Index: Commander got hurt two days ago. They were chasing two suspects in a speeder in high speed, and since our speeders are... not always in tip-top shape, the door Commander was leaning on opened by itself
Index: He went hurling out pretty fast, and, by Corporal Brass's description, did "more volts than the trapetze artist that got stuck in their own tigthrope we had to go and rescue last month"
Index: Anyway, Commander proceeds to get up, run after the speeder, take it down and apprehend both suspects. He said his arm was just a bit sore, and he seemed coherent, so they let him slip out from a healthcheck. Commander Thorn brought him in the next morning because he had said something about his 'neck hurting' before he fell asleep
Index: Turns out that Commander had completely shattered his collarbone and proceeded to just...ignore it? I need to check his adrenalin levels... *muttering*
Index: Anyway, I knit the bone back to its original shape, but left it in a sling, for at least a week, so he can take a break from fieldwork at least. And he did, I swear! And I only gave him some mild painkillers. Mild.
Index: So I am not really sure how this happened
(Bullet, standing at the bottom of a very high transmission tower: Commander! What the kriff are you doing?!
Fox, not in full armor and on top of the tower, his arm still in a sling: Look, Bullet, there was-
Bullet, losing his mind: I don't care why you are up there! HOW DID YOU GET UP THERE??!)
Thire, just back from an escort mission:
Index:
Thire:
Index:
Thire: *sigh*
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asaden nation…. how are we feeling….
okay but on a real note…. denji acknowledging the way that violence informs all of his relationships and how he wants to escape that so badly!!! he wants something good and normal, or perhaps just normal to the extent that he’s not getting hurt, which is like the baseline thing you could ask for in a relationship!!! on the flipside, readers know that yoru was technically the one who kissed him & she is actively trying to kill him from inside the body of the girl he likes…. which does not seem promising for his goal of not getting hurt!!!! but also the girl he likes does like him, as both a human and chainsaw man no less, which does seem promising for his goal of being in a relationship!!! idk. to me, i feel like their relationship & how they treat each other is gonna be a big part of this story /the ending bc they’re both so vulnerable & desparate for connection. overall, fujimoto has set up some amazing tension from all angles regarding their relationship & when it’s resolved its either going to be amazing or soul crushing.
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I went into Ruth expecting a dreary read. How could a Victorian "fallen woman" story be anything other than dark and depressing? So I was shocked right from the beginning to find a sweet, gentle, romantic story. The dressmaker's apprentice who sits in the coldest, darkest part of the workroom because that's where there's a panel painted with flowers that remind her of her country home? How could I not adopt her as a favorite character? Ruth's innocent, romantic outlook on life gave us some beautiful descriptions of the scenery of both city and countryside, and my imagination went on overdrive to create very vivid images of the story. Even the love story, which we know is going to go very wrong, starts out sweet, with a kind, charming love interest who only shows flashes of just how wrong his character is going to go.
Even after Ruth's fall, the story is so gentle, putting Ruth among kind people who are willing to risk and sacrifice a lot to help her. And then the story gets almost too gentle--after some initial struggles with depression, Ruth resolves to bear her troubles patiently and work toward virtue, and her sweet, too-innocent character gets flattened out into someone who's just Good. Life just goes on, with things generally going well, and every potential turn toward drama results in someone deciding to be reasonable, which can make the story drag.
But, in a story like this, the lack of drama becomes the plot twist! It is refreshing to see characters who don't always jump to the worst conclusion or take the worst action, who pause and consider the whole story and act like decent human beings.
And in the places when the drama does kick in, it's good drama. Painful drama. It's also (especially in the last section of the story) melodrama. There were sections of the book where I was rolling my eyes at the cookie-cutter Victorian path the story was taking--but then there'd be one line or one moment that would just stab me in the chest because of how beautifully specific it was to this story. Just enough to elevate it from something bland to something unique and fascinating.
I often had the thought that this book could be about a third of its length without losing anything--yet it should also be just as long as it was. If the story cut all its repetitive musings about Ruth's regret, and used that space to develop the side characters and and show the plot instead of telling us about it, it would be a much deeper story. I found myself wishing Gaskell had reworked this one later in her career--the way that North and South was a more skillful reworking of the issues explored in Mary Barton. In a way, she sort of did in Wives and Daughters, with the story of Molly the quiet innocent getting tangled up in the intrigues surrounding her headstrong, flirtatious stepsister Cynthia serving as a more layered, personality-flipped version of the story where headstrong, sheltered Jemima gets tangled in the story of quiet, sweet Ruth and her past romantic intrigues. (The doctor at the end of the story also feels like a proto-Mr. Gibson).
