated to KojiPro) have mastered their 3D scanning technology, since the creation of the Fox Engine and Metal Gear Solid V: The Phantom Pain. Death Stranding was practically sold on the idea of featuring notable voice and film actors such as Norman Reedus, Mads Mikkelsen, Léa Seydoux, Troy Baker, Margaret Qualley, Tommie Earl Jenkins, Lindsay Wagner and directors such as Guillermo Del Toro and Nicolas Winding Refn. Most people will likely see this as Kojima boasting about his connections to Hollywood celebrities, but the fact remains, that this is a star-studded cast of an incredibly high caliber. Particularly commendable are Troy Baker and Tommie Earl Jenkins, who through use of this technology enhance the fidelity of their in-game performance to almost life-like proportions.

The individual systems that make up the core mechanics of Death Stranding are made with the same level of attention to detail as one would expect from KojiPro. The same maximalist control scheme that spans the entire controller that was made infamous with Metal Gear Solid 3: Snake Eater makes a return in all of its “hold three different buttons and time a fourth correctly to perform an action you will have to do repeatedly” glory. However, the amount of menu time one has to indulge in has increased tenfold, as any and all rejiggering one has to do with their inventory and or interacting with the world requires about 2-3 button presses, holding a button to confirm and waiting through about 3-4 “micro-cutscenes” which are individually skippable by pressing 2-3 buttons per scene, even if you’ve seen that particular animation play thousands of times. And you will be seeing some of these animations thousands of times, because they are there for everything and anything, from the most core of mechanics, to the things you would never care to even see, let alone do. This is a very long-winded way of getting to perhaps the game’s biggest detractor:

Death Stranding does not value your time. Everything is very laborious, slow, monotonous and sluggish. While eventually you could get into the grove of things and begin to look at it in a different light, the fact remains, the game fundamentally works against you in every way, because the as view of it all likely reveals how little there is of Death Stranding to actually experience. Some have expressed that it should be looked at as more of a meditative experience, where the journey is not merely a means to an end, but rather time for you to be with your own thoughts and explore. While I wholeheartedly agree that that is somewhat of the core Death Stranding experience, I have to disagree that the game’s meditative nature and exploration are player-driven. Even the story itself has glaring pacing issues and it often wastes massive amounts of the player’s time through tedious backtracking, just so there can be a few hours of game in between cutscenes, even when everything is clearly urgent. Even some of the more appealing set pieces, get cut short as a spontaneous blurt of synth noises plays whenever even an insignificant gameplay event takes place.

Ludvig Forsell’s original score for the game is simply fantastic. While it doesn’t have the character of the scores for previous Kojima titles like those by Norihiko Hibino and Harry Gregson-Williams, it does retread the familiar cinematic tropes that seem to be more of what Kojima’s vision is shifting towards nowadays. Forsell’s prior work for Kojima on MGSV:TPP was forgettable, save for maybe one or two tracks, but for Death Stranding he seems to have had free reign to compose for this new IP, and has made some highly moving tracks that play sparingly in important plot moments, giving them that extra punch. Ludvig’s heavy use of synths is highly welcome, as it seems to be more of his specialty, rather than the grand orchestral compositions. In addition to the score, Kojima has picked out some select licensed tracks. Those seem to be of varying and sporadic quality, and barely any thematic connection to the game. It appears to be Kojima’s new thing; to just put in whatever he thinks will sound good and hope that it fits with little consideration as to its cohesion. Hideo’s recent displays of his taste in music seem to be embodied by the inclusion of one Icelandic band - Low Roar, whose entire discography is seemingly included, and frankly is the only one of the musical choices that seems to fit the tone and atmosphere of Death Stranding’s world, featuring somewhat melancholic and subdued vocals, backed by mellow synths and pads, slow drum beats and droning guitar. Low Roar seem to even have the range for more imposing tracks, as shown in the reveal trailer’s “I’ll Keep Coming” and the in-game track “Give Me an Answer”. If Low Roar were to be the only inclusion, I would frankly be happier than the menagerie of tracks that the in-game player provides. It is one of those cases, where less would mean more, as it would indicate a clearer vision than the strange assortment of tracks seemingly pulled straight from Hideo Kojima’s incredibly expensive Walkman.

I recommend you play Death Stranding for yourselves, despite my bold claims. I wish I could tell you why, but it is a Hideo Kojima game after all. Much lies in context and that frankly is as much as I can muster without going into it deeper. This is the point where I will not so reluctantly have to go into spoilers. And when I say spoilers, I actually mean “beat the game”. We will have to retread on some of the previous points with the benefit of hindsight. I’ve intentionally barely said anything about the actual content of the game but the briefest remarks, which you might find disappointing, but I assure you it is necessary. I would go as far to say that this is where the real review actually begins. Read beyond this point at your own peril:

Death Stranding is a spectacularly boring game… and it has to be. The ending of Episode 2 is what shifts the paradigm irreversibly. The moment Higgs – the particle of god that permeates all of existence, reappears following his brief appearance in the inciting incident with the corpse disposal team and kicks you in the head with the words: “So how ‘bout it? Aren’t you tired of the grind? Isn’t this what you’ve been waiting for this whole time? A game over!?” Up to that point, I could understand the frustration that most people had with it. I myself even contemplated if this is worth my time, and was considering quitting the whole endeavor, genuinely seeing it as pointless busywork with little to no variation. But after it? Boy, was I reinvigorated to endure just a little bit more. Higgs’ fourth wall break was just a subtle wink, a hint that all of this was intentional. It recontextualized the sluggishness and the drab grinding, where it was used to make the eventual reveal hit harder, the reveal that there is so much more to Death Stranding, so much we people don’t know. It makes you feel like you’ve passed a trial by fire, where you’ve been forced to use only the most basic mechanics for the first twenty or so hours, delivering everything by foot with no aid, only to be among the few who have shown the resilience to be rewarded with confirmation that it was not all in vain. The world is miserable, depressing and unforgiving. Small mistakes can be irreversible and that carries the weight of constant hypervigilance. But with Episode 3 Death Stranding shows its true face. Suddenly you have more structures than you know what to do with, you can build roads, you can drive vehicles, you can enhance your abilities with exoskeletons, you can customize your backpack with actual useful trinkets, covers and pockets. From a game that was slow and drab, it turned into a game about actually “Rebuilding America” piece by piece, creating infrastructure and using the online features to make the game better not just for yourself but for everyone!

What a strand game truly is, is very akin to an MMO, in more than one sense; and in my opinion it is frankly better. There is this anecdote I read on Twitter while I was playing through the game. It was about how the simple act of placing down a rope over some difficult terrain carried weight, because you wanted to throw the rope back, so someone else who is following your path, can use it too; how no other game does that or makes you think of feel that way. And that is what I think is at the core of Death Stranding’s gameplay loop, distilled into one meaningful choice. No longer do you have to thing only for your benefit, but for those who will follow in your footsteps.

Building structures is your stake into the future. When you finish the game, you will most likely not come back to it for a long time, but those structures will remain, even after you’re gone (at least until the timefall eats away through them) and other people will make use of them to accomplish their goals. I can say that there are few experiences as immersive as creating a path, that evades a camp of MULEs and a BT field though a perilous mountainside and seeing that someone else is using it. That single message that pops up onto your screen, makes it feel worth it. Even the simple act of walking down a path makes it so that if enough people walk along it, it will turn into a beaten path, which is much easier to see and usually has no snow on it making traversal less difficult – a mechanic that I do not know how I will live without in other exploration-based games. And KojiPro have made an effort to make sure you know that is intentional, as seen in some of the interviews and e-mails you get, where they discuss how things like oxytocin and “likecin” are produced from physical contact and receiving likes as a porter (or even how receiving too many can lead to addiction, like in the case of MULEs and Homo Demens). There is one particular correspondence with the crew of the first waystation you ever connect up to the chiral network, and how they’ve slowly stopped using the synthetic oxytocin that you delivered to them and began producing it naturally, because you’ve given them hope and they’ve been going outside and celebrating with each other – restoring physical contact. I can’t even explain the weird sensation of meeting your first set of NPC porters out and about. After such a long time of speaking only to holograms, beginning to doubt if there even is anyone out there – meeting two confused porters, running around doing deliveries with tools strapped to their suits and being able to wave to them (or even trade items) is such a surreal experience.

Those are some of the more immersive elements of the game and frankly, I wouldn’t mind to see those explored further. However, Kojima had other intentions, and that is where I and the game’s story diverge. Sam Porter Bridges is so far from me as a player, that he might as well not even be controlled by me. His actions in the plot are so oblivious, that it is hard to sympathize with him, especially so during the final hours of the game. Fragile literally forces into the plot your love for Amelie, as if the estranged brother, who does not give a single fuck about his family or his country that (mind you) no longer exists, cares about this “sister” of his, that he is even somewhat forced into going to save. The way she manipulates him into kicking Fragile to the curb is also one of the moment that drew an even larger divide between where I was and when Sam supposedly was, and I surmise most players felt the same. There is this sentiment that most people don’t even refer to him as Sam, but rather as Norman Reedus, since Sam is not even an empty vessel for the player, but something even more abstract; something like a character that you only get to pilot in between bad decisions made in cutscenes.

