It takes a while before Phil even convinces them to tell him where Techno’s room is.
There’s red tape he has to get through first, causing frustrations that only his job experience can waylay. Hospitals are stricter about these types of things than a lot of other places and no matter how Phil spins the situation, Technoblade and him are not related. Not in a way that matters to these people. It’s been ages since Phil had to pull out his credentials as Techno’s case worker, he isn’t a minor anymore so technically the title bears no weight. But it makes one pale-faced nurse purse her lips and send him on his way with some hesitation. Phil finally ends his call with Ranboo, who is still in a panic.
Not that Phil can blame the kid. From what he hears, the situation Ranboo found Techno in did not paint a pretty picture.
Phil knows stress has been wearing down on Techno’s shoulders. The flower shop doing poorly, his biological parents suddenly being back in the picture, his magic becoming more unpredictable by the day. Things haven’t been easy.
but he never thought Techno would do something so drastic.
He opens the door without knocking, knowing Techno wouldn’t mind. But the man standing next to the bed draws up to his full height, a crease in his brow at being intruded upon. When his eyes glide off Technoblade, Phil swears he notices his friend’s shoulders sag notably in relief.
“Oh,” the man before him says. “It’s you.”
Phil takes a step closer, braving the storm, only focusing on Techno for the moment. He doesn’t let the cold, red eyes burning into him deter him. “Technoblade, are you okay? What happened? You gave me the fucking fright of a lifetime, mate, I’ll tell you that much.”
Techno opens his mouth as if he’s going to respond, fingers fidgeting with the IV stuck into his hand. Before he can, his father cuts in.
“He’s fine.”
“Ranboo told me what happened.” Phil cuts straight to the chase. He’s too tired to play games. “Why did you-“
And once again it’s that horrible man known as the blood god among his peers who responds. “I don’t know what you heard, but it was a simple accident.” He steps closer to Technoblade, hand reaching out for his shoulder. Techno flinches, but doesn’t stop him. When his father’s touch brushes his skin, Techno whines. The bracelet glows a faint purple. Phil watches a flower burst from Techno’s palm unbidden, wilting into rot immediately.
“Tell him,” Techno’s father commands simply.
“It was an accident.” Techno says, voice tiny. He hasn’t looked at Phil once since he came in. “I just… I just stupidly forgot I’d already taken my sleeping meds. Typical, huh?” Techno laughs, sounding like it physically hurts. His pink hair falls over his face, his cheek. It doesn’t completely hide the bruise there.
“That’s not-“ Another step closer, desperation clawing at Phil’s throat. “You know you can tell me anything, Techno. I can get you help.”
“Phil.” That deep voice calls out to him once more. But this time, Phil sinks into it. It rushes over him like a wave. he gets lost in it.
When Technoblade’s father smiles, there is no joy to it except that of a predator with its prey at its mercy.
“It was an accident.” The words are spoken so simply, so straightforward. "So you can leave now."
Phil suddenly can’t remember why he’d ever doubt them in the first place.
“An accident,” he answers faintly. Blinking takes too much effort. He rubs a hand down his face. “Yeah, of course. I uh- I need to call back Ranboo. You can get in touch if you need anything.”
Technoblade nods, still not looking at him. Phil leaves the room without another question.
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yet another moment where saionji says something incredibly trenchant and insightful only to be completely dismissed due to the ridiculous framing and the general cringiness that pervades everything he says and does (eg, pointing out that the castle is a trick of the light, announcing that they must shed the coffins end of the world has prepared for them, etc etc). obviously in this instance, he is both saying something that is proven correct throughout the show via a myriad of dynamics, but is also shown to be a precept that is teleologically challenged and rejected by anthy’s final choice.
upon a first viewing, one might assume saionji himself is talking about anthy here, whether by presumptuously assuming that she loves him despite his abuse, or claiming that her rejection of him does not lessen his love for her. either way, he seems totally delusional and moronic. i can only assume that utena, who has even less information than we do regarding saionji’s true feelings, assumes that he is talking about anthy, and thus dismisses him out of hand for being a violent idiot. and rightfully so. but also, he’s clearly not talking about anthy, even if he may think he is (or at least would claim that he was if questioned). and this statement is truly definitional to his relationship to touga, whom he resents, envies, and maybe even loathes, but whom he cannot seem to ever actually abandon.
even when he’s given the chance to start fresh, he returns to ohtori (and in this case you can say that it’s because he has nowhere to go, no family, the outside world is scary, ohtori is all he knows, he felt he had no other choice… but this was also true of anthy, and she eventually found the courage to leave! it’s very very hard, but it’s not impossible, which is the point). even as he vocally condemns akio’s system, he nonetheless participates in it, albeit reluctantly, for touga. he is freer, healthier, and kinder in wakaba’s dorm, but he is also deeply unhappy. which isn’t to say that he ever seems happy (at least, not after losing the rose bride), but his unhappiness in “wakaba flourishing” is that of depression, whereas his unhappiness around touga is that of resentment. he’s rightfully angry over constantly being mistreated, but at least he’s not lost. he has a purpose. even if it’s just the purpose of receiving abuse and putting up a futile fight, it’s a role he can play with the only person who has ever truly mattered to him. it’s all he knows; it’s the closest thing he has to real love. and so he stays.