Yet I'm still fascinated by the themes specific to this story. Contrary to expectation, this "fallen woman" story isn't about sex, or gender, or how unfairly women are treated (though it does touch on that in the end). It's about sin. It's not questioning why Ruth's behavior is considered a sin or looking to dismantle the society saying that it's a sin. It comes from the Christian perspective of saying that sin is real and harms people--so how are we going to deal with that?
The story shows lots of people struggling with temptation, failing, and dealing with the consequences (or harming others with the consequences). Sin is always a case of either not caring enough to do the more difficult, good thing, or a case of "the ends justify the means", where people rationalize their bad behavior as something necessary in this specific case. It always leads to harm, but some people--and some sins--suffer greater consequences in the eyes of the world, whether or not they deserve it. I wish the story had developed and resolved this theme better in places, but the raw material there is fascinating food for thought.
This book is Gaskell at her preachiest, but also Gaskell at her kindest. It explores deep, difficult issues in a very loving way. As a story, there are ways it could be better, but I'm very glad I read it. Perhaps I'm making a point to be kinder to it because I know it's the type of story that today's readers tend to judge harshly. But amid my issues with the story, there are some lovely images, some great messages, and some wonderful characters that going to be living in my heart for a long time.
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also on the topic of meaningful consequences re: character death I don't understand the take that death in fantasy requires physical permanency to matter or give a story "stakes". death is permanent regardless. Do you really think that if they get her back, they'll just go back to normal? That these characters are not forever fundamentally changed from this, that Laudna will not be fundamentally changed from this?
That Imogen's world will be less fractured, that she won't be even more of an anxious wreck now that what she stands to lose has been put into vivid clarity? That Orym won't still carry the guilt of being the chosen, that he will be less haunted by the connections he drew to his own grief with Will to Imogen's with Laudna? That Fearne won't look at Laudna and think of that coin flip, of her choice, and what that means for her and how she loves? That FCG and Ashton won't think to this and be reminded of the people they've hurt or been hurt by, and what this effort and what this grief means for how they view the hells?
That Laudna, who has been so blasé about life and if she's alive and what being alive even means for someone like her, won't wake up surrounded by family and by love and be driven to reexamine everything she's taught herself in 28 years of isolation to cope with the trauma of Whitestone? That this, maybe, will be the driving force she needed to realize that there are things she wants to live for?
It might be that I'm just biased, but I'm not sure what stakes Laudna perma-dying adds aside from just presenting the characters with the knowledge they all already have that they can, in fact, die. that what they're up against is incomprehensibly powerful and dangerous. The stakes already feel so impossibly high when you think of what and who they are preparing to face. frankly the aftermath of this combat alone, even if everything had gone perfect and everyone had gotten back up a-okay, would have set that tone.
I don't know, regardless I'll be happy to watch whatever story they choose to tell unfold as it does, but it strikes me that so many people seem to think that death only matters if there is a physical absence.
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post-hiatus catch-up vol 1: side order. save me side order.
(dates: 1/29/24-march lol)
as you can tell, 8 looks a little different. that's because i made some agent ocs! they're still in a bit of the writing phase but i've grown to like working with them ^^
also a phase of redesigns for tidepool punch, now known as tidebyte!now have been given english localization with their names being eri and dess. there's a frail attempt at a pun in there. somewhere
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﹏𓊝﹏﹏ 𓆝*̥˚ -ˋˏ• ༻𓇼༺ •ˎˊ- 𓆝*̥˚﹏𓊝﹏
Exhale Inhale 🫧 - Scales of Fate AU
Art I made inspired by when they exit the elevator and enter the Landarium. Click and zoom to get a better look at the details!
From chapter two: If you could fly and be the bird (then you would see the forest burn)
· · ── 𓆝 𓆟 𓆞 𓆝 𓆟 𓆝 𓆟 𓆞𓆝 ˎˊ- ⋆·˚ ༘
Chapter Two Summary:
Queen Lizzie brings her Knights to the Landarium (her underwater exhibits for dry land animals) to tidy up some legal documents before their departure for the grand empire tour. Gem has a really bad time. They're all worried about her.
.˚₊‧༉︶︶︶︶( 𓆉 𖦹*ੈ‧ 𓇼 ₊˚ 𓆡 )︶︶︶︶༉‧₊˚.
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