The eventual reveal that the entire main goal of the game was in vain from the beginning, that you were being manipulated by Amelie, who was never in danger and needed no saving, just so that the overly forced End of the World plotline can take place, presented as a major subversion, felt expected. “Just like how The Patriots turn out to have been manipulating Snake in Metal Gear Solid from the beginning.”, I told myself when first listening to that pivotal Mario and Princess “Beach” dialogue. The fight with the big BT with Higgs stuck to it, firing rockets at the middle section and the radar dis-- I mean right shoulder of the BT genuinely felt like fighting Metal Gear Rex - especially with Troy Baker screaming in reverberated pain like Cam Clarke did in MGS1. That, followed by a hand to hand fistfight atop Re-- I mean, in a sea of tar with fighting game health bars and stamina meters to save the woman in the background – just like in my Metal Gear video game. It’s pretty blatant and it doesn’t really take a keen eye to see it.

“Getting a little touchy-feely there, Mr. Aphenphosmphobia. Well, congratulations. You won the game. Too bad you didn’t stop shit…” is where the game probably should have ended. What follows is what I would consider to be Kojima’s weirdest decision to date – explaining everything that was confusing and tying up loose ends in the same game that creates them. The next four-five chapters are just that – exposition dump after exposition dump. Nothing left for consideration, no pondering as to what something means. Kojima singlehandedly offered a MGS4 to his MGS1. A key to all questions at the very end, so that nothing is left uncertain.

Which takes me to my next point – the interviews. Slowly but steadily, the idea of the “codec conversation” in Kojima’s repertoire is phased out by optional cassette tapes or in the case of Death Stranding, actual text exposition dumps. Previously you’d at least get to appreciate someone reading them to you in character, but now you have to go through hundreds of emails and interviews by yourself. I can’t begin to imagine what understanding some of the concepts of the game is like without going through the interviews, even if I haven’t gotten to read them, as it most likely requires 100% completion. In Metal Gear, seeking out new codec conversations in random parts and events of Metal Gear, ensured there was quite a large amount of replayability and you’d usually find new details about characters or helpful tips and strategies on repeat a playthrough, but now, once you’ve completed the game, there is nothing new or different – It’s always going to be the same interviews, in the same place, at the same time. Death Stranding has no replay value whatsoever. Once you’ve seen it, you’ve seen all of it.

Speaking of in-game players and Walkman earlier reminded me that there is also the surprising absence of a portable music player in-game, for what is probably the most musically saturated Kojima title in years, as music is only available to you while resting in your private room or in a safe house, where you can listen to the owner’s collection of tracks, even those obtained later in the game. This is in a game, where about 90% of your time with it is in complete silence, save only the odd interjection by Sam, mumbling something to himself and the sounds of the wind and falling rocks in the distance. I feel like I would genuinely feel so much better and could stomach most of the detracting elements of Death Stranding, if I could only play some Low Roar, as I discover a nice view and decide to take a short rest to take it all in. If a game like Metal Gear Solid 4 could have an MP3 player in it and even load some podcast in for you in the goddamn war-ravaged Middle East, then surely we could have had one in this one as well, right?

The quality of Kojima’s writing also varies wildly, as genuine moments of subtlety and clever world-building are followed by incessant amounts of tutorialization, presented as dialogue that an actual human is supposed to produce in a way that sounds natural. All of that, mixed with hundreds, if not thousands, of different ways of saying “Thank you, you’ve really saved us out here!”, “Could you deliver this for me?” and “Boy, we sure do feel connected out here, thanks to you!”, littered with thousands of emoticons and expressions of adoration for your skillful and vitally important delivery of a couple of packages of old magazines and some rocks. This, complemented by the late realization that the world of Death Stranding isn’t actually that large in scale, so much so that I would bet you can pinpoint exactly were on the map a location is, given only a screenshot of a random assortment of moss and rubble; all makes the over-exaggeration of the effects of your feats seem like genuine lies, placed there to make you feel a false sense of accomplishment. Perhaps they do it with good and earnest intent in rewarding you for the things you’ve done for them, but you know what you’ve delivered, and you know it’s not that important most of the time.

A section of the game that I was particularly fond of was Episode 11 – i.e. the final episode for Cliff Unger in Vietnam. I recommend you all play that sequence again via the figurines behind Sam in his break room, but with “The End” by The Doors playing in the background. The whole bit is clearly an homage to Apocalypse Now and it almost feels timed to the beat. I felt like it was supposed to play, but they couldn’t get the license to it, so I added it on top myself and at that point I could feel Kojima and I enjoying the sentiment on the same wavelength. This is also the episode where Mads Mikkelsen finally gets enough screen time for you to really get an appreciation for his performance, which up until now had been quite subdued. Cliff is fear-inducing and nightmarish upon introduction, his voice reverberating throughout the battlefield, but with the events of Episode 11 you begin to see his more tragic side of the story’s main events. Mikkelsen lends his talent completely to the whims of Kojima, and that makes for an outstanding performance, much like those by Troy Baker and Tommie Earl Jenkins, yet somehow felt misused and underplayed, as Cliff simply fades away from existence.

The game’s ending has me holding conflicting opinions: at the same time, I genuinely do not understand why anyone would care enough for Amelie, not to empty a clip into her back, much as I did immediately upon being given the option, and at the same time despising having to just witness the non-decision you have to make in the game’s final moments. Having no choice but to hug her and listen to her ponder upon existence, and eventually having her make the decision herself whether or not to initiate judgement day. You only have to run around aimlessly and listen to her monologue about how much she cares, as your trigger finger is still itching to end it all, as the game eventually wins itself. Stylistically impeccable and unnerving, as the uncertainty of what is going to happen, continues to grow, only to climax with a whimper of what feels like a glorified deus ex machina. This is followed by Tommie Earl Jenkins’ powerful final scene, breaking down a character that up until now had seemed one-note and bereft of any emotional depth, only to reinvigorate him and shed any doubt as to who and what he represents in the world of Death Stranding. That however is thrown away, as it steps aside for the epilogue with Lou, as Sam has somehow synthesized a connection to him exactly as Deadman takes him away to delete his memories and their connection, yet Sam manages to carry it to the very end, where it is ultimately revealed that after all the displays of his renewed connection to the people and the world around him, he still doesn’t care for anyone or his country, burning his cuffs and forgoing it all, yet Lou is somehow exempt from Sam Porter Bridges’ final moment of decicive introversion. Even after all of this, Kojima adds one final series of subversions, as Sam is revealed to have been Cliff Unger’s son, through whose eyes we’ve been seeing those dream sequences, finally stitched together into one cohesive whole at the very end, revealing a backstory that ties up loose ends no one was really asking to have tied up. And also, Lou is apparently Louise – a girl. The ending is divisive, because you have the actual tangible story of Sam growing to accept people in his life, getting used to the taste of Fragile’s cryptobiotes and building a relationship with her, ridding himself of his phobia and getting in touch with the people around him like Deadman and Die-Hardman, connecting everyone in the UCA into a whole and living to see another day – only to throw it away at the last minute, but not entirely, out of fear that something would be left unaccounted for. It could have been so much more, or if not, at least somewhat better executed.

When it comes to technical execution, the game is spotty, but ultimately very well made. The physics of just walking from point A to point B are probably the most impressive thing you’ll probably experience this decade, even if it is sometimes unwieldy and comical. The whole element of keeping balance and the implementation of inverse kinematics to any terrain, is a marvel to behold and it will frankly be difficult to play anything that doesn’t have that much depth anytime soon. One could only wish they had put that much attention to detail into the vehicles, which drive like a load of bricks even on flat ground. When it comes to pure visual fidelity, the Decima Engine is stunning in its execution of photorealistic graphics when in the hands of KojiPro. The amount of landscaping that has taken place is probably mind-blowing, as a lot of the routes that the game takes you through are plotted in such a way as to lead to wide open areas of land, where the game’s more introspective moments occur, where you’ve just crossed a difficult to pass field of BTs or hostile terrain and the camera pulls back from Sam and captures the vista that unfolds before you, as the melancholic tones of a Low Roar begin to pierce the silence. I say it takes you there, because for those who have tried to make some more extreme routes, will know well that there are actually quite a lot of invisible walls all around you at all times, allowing routes to mainly take place in certain sections of the map. You still have the freedom to place whatever items in whatever location you wish, but there is almost always a clear alternate route that you can take, which more often than not has been placed there by the developers and only needs you to place the ladders and ropes along it. This is what I meant earlier in the piece by the exploration not necessarily being player-driven. The invisible hand of KojiPro is there to guide you at all times, as you can never really stray too far from the intended path, believing that you are doing so of your own free will and creativity.

Death Stranding is a divisive game because it really tries so hard to be this artistically extravagant video game with great implications, but ultimately renders its greatest threat as a Mary Sue very late into the game, way beyond the average span of interest, while it already has a very charismatic and well-defined villain in the face of Higgs from the very beginning, who gets somewhat shortchanged into being the self-insert fourth-wall-breaking tool, who is only played as a means to someone else’s end. Everything past Episode 11 feels unnecessary and diminishes from what the game had already done perfectly until now. The game’s length in pacing are all over the place as well: Excluding what I would consider to be the mandatory grind of Episode 2, everything else genuinely seems like padding for time, going back and forth across the whole map multiples of times for seemingly arbitrary reasons, haphazardly going into BT infested zones for items of sentimental value, while the threat of annihilation looms over every encounter with them, and by the time something actually engaging happens, you’re often too exhausted to do it.

