i like to make fun of murderbot for being all "i hate everyone, i don't care about anything or anyone, fuck off" while simultaneously caring very much about the people around it and the situations it finds itself in. i love how it "accidentally" ends up caring quite a lot about the friends it makes along the way.
but i think something that i tend to forget is that murderbot actively decides to care - at least at some point in its story.
idk, as a person that struggles with depression, this paragraph from artificial condition really resonates with me. prior to all systems red, murderbot had contracts. it had routine and it had protocols. it knew what it had to do to just get by, how to perform so no one would notice it had disabled its governor module. it was deeply depressed, yes, but it was functioning (for lack of a better word).
in artificial condition, murderbot's routine is gone. it cannot go on in that state of numbly going-from-contract-to-contract, putting in as little effort as possible, consuming media to cope. that option is gone because it escaped (and note that escaping the company was not an active choice, it kinda happened to it). murderbot has two options now: it can either gather all its energy; actively do something new and difficult and distressing; change something in its life and try. or it can let the numbness and the emptiness take over and stop trying. if murderbot wants to survive as a rogue secunit, it has to try. no matter how difficult that is.
the wording in that paragraph really hits home for me. the way the non-caring sees an opportunity to slip in and to take over. does murderbot even care? does anything really matter? is anything really worth the hassle? wouldn't it be so much easier to just let your mind slip away a little, to go numb, to be passive, to watch media and wait for things to happen to you? wouldn't it be nice to stop thinking and struggling and feeling complicated things? to stop making an effort? you've been dealing with a lot lately and maybe it's time to just shut down. maybe you'll just take a little break. just slip deeper into this chair and start the show. time flies when you're not paying attention. trying is exhausting. who cares if you don't do the things you wanted to do, you were supposed to do. it'll be fine. let's just ignore those things for now. just let the non-caring take over. just stop thinking. you can deal with the aftermath later. just watch your shows. who cares.
but murderbot cares. it decides to care. it decides to fight with all it has and i think that is so brave. and i think in the later books caring is less of an active decision for murderbot. once you start caring, it's easier to keep going than to stop; and murderbot, for all its "i'm a grumpy rogue secunit, leave me alone" behavior, knows just how important caring is. so it's not that it doesn't know what's happening; rather, it lets itself care.
tl;dr: caring is not the default for murderbot, it's just the more difficult of two options. and it decides not to take the soft option. it decides to struggle. it decides to care. and so it does.
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okay releasing another short chapter because I think it’s funny, don’t be mean or I’ll actually cry:
Chapter 25
“And this is – COME ON, MOVE FASTER – this is where the train docks. Don’t EVER go inside the train, it’s nothing but rusted metal. Do you know what tetanus is? Do you know what a train is? A train is like a long car.”
I didn’t know what a car was, but lacked the heart to tell her.
Despite her crooked nose (obviously healed from past violence), her imposing frame, and those muscles, Hydna bounded about with the eager friendliness of an over-large puppy. I’d stopped trying to shape my replies to please her, as anything I said, no matter how foolish or petulant, seemed to bring her delight. Most likely I could thank Merulo for lowering her standards of conversation.
“Moving right along now, this is – CAREFUL!” Hydna lunged at me, and I flinched, closing my eyes in brief cowardice, but she only yanked me back from the sink hole I’d been about to step into. “You’re a delicate little thing, so use your eyes, eh?” was my rebuke, along with a shoulder-shattering clap on the back.
“I’m above the average height for men,” I said, pointlessly, for she’d already moved to the next attraction of Poseidon’s Family Fun Resort. This section of the resort looked a proper horror show, with its crumbling merry facades and sun-bleached pigments, bearing the ghostly afterimages of smiling aquatic creatures. When Merulo and I first arrived via portal, we’d evidentially emerged in the section of the resort used for housing visitors, with all the blocky, tall buildings forming a quasi-neighbourhood that radiated out from the newly designated library plaza.
I found it bewildering that this underwater city had been built solely for transient entertainment, though I didn’t doubt Hydna’s explanation. Mentioning this to the sorcerer proved a mistake, as he simply said “Yes, I can imagine thinking is a great effort for you,” and then banished me to spend time with his sister. Or rather to “provide that creature with whatever form of entertainment you see fit, so that I might be spared its company.”
“Are you and Merulo not close?” I asked, remembering the exchange, then winced. I’d interrupted her explanation of a terrifying plastic wheel that stretched many feet up above us, complete with intermittently spaced chairs into which victims might be locked.