nanami is in a very similar situation as saionji is. they both idealize a version of touga who never really existed, and cling to him despite his blatant mistreatment of them because he is the only person who has ever shown them true affection in their entire lives. he manipulates them, makes a laughingstock of them, facilitates and participates in sexually abusing them, but also makes sure that they are too dependent on him to leave them. nanami is even more blatant in illustrating this idea than saionji is, as for most of the show, she does not even resist against touga like saionji does, rather she purely venerates and worships him, to the point of parody. he is a terrible brother to her, but in such a way that makes it seem like he’s actually a good brother to an obnoxious, ridiculous sister. he is actively grooming her, and she has nowhere to run, because he has fashioned himself her entire world. she cannot fathom a world beyond his limits, her very own personal end of the world.
it’s somewhat unclear whether touga thinks that controlling saionji and nanami is necessary to keeping them around, or whether he only wants them around because he enjoys assuming control over others. it’s probably a mix of both. he probably does hold some affection for them, but cannot conceive of a way to keep them as close to him as he would like without exploiting them, because he believes that true friendship is for fools and true love is impossible. to touga, if every relationship must be imbalanced in some way, then he at least wants to be the one with the power in his deepest relationships, unaware (or at least, willfully ignorant) of the fact that by corrupting and perverting their dynamics, he is slowly tainting their naive childhood love and affection that drew them to him in the first place. so in touga’s case, he inverts saionji’s logic to refigure it as “love can only be facilitated through abuse, no one will truly show you love unless they have to (through exploitation).” it’s the logic of someone who sees the world through an almost 2D framework of abuse, exploitation, transaction, and control. it’s the logic of someone desperately sad and desperately cynical. nanami is very wise (and brave) to ultimately reject him/it, even though it, too, is all she knows.
tsuwabuki complicates the nanami/touga dynamic by aspiring to inhabit both their roles simultaneously, and so he allows himself to be subjected to nanami’s exploitation while simultaneously subjecting her to violence. he is happy to be abused by nanami not because he loves her per se, but because their abuse is mutual. shiori and juri have a similar dynamic, wherein they are both at fault in different ways, both attempt to avoid the other (physically and psychologically) and yet constantly collide like magnets. however, the i would argue that the abuse they face is largely systemic, and their behaviors are primarily a symptom of their internalized homophobia rather than overt malice (even though shiori may pretend otherwise). miki and kozue’s tension is also mutual. they both harm the other despite loving them deeply. because love is not a bandaid that revolves all pain, misunderstanding, and miscommunication. see: the utena and anthy ledge scene.
finally, i think this quote is actually most powerful when figuring it through the lens of utena, anthy, and akio. of course, akio has fostered a dependency in anthy much like touga has with nanami, and so she does not know how to leave him despite being in incredible pain at his hand. but she is not “happy,” as saionji puts it. she is the most miserable girl in the world. she doesn’t love akio as much as she loves the memory of him, the idea of dios (which is of course also true for nanami and saionji re: touga, arguably also true for juri re: shiori, miki re: kozue, etc etc) — but anthy needs akio. or at least, akio has convinced her that she does. he is end of the world, she cannot envision a life beyond his imposed limits.
but i actually find it more interesting with regards to utena and akio. i don’t think at any point in the show, utena ever actually has real, romantic feelings for akio. i think that she is terrified of him, and in her desperate feelings of trapped helplessness as he ensnares her, she convinces herself that those heart palpitations, startled movements, shocks and thrills she feels in her presence is the emotional response not of fear, but of affection. but we know that in anthy’s presence, she doesn’t feel afraid, she feels calm, relaxed, happy. being with anthy isn’t wildly exciting, constantly requiring rationalizations to explain away the dread and internal rejection she feels towards akio’s advances. being with anthy feels like coming home. and it’s why she is initially so happy to be accepted into anthy’s family, to have a big brother like akio, to live under their roof. in utena’s naive, hopeful mind, she is joining anthy’s family in the most innocent possible sense. and she endures it, the grooming, the abuse, the rape, the end of the world; she fights til her very last breath, because she is in love. no matter how [utena] may be abused (by akio), she’s always happy to be near the one she loves (anthy).
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Now we have the wax, which is the streak beneath our skin, and the wick, which is the faith we have skeined, and the tinder, which is the harm we have done to those who loved us, and the flint, which is the Name, the treasure of music stilled. Now. it will hurt, we must render ourselves a little, there will be scars, but one more scar, what is that?
Here it is! Almost a year's worth of work spent studying calligraphy, illumination, painting, gilding, and a million other little skills I didn't have went into making this idea a reality. Time well spent, if you ask me!
Close ups of the actual piece under the cut:
Here's the digital draft
And a flat photo of the finished physical piece:
I might do another post with some process shots, if anyone is interested? This piece went through a LOT of versions while I figured out how to... uh... do it at all. We'll see!
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For the first sentence prompts:
It was adding the fourth that caused the trouble.
“No, I’m sorry, only one Ambassador per clan, those are my directives — but your husband is going, do you not trust his judgement on behalf of you and your people?”
“Of course not,” replied the silver-haired elf, a woman of slight build but mighty presence. Then she spun to face the sea of dark heads gathered around and cried, “Do you, O Tatyar, trust Finwë alone to make this choice for you?”
“Nay!” they cried. “Míriel must go too!”
“There, you see,” she said, thrusting her chin up defiantly.
Oromë sighed, recognising that this being’s spark of determination burned as hotly as Varda’s stars, and consented to bring Míriel to Aman, thus setting in motion a revolution with consequences far more sweeping and profound than any the Music had foresung.
[send me a sentence]
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