At the same time, it is also offers this incredible amount of progression and gradation compared to how you started out merely two chapters ago with your ever-expanding arsenal of infrastructure changing the fundamental core of the game. It features all-around outstanding performances (excluding some awful line-reads by Léa Seydoux, which is a shame, because her character could have been so much more, only to be reduced to a fast travel NPC with a catchphrase, which she never seems to be able to pronounce). There is the amazing social strand system that takes the game from a regular single-player slog, to a somewhat indescribable social multiplayer experience, where everyone it working towards the same goal, but helping each other along the way, making travel more efficient and hauling larger loads easier. It also presents this horrifying yet beautiful world, that gets easier to traverse the more you know about its hazards and people, and in a way builds sympathy for the plight these people endure in their post-apocalyptic dystopia. Death Stranding’s world is somehow empty, yet full of substance, yet one-note in scope, yet thematically rich. A game that is equal measure incredibly gratifying, boring as shit, visually and mechanically impressive, a surface level social commentary, a love letter to war and kaiju films, an Icelandic alt pop album and a walking simulator – truly a feat only Hideo Kojima himself and Kojima Productions could accomplish.

7/10

[sinceileftyoublog]

Riot Fest Sucks

BY JORDAN MAINZER

Riot Fest Sucks. It’s a tongue-in-cheek phrase that occupies multiple meanings and connotations, referencing the organizer’s self-deprecating recognition that they’re not gonna make everyone happy with the lineup and scheduling conflicts. It’s the name of a Goose Island Beer Co. pale ale made for the Fest, at times served lukewarm, its $10 price tag a symptom of a somewhat pretend punk festival bombarded by corporate sponsors whose presence fails to belie the lack of close, cheap parking, credit card lines, and functioning ATMs. Oh, and Riot Fest Sucks because hours into it my girlfriend sprained her ankle exiting the Vans popup experience down the 20-foot fire pole with no soft landing. So unlike previous years, this year, I left after a couple sets on Friday.

I won’t get there yet--first things first, Caroline Rose. When I walked up to her stage and heard Natalie Prass playing on the loudspeaker, I thought what I initially did upon first seeing Rose’s name in small print on the lineup poster: “Why not Pitchfork?” But as soon as her band gradually came out--first "nicest legs in the band” drummer Will Morse, then “handsome and single” bassist Mike Dondero, then “best friend” Abbie Morin--and started playing a surf rock melody as Rose entered, it was clear that her unique mix of electro pop and retro rock--not to mention her early folk and country material--had her suited for a festival that embraces classic sounds. They began with new song “Everybody’s Making Out”, potentially from the new album she just finished, and then “Cry!”, the band providing a plinky breakdown to the LONER standout. Rose alternated between genuinely appreciative of a fairly large crowd coming out early on a Friday to hear some upbeat but sad songs, and being playful and goofy--essentially conducting the band with her feet while playing keys on another new spacey synth pop song, all before noticing the camera and posing as if she was in a photoshoot. Her joking fit the sarcasm of songs like “Money”, which was interrupted by Rose chugging a 312 and barely smashing the can on her head and then playing Aerosmith’s “Don’t Wanna Miss A Thing” on kazoo. Rose is as fun at a festival as she is forlorn on record.

But then the incident happened. I listened to a remarkably nonstop and consistent Hot Snakes set through the medical tent next to the stage as my girlfriend iced her foot, leaving for urgent care right as Neck Deep’s catchy but juvenile pop punk began, not to return until mid way through Turnstile on Saturday. Thankfully, we were able to rent a wheelchair for the next couple days. Navigating the grounds with a wheelchair was a challenge, parking for free on Roosevelt before going through the grass of Douglas Park and the various street curbs separating the Ferris Wheel and the Rebel Stage from the main area. For what it’s worth, save for a couple unsavory comments (“You’ve got him trained well!”), most people were extremely aware and respectful, moving out of the way when necessary, and even helping us out of the mud. We chose not to get ADA access next to the sound stage until Sunday, partially because we were unaware of the possibility, but also because we wanted to be with friends and in the crowd. And from my brief experience, Riot Fest and its attendees walked the walk as much as they talk the talk about acceptance and zero tolerance for discrimination against differently abled bodies.

Speaking of Turnstile, what I saw from them was a perfect mix of rap rock, hardcore, and nu metal, favoring songs from last year’s Time & Space like “Generator”, short ditty “Bomb”, and standout “Moon”, the last played twice, once regularly and once a capella by vocalist Brendan Yates to close the set. It was much more inventive and progressive than the band who commenced immediately afterward, nonetheless Riot Fest staple Gwar. This time around, most of Gwar’s set surprisingly focused on the generic thrash music, not as many antics, just costumed men playing and spraying blood willy nilly as opposed to as part of a plot. (Except when they killed Donald Trump--that was great.) It’s not Riot Fest without Gwar, but at this point, their sick jokes and edgelord humor is appealing mostly to dudes like the one in the Joe Rogan 2020 shirt I saw leaving the set.

We then traveled to the secluded Rebel stage to catch supergroup The Damned Things, who thankfully came on late, since on the way we got caught up in one of many “What happened?!?” conversations with a friend. The band first formed in 2010 to release their debut album Ironiclast, then consisting of Joe Trohman and Andy Hurley of Fall Out Boy, Scott Ian and Rob Caggiano of Anthrax, and Keith Buckley and Josh Newton of Every Time I Die. Nine years later, they’ve released their second album High Crimes, and this time around, Caggiano and Newton have left, and in has come Alkaline Trio’s Dan Andriano. At Riot Fest, they played half songs from the first record, half from the new one, including the first four tracks of the latter, which showcase equally what The Damned Things do well and where they fall into the traps of MOR rock. “Cells” is more raw than you’d expect from a band with FOB and Alkaline Trio members, both on record and live, and is a surprisingly great introductory song to the album. The other songs they played from High Crimes, including cheesy cheerleader chanting “Something Good” and “Omen”, whose lead riff can’t decide whether it rips off Tame Impala’s “Elephant” or Muse’s “Uprising”, could have been ditched in favor of record standouts like “Carry a Brick” or “Young Hearts”. The former combines the vocal urgency from Buckley that we’re used to with ETID, with Anthrax-worthy thrash metal, while the latter (along with the record’s centerpiece “Storm Charmer”) interpolate a menacing blues rock stomp that could have been emphasized over the pop punk sheen of the Fest. Not to mention “Let Me Be (Your Girl)”, whose music is straightforward but whose lyrics feature gender inversion when assumed sung from the perspective of the lead singer. I left enjoying the set but wishing they had played for longer so I could hear the deeper cuts.

Album score: 6.3/10

Of course, the scheduling gods put Testament, also known as “if Metallica was still good,” during The Damned Things, so we had time for just a bathroom break before catching The Struts. In case you’ve never heard of them, The Struts are English glam rockers, fronted by a man who wears a shirt with batwing sleeves, who fancy themselves the lovechild of Queen and Def Leppard but end up falling closer to someone like The Darkness--which is not a bad thing! Their second album Young & Dangerous is catchy and somewhat undeniable, and the band’s fanbase came out to support them at Riot Fest, British flag in tow. It was probably the crowd’s enthusiasm that fed off lead singer Luke Spiller that made the set infectious; “If you’re not ready to dance and sing, then you might as well fuck off,” he proudly proclaimed, a nice, clear contrast to drummer Rafe Thomas oozing out the words “Hello Chicago” in the most droll voice possible. Sure, the lyrics “I bet your body’s so sweet” are even more cringey in 2019 than they would have been in the 70′s and 80′s, and the “instructing the crowd to get down to the ground” maneuver is pretty tired, but it was refreshing to see a band so unabashedly and unironically unashamed of their influences. “Don't wanna live as an untold story / Rather go out in a blaze of glory,” Spiller sang on the opening lines of “Could Have Been Me”, and upon ending the song, he instructed the crowd: “Ladies and gentlemen, remember our names!” It felt like a scene from a movie, and I couldn’t help but think that such cinematic flair is exactly what the band is going for.

I had time to catch a little bit of underrated electro pop band Pvris and pick up an Orange Wit from All Rise Brewing Co (another Riot Fest staple whose most popular beer has actually improved over the years) before catching Wu-Tang Clan, almost by default. The legendary group seems to be Riot Fest’s token hip hop booking every other year, and so I’ve seen them play Enter the 36 Chambers about 36 times. They ended up doing it again even though not billed to do a complete album set, but was I really going to see Rise Against, Manchester Orchestra, or Andrew W.K. over some of the greatest artists, let alone the greatest hip hop collective, of all time? I’ll take time number 37.

Then came what I knew was going to be the most difficult decision of the weekend, and one I kept thinking about even after it was made. Thrash metal titans Slayer were playing their final Chicago area show at Riot Fest, and their other supposed farewell show I saw last year was phenomenal. Then again, who am I to believe that this would be the time Slayer would finally stop cashing it in and retire? Instead, I opted to see something I very likely would not see again: Bloc Party playing their 2005 debut Silent Alarm in full. Based on how surprisingly great their Lollapalooza 2016 set was, I was eager to hear a set filled with, uh, only good songs, and the idea of the first sounds of the set being the echo of the opening drums to “Like Eating Glass” traversing through the crowd, was one that supplied me with a rare kind of glee. So when the band came out donning masks, launching into the album’s slow final song “Compliments”, I realized that what I initially heard as speculation--that they would be playing the record in reverse--would be true. There went my dream. The sounds and images of fire coming from Slayer’s stage filled me with regret.