“Close?” She sounded baffled – and thankfully unoffended that I hadn’t been listening. “Of course not!”
I squinted up at the dragon woman. She’d dressed herself in relics for the tour, having wasted God knows how much magic in their restoration: a wide-brimmed hat embroidered with water droplets, crammed onto her massive skull, and a shirt stretched painfully tight over what might be either breasts or prodigious pectorals, its smiling fish illustration distorted into a boggle-eyed monster. Her baggy “pants”, which ended mid-thigh, burned an intense yellow-green that didn’t exist in nature. It felt cruel to ask someone so playfully dressed this question.
“Well, you are family! Shouldn’t there be, you know, some underlying love?”
Rather hypocritical, given that my own father likely fell asleep each night thinking of creative ways to kill me, but she didn’t have to know that.
“He’s a walking knife,” came her growled reply.
“Well, yeah.” I kicked around at loose bits of pavement. Intervening in Glenda’s various moods had gone some way toward thickening my skin, but I still shuddered at the waves of displeasure radiating from Hydna. “He’s a lonely guy, I think.”
“Might be less lonely if he weren’t such a piece of shit.” She met my eyes without blinking, and for a sickening moment I found myself mesmerized by their reptilian scarlet.
“You have to. . .” I clenched my teeth and resumed my kicking, concentrating my attentions on a particularly large and rounded chunk. I reminded myself that I owed the sorcerer my life and then some. “I don’t know. Meet him more than half-way? I think he does want company.”
“But is too much of a bastard for company to want him back.”
“Exactly!” I said, delighted that she’d completed my thought. This faded as I saw her expression. “That’s neat that you can raise one eyebrow like that. Good control of . . . uh, of your facial muscles.”
Hydna pointed to a circle of unicorn-sized crabs, complete with saddles, welded to a roofed platform that looked vaguely capable of motion. No half-shouted explanation followed, though; I’d succeeded in puncturing her enthusiasm.
“Those are cool,” I said lamely. Then, “It’s only because he’s been kind to me, when he didn’t have to be. Merulo, I mean. Not that everything’s been perfect, I didn’t much like the whole ‘torture needle’ thing, but –”
“The what?”
“Hang on, I’m coming to a point. Merulo might make a lot of insulting, degrading remarks, and he is overly obsessed with killing God –”
“This is a defense?”
“Hydna, please! What I mean is that, brushing aside all those little details, he’s always been there when I needed him most. Like when Glenda shot me full of arrows, or slit my throat, or –”
“Who the fuck is Glenda?”
“Hydna, come on, I didn’t ask you what a car was!” I rubbed at my stubble, wishing I could reach into my own head to pull my thoughts into order. “Merulo will be there for you, too, if you ever need him,” – and I hoped that was the truth – “So, it’d be good if you could both . . . try.” At her contorted grimace, I added, “I’ll talk to him too, promise. Same speech!”
The dragon woman exhaled deeply. “You’re an annoying little man, Cameron.”
“Again, above average height.”
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I think it's interesting that when Gandalf describes Denethor's ability to "perceive, if he bends his will thither, much of what is passing in the minds of men," he ties it less to his wisdom or general insightfulness (though he possesses both) than to his difference from "other men of this time," his near total Númenóreanness, and as bolded here, the active exercise of his will.
Tolkien also attributes Denethor's resilience against Sauron (by contrast with Saruman) to not only his right to use the Anor-stone, but "great strength of will." He notes that Sauron had no servant with greater mental powers than Saruman or Denethor, and Gandalf remarks that Denethor was "too great" to be subdued to Sauron's will.
Denethor and Gandalf have a strange and unsettling silent confrontation, carried on by their gazes, yet it strikes Pippin as like "a line of smouldering fire" and "as if reading each other's mind." Gandalf afterwards says Pippin was stuck between two "terrible old men," lumping Denethor in with himself. Pippin also sees some kind of kinship between Denethor and Gandalf, as Sam saw between Faramir and Gandalf.
In his letters, Tolkien said that the ancient Númenóreans became barely distinguishable from Elves in appearance and in their powers of mind. In Unfinished Tales, he notes that they loved their horses, and when a Númenórean had a strong bond with a horse, it was said that the horse could be summoned "by thought alone."
In LOTR, Faramir—who has inherited Denethor's Númenóreanness/wizardliness—has a reputation for command over both animals and men. When everyone else is thrown by their horses upon being chased by five Nazgûl, he not only keeps his seat, but mysteriously gets his horse to ride back towards the Nazgûl. And during the retreat across the Pelennor, the soldiers in the city conclude that Faramir must be with the men who are managing to retreat in order, repeating Beregond's remark that he has some undefined command over both men and beasts.