But as the set went on, I realized that the choice was one that was both strategic on the part of the band, making the crowd stay to hear favorites like “Banquet”, and beneficial to the crowd. Each song was more energetic and frankly better than the previous one, from the sweet dancefloor melancholy of “This Modern Love” to the stop-starts of “Positive Tension” and “Helicopter”. Of course, “Like Eating Glass” proved to be a worthy singalong, everyone around me air drumming like nobody was watching. And I even got to see Slayer close with “Angel of Death” on the way out!

With one full day of Riot Fest finally in the books and surprisingly sore from navigating a wheelchair over patches of grass, mud, and curbs, I was thankful that the first batch of sets we were interested in seeing on Sunday was at the same stage, where I could grab beer and food and come back, and we could switch off between the grass and the ADA stage (which, awesomely, had free water). Arriving to hear the end of wildly cool and catchy Chicago post-punk band Ganser, we sat and waited for Nick Lowe with Los Straitjackets (and watched a different kind of “jacket” swarm unfortunate members of the crowd who mistakenly wore too much cologne). With the masked instrumental rockers (another band with masks?!?), two years ago Lowe released an album of instrumental versions of some of his best songs, so I was curious to hear how they would fare as his backing band. They got a slowed down “So It Goes” out of the way, as if to say to casual fans in the crowd, “I dare you to leave,” before burning through a variety of early era Lowe classics like “Without Love”, given a country spin by the band. The band delivered a mid-set instrumental performance as Lowe took a break, showing their guitar chops and stop-on-a-dime dynamism, before Lowe came back for “Half a Boy and Half a Man” and the other song everybody was waiting for, “Cruel To Be Kind”. Before playing set closer “Heart of the City”, Lowe said to the crowd, “Thank you, music lovers!” the quintessential statement from a true “music critic’s band,” but one with the pop songwriting talent to reach beyond.

I took the one-two punch of the “Save a lollipop, suck a dick” t-shirt and the tardiness and subsequent flatness of The Village People’s set as a sign that I should leave and walk by Less Than Jake opening their set with Back to the Future music, be mad again at the scheduling gods for putting the amazing-sounding Ride at the opposite end of the park from where Guided By Voices was about to play, and grab some delicious Harold’s Chicken for myself and unfortunately protein-lacking pad thai for my girlfriend. But there’s nothing like GBV to fix a less-than-ideal situation or improve an already good one. “How do you follow The Village People?” Robert Pollard hypothetically asked as the band went on. “With the village idiots!” With even less time to play than they had at Summerfest, GBV churned out practically all hits, starting with their usual set closer “Glad Girls” and revealing a barrage of known live gems--“Cut-Out Witch”, “Motor Away”, “The Best of Jill Hives”--and some they haven’t played in a while, like Isolation Drills’ “should have been a hit” “Chasing Heather Crazy” and “Echos Myron” prelude “Yours to Keep”, during which a crowd member actually blew a whistle when Pollard sang, “the whistle blows.” The latter was part of the band’s Bee Thousand finale, giving a crowd of casual fans exactly what they wanted and pleasing diehards no matter what.

Deciding to forego sprinting and catching any of Against Me!’s full albums (two of them!) set or Dave Hause & The Mermaid, I planted myself in a spot where I could see Kate Pierson and Cindy Wilson’s beehives. The B-52′s followed a recipe for success in their set, leading off with track one of their debut, placing one hit early (“Private Idaho”), segueing a couple more from their debut into “Roam”, saving the two you knew they were gonna save for last. (Though I didn’t know they’d introduce “Love Shack” with War’s “Low Rider”.) The band was appropriately absurd and silly, frontman Fred Schneider’s sprechgesang adding hilarity to his response to Pierson’s “Something’s on fire in that pizza joint!” (“That’s my dinner!” he responded.) After the band ended with “Rock Lobster”, Pierson broke character and said two very serious things: 1) “Please vote!” and 2) “Go see Patti!”

And Patti Smith we did see, in all her glory. Her voice was as strong as ever on “People Have The Power”, “Dancing Barefoot”, “Free Money”, “Because the Night”, and “Gloria”. Unfortunately, almost half of her set was covers: “Are You Experienced?”, The Rolling Stones’ “I’m Free”, “Walk on the Wild Side”, “After the Gold Rush”, and for some reason, Midnight Oil’s “Beds Are Burning”. I would rather have heard something from her excellent later career albums like 2012′s Banga.

Hey, but she got a tribute during The Raconteurs’ set, as they chanted a little “Gloria” during “Top Yourself”. Along with shouting out headliners Bikini Kill (and the fact that they call God a “she” on new album closer “Thoughts and Prayers”), was it all part of Jack White’s plan to reveal himself as a feminist punk? I’m not sure; I do know that sociopolitical ideas aside, Help Us Stranger is a bit underwhelming as compared to the previous two Raconteurs releases, which were no White Stripes albums themselves. In any case, the band gave a very good set, because Jack White live is not to be reckoned with. The generic charge-up of album opener “Bored And Razed” was a buzzing jaunt on stage, and the blue-eyed soul of “Now That You’re Gone” was actually a nice change of pace from the blues-rock mashing of “Top Yourself”. On record, though it’s a welcome Ryan Adams diss track, “Don’t Bother Me” is straight up annoying, the repetition of the title after each line well-intentioned but flat--again, live, it somehow worked as a piece of absurdism. Thankfully, the band did play some of Stranger’s highlights, like the beautifully melancholy “Only Child” and power pop jam “Sunday Driver”. I wish they had replaced the comparatively generic “Somedays (I Don’t Feel Like Trying)” with catchy punk dirge “Live a Lie” or “Thoughts and Prayers”. The latter is the best song on Help Us Stranger. From the title, you think White might be trying to comment on gun control, but the song is at heart about life, a zooming folk odyssey rife with synths and fiddle and mandolin. “There’s got to be a better way / To talk to God and hear her say / ‘There are reasons why it is this way’,” White sings. It would have been an appropriate Riot Fest song: realistic, yet inspiring.

Album score: 6.3/10

But it was Bikini Kill’s triumphant reunion that was the perfect way to end the weekend, with dizzying instrumentation courtesy of Tobi Vail’s drums, Kathi Wilcox’s bass, and Kathleen Hanna’s guitar and siren of a howl. You knew they would sound great and play everything you wanted, from “Rebel Girl” to “Demi Rep”, the latter of which I hope will expose a new generation of fans to the band as the theme song to Hulu’s excellent PEN15. But the most fitting, even if not entirely poignant, was Hanna’s commentary, decrying “Let’s take this country back” white feminists and men who think they know everything, calling out rape culture more explicitly than anybody at the entire fest. “I’m sure Slayer talked about this a lot,” she quipped at one point. But it was a thought-provoking off-handed comment, one that makes me look forward to future lineups. Forget my forced symbolism of a $10 dollar beer. And I know the inherent problem of having a private, very white festival in a public park in a neighborhood made up of predominantly people of color, is not going to go away as long as the fest stays in said park. But Riot Fest can make a statement with the curation. Do they continue to market to nostalgia with minimal radical politics? Or will the festival live up to the name and, in their own words, stop sucking?

[asagimeta]

In Defense Of Seto Kaiba..... From Someone Who Used To Hate Seto Kaiba

@youfancymemaddearie said she'd hear me out on why Kaiba isn't The Actual Worst, so for this I'm mostly only going to be using the material I'm personally familiar with because things like context and translations and stuff could get warped otherwise, wich means roughly the first half of the dubbed anime, but I might pull other things here and there that I feel like I know well enough to have a grasp on via things like wikipedia and other meta (it's a long story as to why I never finished the anime so I won't bother getting into it here)

The manga, being a separate canon, is going to be pretty much ignored for this, except for one breif instance where I feel it's necessary to compare something from it to how the anime did it

So, the thing is, for most of my life as a YGO fan (15+ years as of 2018), I bordered between a really weird love and hate of Seto Kaiba, I loved him the way that I love a good villain, the way I love Hannibal Lecter let's say, he's entertaining and I always liked having him on the screen but as a person I really hated him, because.. why wouldn't I? He's an absolute dick to everyone around him with the exception of Mokuba, and even Mokuba doesn't exactly get the cuddly treatment most of the time, he spends the beginning of the series toeing the line between outright villain and anti-hero, and the amount of low-blows he hits and lack of care he has for people who are trying to help him- or people in general- is pretty terrible, atleast... that's how he's presented on the surface and that's how I felt for close to fifteen years

And then I started writing him and the little bastard forced me to change my opinion

Firstly, it's established from the beginning that Seto's actions in stealing Grandpa Muto's card and tearing it up (not to mention giving him a heartattack) aren't entirely his own, Seto had an evil possessing him at the time that, wile manifested from his own feelings, was no less a different entity, it took him over, just like Marik's dark self took him over, it's well-established in YGO that you can be so overcome with pain and anger and negativity that an entirely different spirit manifests and takes over your mind, a process that- wile reversible if caught early enough- is really something that can only be reversed by magic, like a shadow game or a mind crush

Since this is the thing that Atem removed from Seto's mind in episode one....

The actions he took prior to being mind-wiped can't be held entirely against him, as he was not consciously in control of what he was doing at the time, much like the actions of Yami Marik can't be held entirely against Hikari Marik, you can sure as hell blame Marik himself for alot of the things he did during Battle City, but things like the duels against Mai, Joey, and Atem, wherein it was blatantly clear that it was his evil half in control and his good half didn't have access to the controls (made even more obvious by the Yami Duel wherein both spirits had to sacrifice parts of their lighter selves/hosts for losing life points) are impossible to hold entirely against him

We also see that everything is Not Ok after the mind-crush, given that Seto passes up the chance to do his all-time favorite things (dueling, winning, and showing off) on the grandest scale yet when he decides to skip Duelist Kingdom, he claims it's because he doesn't know how to handle being defeated, and wile that may be partly true, it's pretty canonical that it was because of the mind crush (why else would they bring that hideous glob of evil around to duel Yugi/Atem once more?)

And, here's where the manga reference comes in, when you take into account that in the manga, he was in a six-month long coma after the mind-crush- and, mind you (ha), Duelist Kingdom is the turning point where the manga's canon starts to get closer to the anime's- it's really hard to believe that Seto's existential crisis is based on losing and not based on having evil forcefully removed from his soul by an ancient Egyptian spirit who's out to have a good time and was really feeling attacked at the moment

There's really no convenient place to inject backstory, so I'll do it here in the hopes of flowing more easily into the rest of Duelist Kingdom

Seto has been taking care of Mokuba since they were extremely young, he's essentially more like a father to him than a brother, and he had to learn early on to defend him - and that meant getting rougher, getting tougher, getting meaner, and when it came to Gozaburo- who's just about as abusive as one can get and really puts the word "pressure" to good use- that meanness has to amplify, it's made clear that Gozaburo wouldn't tolerate anything less than perfection and ruthlessness and if that was how Seto had to survive, that was how he had to survive, he spent most of his formative years under that kind of hand so naturally he was forced to form that way....

But as someone pointed out in another post somewhere, we can see by how well adapted Mokuba is just how much Seto has taken on in protecting him from that kind of corruption and evil, Gozaburo never really wanted Mokuba around so the pressure he put on him compared to Seto was definitely minimal... but that doesn't mean he wasn't just as abusive, and the fact that Mokuba spent the majority of his life with no parents of any kind and has relied pretty much solely on Seto as a parental figure- both in the way of necessities like food and shelter, as well as for emotional health- and yet has come out of it as a generally upbeat, positive, gentle person, really shows that Seto has to be doing something right, otherwise, it doesn't make alot of sense for Mokuba to have no shreds of bitterness, resentment, or negativity in him (again, going by the anime only) And further, to show the outstandingly deep devotion he does for Seto- utterly unwavering and full of not only loyalty, but genuine love and affection- proves that Seto has done something right somewhere, Mokuba never shows a single ounce of fear or hesitation towards him and never gives a second thought to hugging him, following him around, or getting involved in his personal affairs, if Seto had ever given him reason to be afraid of him (IE: abusing him or simply not stepping up to protect him when Gozaburo was abusing him) I find it really hard to believe that Mokuba would act so completely care-free with doing things that Seto may find unpleasant

Mokuba is Seto's entire world, he flat out tells Yugi that Mokuba is "everything to him", not money or power or success- Mokuba, wich is already something that speaks volumes about who he is as a person, and the extremes he goes to in order to protect Mokuba are .... pretty fucking extreme

When I was a kid, I thought that the "attack my Blue Eyes and you might just kill me" stunt he pulls on the rooftop at Pegasus' castle was a really filthy trick and was probably my primary reason for hating him as much as I did- and let's be honest, it IS a filthy option to resort to.... but as an adult, I understand it now, and can't place blame on him for feeling so completely backed into a corner, he wasn't trying to trick Atem, he was being sincere, I mean.... filthy and sincere... but still sincere

He would rather die than lose his brother, he was so desperate that he was ready to let someone kill him/commit suicide because he was out of options, and in that perspective, it's alot easier to understand why he did what he did, I don't excuse it, but I do understand it, and really, when it really boils down to things, can anyone say that they'd sooner let the only person in the entire world that they love die, for someone who they don't even like? The true crime of this entire thing isn't really that Seto was desperate enough to resort to suicide and emotional manipulation to win.... it's that he and Atem were both so stubborn and downright stupid that neither of them thought to actually communicate about why Seto needed to win in the first place, despite him saying repeatedly that he needed to save his brother and Atem saying repeatedly that he needed to save "his" grandfather, neither of them paused long enough to say "... We have a common goal, let's work together, or at the very least, come to a compromise" before resorting to such desperation, no one on this planet can seriously tell me that Atem wouldn't have jumped at the offer to save Mokuba if Seto had presented it to him, though, to be fair, I'll never understand why he didn't just offer to save Mokuba along with Grandpa in the first place (plot convenience really)

Although communication is an enormous problem with Seto and is one of the main reasons why he's always such a complete prick, he has a tendency to talk in code and to cover up what he means with what words he chooses to use, most likely because he A. Wasn't exposed to other children between the ages of 8-14 and before that most of his exposure was negative, and B. Was taught brutally that even the tiniest sign of compassion or understanding is weakness, and even the tiniest weakness is going to get you severely punished, he was already closed off to people during his stay at the orphanage, this just cemented that experience further

(And as a quick note, he acquired a company at 14-years-old, he was still a baby and running this God foresaken thing by himself, had no parental figure, still raising his brother ALONE, and let's also talk about how this 14-year-old BABY turned a weapons manufacturing company into a gaming company in less than two years, as he was sixteen during episode one of Duel Monsters)

To mention also: When faced with the fact that his company, that he had worked so extremely hard for, and that means so much to him, was being sold to Pegasus and he was being kicked out, where was his focus? Still on Mokuba, his brother was ALWAYS the absolute forefront of his focus during the entire Duelist Kingdom arc and his company played a very small second fiddle in comparison, I'm not sure if he even brought up the company more than once or twice during the entire arc, that's ... a little shocking all things considered

Additionally, despite how cold, untrusting, egotistical, and downright mean he can be, he outright thanks Yugi for rescuing Mokuba- twice- within the first season, once after Duelist Kingdom and once after Legendary Heros, that's kind of an enormous thing as Seto doesn't hand out gratitude easily.... though, speaking of gratitude we definitely have to confront the Joey-shaped elephant in the room

The way he treats Joey early on IS deplorable, he doesn't exactly treat any member of the Nerd Herd well, but things are especially prickly with Joey, and I'm unclear of the reasons for that- I don't think canon ever gives one- but I think of all of Seto Kaiba's ill moments, the way he treats Joey all the way up to late Battle City is without a doubt what I cringe at the most, he early on drives Joey so low into the ground that it gives him NIGHTMARES and is so ruthlessly horrible to him during that first encounter at Duelist Kingdom that I think, to date, it's the Kaiba thing I cringe at the most, I definitely don't excuse that behavior, and it burns me up like a firey demon when he refuses to thank Joey for being the one who ACTUALLY saved Mokuba, yet turns around and thanks Yugi instead, I'm also not exactly pleased with the fact that he tried to keep Joey out of his tournament but I really chalk that up mostly to Joey not having anything Seto wants and not being a duelist he respects vs outright cruelty, remember that for Seto, Battle City is ALL about getting the god cards and drawing out rare hunters, Red Eyes is Joey's rarest card but Seto never seems particularly impressed by it, and that coupled with him not respecting Joey's skills- as he believes he rode Yugi's coat tails through Duelist Kingdom- makes some sense as to why he wouldn't want him participating (outside of just disliking him) it would be counterproductive

The thing is, Seto DOES slowly shift out of "I legitimately hate your guts and am going to make sure you know it" and into "I'm going to pick on you because it's fun when you fight back and it's just how we communicate now", Battle City is a big turning point in my personal opinion, the second time Joey and Seto duel is still full of terribly mean words but the vibe is very different, from where I'm sitting, it feels alot more like an "I'm pulling your hair because I like you" type of thing and alot less like outright bullying for the sake of bullying, the fact that Joey doesn't take any of it to heart and just fights mean quip with mean quip the entire time is solid proof to me that the relationship is just mutual antagonism now and not so much outright bullying