Gandalf suggests that this is a result of Faramir pitting himself against the effects of the Nazgûl in some way, but his abilities (whatever they are) are outmatched. In the event, the effect of Faramir's Aura of Courage commanding abilities remains until he's shot and finally falls to the Black Breath.
Faramir also makes repeated references to perceiving or reading things in Gollum's mind. At one point, he describes Gollum's mind as dark and closed, yet unable to prevent Faramir from detecting that he's holding something back about Cirith Ungol specifically. Noticeably, this only happens when Faramir orders Gollum to look at him (which Gollum does "unwillingly"), and the light drains from his eyes as he meets Faramir's. It seems decidedly reminiscent of the later Gandalf vs Denethor duel-by-eye-contact.
Faramir's exact words about Gollum's secrecy are "That much I perceived clearly in his mind," in reference to his earlier questioning of him. He says that he can "read" previous murders in Gollum and Gollum cries out in pain when he tries to lie to him.
When Faramir gives staves to Frodo and Sam, he says that a "virtue" of finding and returning has been placed on them, with zero explanation of what he means by that. He adds a hope that the virtue will not altogether fail under Sauron's power in Mordor. He describes the people who did the woodwork but not who placed the virtues (it doesn't seem inherent to the wood itself, given his phrasing).
We do know that Dúnedain can potentially embed enchantments into items. The Barrow-daggers carried by Merry and Pippin are specifically enchanted against the Witch-king of Angmar by an unknown Dúnadan of the North, and when Merry stabs the Witch-king, the dagger breaks enough spells for Éowyn's ordinary sword to finish the job.
Meanwhile, Aragorn uses his healing powers to help the city, wishing for the presence of Elrond, because he is their eldest of their kind and more powerful. Aragorn, also, has at least some part of this ability to actively exercise his will and mental powers, perhaps an equal share, though he uses it less often.
In the book, he doesn't physically attack the Mouth of Sauron, but instead holds his gaze (again, eye contact is important!). There's another silent struggle that involves no weaponry or any other contact.
He prevails in some way over the Mouth of Sauron (not a warped creature of Sauron in the book, but a cruel Númenórean who has "learned great sorcery"). The Mouth indignantly says he has diplomatic immunity and can't be attacked like this.
But, I mean, maybe they're all just smart and perceptive, it's really unclear.
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Hmm... it's interesting how they made Luz wear a witch's cloak in Hunting Palisman - the episode where she introduces Flapjack to Hunter. This is also the episode where Hunter defies Belos by choosing Luz over him. He goes back to his palace empty-handed and he doesn't hand over Flapjack to Belos. Unbeknownst to Hunter, he is following Caleb's footsteps.
But then, in Hollow Mind, they made the choice to have Luz not wear her witches cloak - instead they made Luz wear a jacket with a giant "E" on it. They could have given Luz a completely different outfit like they did in Hunting Palisman. But they don't... they make her wear this specific jacket...
...They also make Hunter wear Caleb's symbol in Hollow Mind... an episode where Luz and Hunter are trapped in Philip's mind... where we can see paintings of the two most important characters in Philip's life - his brother and a witch from another world.
But I'm sure this is all unintentional.
You know, like this is:
oh, nbd, just a painting being paralleled with the scene happening right before our eyes
here's a more high def image of the painting
Oh, hmm, okay, this is a painting of Caleb standing next to a witch with short dark brown hair and who just so happens to be a witch from another world. Both of them are startled by Philip...
Hunter, the Grimwalker who looks the most like Caleb, is standing next to someone who ALSO just so happens to be a witch from another world with short dark brown hair... both are startled by Philip's monster form...
Hmm, must be unintentional I guess.
there's also this:
Mhm, okay, I see... I see, very interesting. Here we have Caleb being lead away from Philip by a witch from another world after the brother's have a fall out. This fall out marks the point of no return for them, as Philip later kills Caleb out of anger.
Hunter and Philip's relationship completely deteriorates because of Luz, which leads to Philip's decision to kill Hunter. She shows Hunter Belos' true nature and she offers Hunter sanctuary at The Owl House right after he finds out Belos has been lying to him his whole life... Luz saves Hunter's life and changes it forever.
Hmmm... very interesting
But I'm sure this is unintentional [I'm being sarcastic]
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