Speaking of Battle City... there's alot of growth for Seto there, he works with Yugi and Atem frequently, at times by force (to save Mokuba) but at times because he wants to, he agreed to help Atem find the rest of the nerd herd before getting any word that Mokuba was taken because he wanted a duel for Atem's Slyfer card... even though all logic dictates that they probably would have faced eachother during the finals anyway and there is was literally no reason for Seto to follow him around begging for a duel like a five-year-old except for A. Impatience (not untrue) and/or B. Just .... wanting to, he could have so easily said "Find your own freinds, I'll get that Slyfer in the finals either from you or whoever beats you" but instead he spends his valuable time and energy tracking down Joey via his duel disk, and after all is said and done and Mokuba is safe...... he still helps Atem, he claims it's because he doesn't like owing people but that's never prompted him to go out of his way for Yugi and the others before (post Duelist Kingdom and Legendary Heros, Mokuba is the one who lets Yugi use the arena at Kaiba Land for his duel with Rebecca, here Seto has built up two favors that he owes and yet never says a word or makes an attempt to return them, so why does "owing" someone push him to keep helping Atem in Battle City when it didn't before? Either his "I don't like owing people" philosophy is new- wich is still charector growth- or he just wanted a reasonable excuse to keep helping Atem because he knew it was the right thing to do) Speaking of the right thing to do, when they DO track down Joey and Tea`, Seto is... surprisingly inactive during the duel, he has plenty of perfect opportunities to stop the duel somehow, and, if he was REALLY feeling cruel, to just outright steal Slyfer (wich Atem tossed aside when he started the duel) and get rid of both Atem and Joey by interrupting and making the anchor sink, yet he carefully keeps his distance until the timing is right for him to save Tea` because he doesn't want ANY of them to get hurt, not the rival he can't defeat, not the "third rate duelist" he supposedly hates, and not even someone (Tea`) who he barely knows

This is the same guy who gave an old man a heart-attack and used it as blackmail in episode one

Additionally, Seto immediately leaves after saving the day, that all-important duel that Atem owed him that he had FINALLY won? It didn't happen, Seto was still nagging him about it even after saving Mokuba, yet when it came time for Atem to FINALLY pay up he just..... walked off and said "nah see ya' in the finals", maybe he knew how exhausted Atem was and didn't want to duel him at half-power, maybe he was personally too tired to bother with it (although dueling to Seto seems to work the same way twenty-five cups of coffee does to a normal person so I doubt this) or maybe he just didn't feel like making Atem come through on his deal anymore, it doesn't really matter, it's all growth

And let me also point out that Atem wouldn't even have Slyfer if Seto hadn't given him a freaking pep talk in order to win it, Seto could have just as easily waited for Atem to lose and then dueled the mime for Slyfer- and that probably would have been smarter honestly, since Atem is the only one who has a history of defeating him- and yet.... he chooses to put energy into helping Atem instead

I feel like it's kind of understated that in the Battle City finals, Seto actually has a doctor and an infirmary on board the blimp, he claims that anyone who can't handle dueling at high altitudes and with raging winds isn't worth his time so what is the doctor and full medical bay doing there then? If he was that worried about Mokuba alone he would have had a much easier time just telling him not to go above deck, and if it was about law suits I tend to believe he wouldn't have people dueling on top of a freaking blimp in the first place, so he either anticipated Marik's shadowy shenanigans coming up (wich is a POOL of charector development on alot of different levels) or he anticipated accidents, people getting air sick, issues with the high altitude and what not, and figured that he'd better be completely prepared even for things like that wich are relatively small and not really needing of the tricked out medical bay (he had atleast one LIFE SUPPORT machine in there so obviously it went above and beyond just a first aid kit) Also, I know I said I was using the dub for this, but it's come to my attention that in the sub Seto is alot less of a jerk than he is in the dub about landing the blimp- originally, the ONLY problem is that the controls are screwy from the Noah incident (wich, by the way, is an enormous Thing all on it's own about Seto all on it's own, it's basically a showcase of Wow Was His Childhood Fucked Up, Let's Rub It In, and it's made clear just how impacted he was by his father and his father's company throughout, from the importance of his duel with Lecter being weapons-themed to his final duel with Guzaburo and saying "I won't be burried by you Guzaburo", giving up his chance to defeat Noah because he refused to hurt Mokuba, and the gem of telling Mokuba that everything he's done has been for him and a better future for them) and speaking of moments where the dub fucked up, I find another important gem during mid-Battle City when Tea` mentions that Seto actually lowered the price of duel disks "so everyone can play", that sounds alot less like a strict businessman and alot more like someone who just wants to offer kids the same escapism that he had when he was their age to me, a similar motivation I'm sure to why he opens up Kaiba Land

This is sadly where my "I'm greatly familiar with this material" knowledge comes to an end, as I only saw roughly half of the Orichalicos arc and that was too long ago for me to remember most of the small details in (plus I tend to kind of ... try to wipe that arc off the books considering that I find it to be a butchery of.. alot of things..)

Seto Kaiba is a complicated charector, he's very prickly and definitely an asshole- that's not in question- but I think he's really a very soft person when you peel back the initial layer, he's very good-hearted at his core, he just has an incredibly hard time expressing that- and for VERY understandable reasons, for all of his selfishness and egotism, he pours absolutely everything about himself into protecting his brother and gives alot of himself to trying to make things better for people (turning a weapons company into a gaming company may have been his dream but it was also an outlandishly hard task to accomplish and one that ultimately was better for the world, for example) there are moments where this all shines through but he tapes masks of coldness and insults and dueling metaphors over top of it because he just sincerely doesn't know how else to handle things, he IS, after all, still a 16-year-old child when the series begins, and I think he's only 18-19 at most when it ends, in the grand scheme of life, he's still practically a baby and has been thrust into so much adulthood that most 40-year-olds would have jumped ship already, he takes on the responsibility of his brother and his company and being a half-ass decent person (in so far as, you know, not blowing up the world or anything) without ever once complaining about it or trying to shrug it off or giving it ANYTHING but his all, and when you earn his trust and respect (as Atem and Yugi do) you get alot of loyalty and trust back- the shenanigans he goes through that he doesn't explicitly have to are good showings of this, and all of the ruthlessness his shows are purely survival instincts at their highest, he's had his company nearly taken away from him FOUR. TIMES. between Duelist Kingdom and the Orichalicos arc, FOUR. SEPERATE. TIMES. and I have an outstandingly difficult time believing that those were the first or last times that some crusty old men thought that a teenage C.E.O. would be easy prey to steal a multi-billion dollar company from, he's probably been white-knuckling that company since the day he took it over and I don't see that ending any time in the near future

[kiyye]

how does one get into homestuck???

Short answer??? Just go to http://www.mspaintadventures.com/?s=6 and start reading!!!!!!!!!!!!! You click the link that says “Enter name” to go to the next page and then keep clicking there.

Longer answer. Homestuck is a webcomic. Depending on what you’ve heard/seen around the internet, it often seems like some huge beast of a thing surrounded by years of fan culture, and that’s partially what it is, but at its core homestuck is also just a story. And a GOOD ASS story in my opinion (but thats coming from someone who’s read it 5 times through and thinks about it on the daily so uhhh im maybe not the most objective critic here??? but gOD I LOVE IT). Homestuck is long, but I know plenty of people who archive read it and love it just as much as I do, so I promise you will be able to get through the whole thing. (If you have not heard anything on the internet about it, either negative or positive -- dont worry about it and start reading!!!!!!!!!)

Another thing to remember is like. Homestuck is a story that in some ways you kind of need to take and make yours??? Personally I would advocate for reading every single bit of it and taking in as much as you can, plus reading bonus content like SBAHJ and the paradox space comics, but again thats coming from me, the most obsessive human being on the planet. I know people who didn’t make it through the troll acts, or skipped over the dancestors, and the story is still meaningful to them. So just read what speaks to you and don’t worry about being a bad and evil fan if you dont want to find every single dialogue option in the minigames. Some people can just sit down and read the whole thing, some people have to take it in small chunks. You can probably guess which kind of person you are based on how you usually read things.

So about the first few pages. I remember when I started reading it I was honestly confused because I thought I had missed some kind of background lore that would explain the things that were happening in the first act or so. But let me tell you: No, there is no required reading pre-homestuck (the author has done other webcomics and there are lots of callbacks to those as well as pop-cultural references and shit, but nothing plot important). If you start at page one, which I have linked above, and then keep reading, you may be like “what the fuck is happening right now, what is a sylladex?” You are supposed to be confused! Just persevere my dude.

Lots of people try to summarize it and do a shitty job because its not something you can easily summarize. But here’s me taking a crack at it? Homestuck is a webcomic about four kids who play a (fictional) game which turns out to not actually be just a game. Originally, it was a forum based text adventure, where fans (real people) would submit commands (for example, “Enter name”), and those would then inform the direction of the comic. The first act is largely comprised of quirky events occurring in a generally mundane setting. It’s just set on regular old earth, but for some reason people have video game-esque inventories, and john keeps fake arms in chests and does all kind of whacky shit. It’s charming but not particularly dramatic. From there, more colorful and complicated events unfold, eventually leading to ALIENS and huge epic flash animations and big bad villains. Shenanigans are had along the way.

This is probably a needlessly long post but I love homestuck on a deep, deep, unexplainable level and I very much want it to feel accessible to new readers!!!!! Here are some other helpful links to help you out if you really want to Get Into The Comic (and the fandom):

Before/during reading:

The homestuck wiki, an essential

This is the mspa “new reader” introduction page. It suggests starting off with problem sleuth but I personally dont think thats necessary. I jumped right into homestuck and was fine.

If you want to save this post, here is some post-reading or maybe during-reading material! I think half of these get linked in the comic but they’re some of my favorite homestuck supplements:

Dave’s blog. Know who dave is first, then this whole masterpiece is fair game

Sweet Bro and Hella Jeff. Same comment as above.

If you’re craving that good good homestuck content, paradox space is a bunch of standalone comics made by artists and fans. its dead now i think but it was a cool project that kept me alive for a summer or two

And uh just off the top of my head, here’s some relevant fandom reading dirk reading for when you’ve consumed all that and you’re sad and desperate for more. These are post-reading -- Come back to these after you finish the comic: Theatre of Coolty. Theatre of Coolty (The Movie). Detective Pony. (I’m so sorry that those are all dirk things). As for non dirk things, there’s Hiveswap, which you can find on steam, and loads and loads of fan videos on youtube that you can get lost in for hours.

I HOPE THIS POST IS HELPFUL TO YOU and i would highly, highly encourage you!!!!!! to read homestuck!!!!!!!!!!!!!!!!!!! If you’re just looking to start and this is all the information you need, GO FOR IT and pls message me any anecdotes you have because i crave the experience of getting to read it fresh all over again and i Will live vicariously through you. If you have been debating over reading it but you’re not sure if you want to, this is a wonderful post.

Happy reading from a big huge homestuck nerd!!!!!!!! :D :D :D

[eremji]

Thoughts on Infinity War, and Thanos' Motivation

Disclaimer: I'm not a Marvel expert. Some of my information on comic plots was collected from wikis and secondary articles, due to a lack of access to a primary source or the simple inaccuracy of my own memory. I also mostly enjoyed Infinity War, and any criticism herein should not be taken as decrying the whole.

Spoilers behind the cut. Please close your eyes and scroll super fast, block tags, duck and cover, etc. if you’re on mobile, because, seriously, spoilers.

An extremely simplified version of movie production:

From a production standpoint, Iron Man was a huge risk for the studios fronting the money for it. After critical and box office flops from 90s Batman films and other various superhero action flicks, studios typically found comic book movies to underperform in comparison to budgetary requirements for good visuals, making them unattractive. Marvel has taken a large step away from making comic book movies, to making comic book adaptations, because what works on the page doesn’t work in a moving picture.

Marvel Studios’ cinematic success has almost nothing to do with how compelling the source material is – because some of Marvel’s library is pretty much slush pile garbage. This was before your average artist or consumer realized you can get pretty literary while still having cool pictures on a page. They’re valuable because they propelled the comic industry to widespread success, but the source is best examined with a critical eye towards tone deaf and anachronistic viewpoints on race, sexuality, gender, and pretty much everything else. Marvel Studios has done a fairly consistent job of divorcing the cinematic canon from the original medium’s baggage, to which I attribute a large portion of the films’ success in comparison to very lukewarm iterations of DC or X-Men.

As media consumers, we’re accustomed to having a finished product to hold and analyze. When considering story, in terms of plotting and pacing, I personally believe it’s most helpful to compare the scope of the MCU production to be similar to that of a television show, rather than a traditional movie or movie series. It may be startling to know that even very successful television shows, like Breaking Bad or Stranger Things, often don’t even have all the episodes completely written out prior to beginning filming of a season.

Marvel Studios’ movies have been in production for ten years, with many, many different hands in the pot, and earlier scripts don’t always set up the best planting and payoff of character or plot elements later in the continuity. (For visual learners, Lindsay Ellis has a very layman-friendly example using clips from Mad Max: Fury Road.)

You can see where this might start to cause some consistency issues.

Crossover event comics and the necessary sacrifice of emotional development:

For anyone walking in to expecting Avengers: Infinity War to have a lot of character development, I’m very sorry for your loss.

There was never going to be a grand emotional reunion for Steve and Bucky, and there was never going to be whole hours dedicated to bonding and witty bickering and new friendships that weren’t absolutely vital to the plot. That we got things like the Steve-and-Bucky hug, the jealous Star-Lord vs. Thor moments, and Steve introducing himself politely to Groot were for the benefit of the audience more than advancing the plot, which is a huge victory in terms of crushing as much as possible into a theatrical cut.

A film production has a finite amount of screen time to allocate before a movie becomes bloated. When people joke about Infinity War being the most ambitious crossover event, I don’t think some of them realize how on the mark that is from a production standpoint. Hard decisions have to be made between what isn’t vital to advancing plot in a compelling way and what was retained to meet audience expectations. Infinity War often felt like it tried to recapture that Joss Whedon-ish sassy-but-kinda-flat comedy from the first Avengers, and that meant punchlines for jokes sometimes land at emotionally inappropriate times because characters just don’t have cinematic space for witty banter between shooting aliens and losing everyone they ever cared about.

There’s a difference in author-audience expectations of what’s important in these team-up movies, and also gaps between fans actively participating in fandom because they love the characters and casual moviegoers looking for a blockbuster. It all comes down to how much each party in the creative transaction is willing to settle for. Traditionally, Marvel has set up the character-driven plots and subplots in individual comics with occasional crossover cameos for a few issues when another character or baddie is relevant to the plot. The large crossover events, like Civil War, Contest of Champions, or Infinity are almost always plot-heavy and character-light.

This is so much easier in comic book format, where multiple series can be coordinated in regular, paced releases, and different comic issues may happen parallel or directly before/after the event crossovers. Movies take a significantly larger amount of time to produce, through pre-production, filming, post-production, marketing, and distribution.

A brief (I’m serious, they’ve been making comics since the 1939) explication of source material:

One of the largest disconnects for me, as a fan of both the comics and the movies, was the change in Thanos’ motivation, but not his mission. For those who aren't aware of the origins of his character, he essentially wants to murder people to impress a girl – Mistress Death, to be specific. He wants to kill half of all life in the universe so that he can be her equal and win her affection. 

Dorkly did a pretty solid breakdown of some of Thanos’ Infinity Gauntlet story and the innate misogynistic slant of his character, including comic panels from the original source material, that paints comic!Thanos an internet Nice Guy™. (Feel free to skim the article; it's a bit slow to get to the point.) Perusing the comic panels, you can see Thanos is hella into negging and is spiteful when Mistress Death shows interest in another dude (spoilers: it’s Deadpool). He clearly believes love is possession, and if he can’t have what he wants, then, good golly, no one can.

He’s also really off the rails – dubbed the Mad Titan even before his objectification mega crush on a badass corpse with a wicked bod – and is personally responsible for destroying Titan. He’s not a villain that believes he’s the hero, and this shift away from his motivation being dangerous-and-horrible to dangerous-and-misguided casts the first shadow on the premise.

My (very personal) opinion on the execution:

MCU essentially played keep away with some of the more supernatural elements of the source material, at least until introducing Dr. Strange. In doing so they had to construct Thanos’ motivation for a comic-book-inspired task out of whole cloth. There is no Mistress Death. Secondary characters that were discrete entities are often pulling double duty*.

(*Or triple. See also: Bucky Barnes, who is wearing the backstory of Captain America's gay best friend Arnie Roth and now White Wolf. If you were previously unaware of this factoid, please enjoy the irony that Marvel’s biggest pro-American propaganda piece had an openly gay best friend circa early 80s but Civil War ham-fistedly had to work in that awkward-as-fuck smooch between Steve and Peggy Carter’s hot young romantic surrogate niece.)

So, okay, they have to reinvent Thanos, who we've only seen in a handful of post-credit scenes and vicariously learned, through Loki in the first Avengers movie and then Gamora in Guardians, is a conqueror and also really Bad News™.

I buy everything so far. And why not? Black Panther made me love Killmonger and his rage, and the parallels to contemporary issues made him fairly empathetic without highlighting that his perspective was necessarily the ‘correct’ one. Similarly, Spider-Man: Homecoming’s villain, Vulture, was believable in the sort of suffering everyman-turned-desperate way, highlighting the fallout of the Space Invaders vs. Avengers destruction without suggesting the audience should root for Vulture.

In general, I am on board for these movies going straight for the throat on the big baddies of the comic universe because movie production is lengthy, expensive, and time-consuming. Dear Marvel Studios, Give me Avengers vs. Dr. Doom. Love, Me.

A villain can be built up over the course of a single movie (or two). Armed with this optimism, and heartened by recent Marvel Studios successes in characterization, I walked into Infinity War expecting as much gratuitous violence, universe-cleansing genocide, and genuine fear of Thanos as I could possibly expect from something Disney-adjacent.

I knew people were going to die. Let me say – there was no way to spoil this for me. The Infinity Gauntlet comic series starts with half the universe dying. I expected there to be ‘casualties’ and even though the Russo bros said that this wasn’t two parts of the same movie, it’s certainly serial. At minimum, I was expecting Thanos bent on conquering the cosmos, worshiping at the altar of death in the abstract, if not groveling for an inevitable-cosmic-force-turned unattainable woman.

And yet. And yet.

We got the purple version of the Kool-Aid man with some seriously unaddressed parent-child issues (mirrored in Tony Stark’s loss of Peter Parker) and a wholly unimaginative motivation. I won’t go too far much into the movie’s alarming efforts at framing Thanos as a sympathetic character despite his genocidal and horribly abusive tendencies, because I am A) not an expert at identifying film technique and B) the push for Thanos to be an empathetic villain has been analyzed elsewhere.

Phenomenal, limitless cosmic power and all you want to do is break shit? For all the immaturity of it, Thanos’ comic book motivation was more believable.

To those arguing that the his motivations in the movie are predicated off of him being the Mad Titan and therefore not rooted in logic: The film did not explicitly plant the idea – except in the way that we know genocide is bad due to an innate sense of morality – that he was unhinged and power-mad, nor did they really give the audience any payoff.

Instead, we get, ‘I don’t really want to do this, but I must.’

There was a point where I started wondering why the hell he wasn’t just being steadily roasted by the Avengers for not receiving some sort of basic education in the evils of wealth disparity and resource distribution.

As an audience member, was I meant to believe this incredibly powerful entity at the center of a massive fleet, accompanied by a group of talented and sycophantic followers, couldn’t think of a better way to bring ‘balance’ to the universe?

Perhaps Thanos’ justification is simply the conceit of the way the universe operates, required to propel a plot forward. However, this is also poorly explained. There are many unanswered questions: Why is it a given that killing half the universe will create balance? What does balance look like? Is this state permanent or is it a routine, necessary evil in order to stop entropy? Is balance a socioeconomic state, or does it have some greater cosmological significance? We know that Titan fell after rejecting Thanos’ extreme solution, but would the population have actually endured and flourished if his plan had been carried out?

For a movie that did so well at handling a cast so phenomenally large as the one involved in its production, Infinity War really didn’t go in very hard on selling Thanos. I would have been perfectly happy if Marvel Studios had taken the risk to lean in hard on making the movie Thanos-centric, given Thanos even more screen time to develop his character, motives, and the rules of the universe – and then make Avengers 4 about, you know, the actual avenging.

Parting notes:

What are we left with?

Infinity War gifted us with some badass action clips, a fairly jarring death performance by Tom Holland, Cheerful Goatherd Bucky Barnes, and emotionally traumatizing bubbles. It never really sells the conundrum it sets up via Thanos. You'll never hear me insist a peice of art or entertainment is required to carry some sort of social commentary or moral message, but I feel like this could have been, tonally, a vastly different film had it considered the core of Thanos' motivations the same way it considered Vulture's or Killmonger's.

Also, where the hell is Adam Warlock (set up at the end of GotG: Vol. 2; revisit planting and payoff) to shit talk Thanos’ lack of villainous veracity when we need him?

[qrhymes]

Death Note (2017) –What means being a good adaptation?

Keep the soul, the spirit of the original work.

I know this answers is vague and not really a factor in the goodness of a movie ‘cause you can still be faithful to the original themes of a work and still suck (The suckiness can take a plenitude of forms), however I firmly believe that the first step to be called a good adaptation (not necessarily a good movie or series or whatever) is breath the same air and meaning of your source material even if the plot, the story or even your character change in the process (That’s the reason that the so called “Spiritual adaptations” are a thing).

So, what are the elements that this movie needs in the first place to be called a good adaptation?

The original Death Note, to me at least, it’s a story about how “absolute power corrupts absolutely”; you give the power to decide who lives and dies to a teenager that subsequently becomes, in the spawn of a few day, in a full time sociopath (And yes, one of my absolute problems with the original is the lack of a natural transition between Light and Kira, but you can argue that that was the point) with a god complex.

I know that a lot of people see the series as a study of morality, a conflict between ideologies; the means justify the end, etc. However I have never been able to see this part of the conflict because the series never explore it’s moral dilemma beyond the superficiality of “Is It right to kill criminals?” that is and interesting and deep question that could sustain an entire work however the thing gets reduced to a “if you are not with me you are against me”.

Death Note is juvenile work and its simplicity in how develop its main question proves it…however, even if its wannabe main theme its underwhelming, Death Note still has a lot of goods and greats during its run.

The hypocrisy and the delusion of Light are great pieces for a tale how power corrupt, the entirely Kira cult, our perception of justice and the hypocrisy in those system it’s another interesting point, Ryuk as the wild card of the series is fantastic, the entire Kira task force is amazing and, at least for me, the great savior of the series.

L becomes what Light never could, a morally gray figure, that actually have weight in a morally ambiguous story of the meaning justice and what is right. L may be in the role of the traditional good guy, however he’s selfish detective that only take the cases that he finds interesting, a man that keeps in line with the law but is not afraid to push that lines to its limit, despite his gimmicks and status as a Sherlock Holmes 2.0 L comes along as a very flawed individual, not really seeking justice for the hundreds of thousand, but just challenge for his intellect. The Kira case is a passion project from him…Not really what you could call a hero, however in this kind of work it’s exactly what we needed, a hero antagonist with a lot of shades of black, whose sheer charisma and personality make, maybe not a paragon, but a compelling and lovable character that a lot of people, me include it, fell in love with.

Finally Death Note is a great mystery series, a tense police drama with genuinely thrilling mind games, an incredible pace and an overall fun ride with a ton of memorable scenes and twist, Death Note is a lot of thing and addictive as fuck is one of them, the flow of the series is so good and that is one of the better aspect of the series, what makes it so accessible is a well put and enjoyable show…so how many of these points got checked in the movie.

…Well Ryuk was…actually pretty great…

Ryuk is easily the best part of this movie, he is creepy, unsettling, menacing but also a lot of fun to have around and his character is the closest to his counterpart. I also like how the movie treats him.

He is different; less cooperative, less friendly, more malevolent but still this guy that it’s doing what it’s doing just for the lulz, and his final delivery “You humans are so fun” close his character in a really high note.

And yes, a lot of the credit goes to Defoe’s performance. I don’t know if he gives a fuck about the source material but it doesn’t matter, he is having a blast with role and so are we.

So Ryuk was fantastic…the rest of the film not so much.

There are a lot of issues here, but in general we can summarize all in two great issues. First, the movie it’s afraid to actual challenge the audience, is a tame product, one that goes for the secure route, lacking a lot of the boldness of the original material.

Even if you want to think the best of Light, he still was playing at least the role of anti-villain, someone that has do what he has to do to accomplish his objective, it’s his choice to use the Death Note, to kill criminals, the people that chase him and even his own followers when they stop being useful to him (And don’t we forget the sheer placer that the guy has with out-smarting his opponents. Yes you can argue that some kills were a necessary evil, however he enjoy some of those kills too much for someone that was still claiming that was doing all of that for the greater good). And yes, the ultimate power to kill is a factor of seduction, of course. However is still a choice that Light makes on its own…here he has to be convinced to use the note, first from Ryuk invoking dream like sensations and power fantasies and then by Mia which apparently is getting off from using the note…I mean, leaving aside that Light was probably asexual and aromantic, him using the note here feels more like he trying to impress her that trying to clean the world from criminals and yes, I don’t buy that part of his characterization in the original work, but that part built up in his hypocrisy.

Meanwhile here Light it’s treated more like a victim of circumstance, that tries to avoid targeting innocent people and just going as far as I goes just because the influence of Ryuk and Mia

Apple anyone?

This what I mean that its more tame or secure, the movie goes all the way trying to make Light likable, justifiable and innocent that forgets to add the aspect that make his original counterpart interesting, either as the idealistic young man that falls from grace trying to make the world a better place or the hypocrite, self-centered teenager that justify his murder rampage with delusions of justice. Both are great in the own right, Light Turner however, he is just another protagonist.

However trying to make Light good is just one side of the badness of this movie, the other side is, well, make L look like the bad guy.

As I said before, the magic of L is that he pulls out the character that Light never could and it is just painful seeing get butchered in this version.

L in this version is just a weirdo that likes sweets a lot, seats in weird positions and covers his faces, and yes the original L was that…in the surface.

That’s the second biggest problem of the film; it’s an adaptation of Death Note, but just in the surface.

L was great not because he was quirky or adorkable or hot, he was great because he has a role in the story, he was a contrast to Light (A contrast that doesn’t exist in this version), a perspective in the meaning justice (a side that not is precisely completely innocent or even all that lawful or good) and an interest take in the hero-antagonist.

In the movie L gets stripped from his “sympathetic inspector antagonist” and demoted to a full “inspector Javert” trying to murder Light in the quart of the movie. L it’s just another detective, there is not substance to his character, he wants to resolve the case ‘cause this is what he does. The only attempts to go with something with him is his breakdown after Watari is killed but that twist just make his character even more cliché, becomes it striped him completely of his anti-hero status to become the villain…I mean the secondary villain for the sake of…the Hollywood Formula?

This L is not really a bad or a shitty character, his problem,  in the same way that with Light, is that he is just another character, unmemorable, bland and lacking any kind of role or meaning aside of being a secondary antagonist

I would talk about Mia/Misa, but her character it’s so far away of her original depiction that it would be pointless.

Mia is a weird thing really. Not only is her introduction forced as fuck.

I mean the whole scene was something like “Hey wanna see me kill some random people”.

But the really confusing part just comes in her character. I mean what is she? A sociopath? Is she drunk with power? Is she using Light for that reason? Or the Note just makes her wet? And then the movie makes her the Big Bad, with a really stupid plan and a death also kind of stupid. A twist for the sake of a twist that only serves to cement Light as a great schemer in the last minute…as a character she was the worst in the whole film. She was in the movie because she was Misa counterpart but she has no purpose other than make Light more likeable.

…

Do you remember how tense a suspenseful the anime/manga was? There is not of that here.

Death Note was thrilling supernatural drama, with a lot of twist and turns, mind games and, overall, a great police series. As I said in the begging one of the best things of Death Note is how its flows.

Death note 2017, it’s not a mystery, it’s not a police drama, even the supernatural elements are reduced to their minimum…And it comes down to the begging, the great problem is that this is just a very tame superficial adaptation, the note, the candies, the shinigamis, the KEIKAKUs, but without the substance or the style (Even the genre) that make the original first half so great.