what remains after ruination
Eclipse adjacent // Wordcount: 2,045
A year had passed by. Not a day later and no sooner than that since you stepped foot in this dreaded building.
Only in part due to your own resolution. It’d been all over the news; Freddy Fazbear’s Pizzeria, Gone Up in Flames! A week’s worth of synonyms for accident-destruction-fire-disaster-ruin dribbling out from between reporter’s teeth like crumbs from their stale blueberry muffin breakfast, the story already old news by the time their shirt collar caffeine stains between coffee breaks were well and dry.
After all, there was nothing of value to mourn. “It’s nothing short of a miracle that no one was harmed,” they fed the public scripted lines, little white lies on big tv screens, “a shame the ‘bots are a bust,” another chimed in, “but we’re grateful to have avoided a real tragedy.”
And where were you when the fire broke out? Safely at home, on your couch, shoveling the powdery remnants of dry breakfast cereal into your face, phone in hand, uniform on, and an alarm set to leave in ten minutes. Your favorite generic sitcom played at half-volume across the room having just returned from a commercial break when the news struck, every station within a hundred mile radius offering their briefest condolences to the franchise’s demise. As always, you received your information secondhand, the dry voice of your boss confirming that what you were seeing on the screen was the truth, your phone call interrupted by the jarring ring of your alarm in a gut twisting fit of irony.
“Don’t bother coming in,” they told you, “you’ll receive your final check in the mail by the end of the week.”
“What about the others?” You’d asked on baited breath, hopeful.
“The others… you mean the animatronics?” A beat of silence, and only that, “they’re gone,” management answers, “everything is gone.”
You didn’t want to believe it. For weeks after, you did nothing but fight the information, distancing yourself from the memory of it all together. It was nightmarish, a plague of guilt which circled you like vultures in the night.
You had been there, only a night before the fire. You had been there. Made small talk with the staff bots. Had gossiped with the Glamrocks. And in the Daycare – in the Daycare you had made friendship bracelets. Silly, stupid, trivial, the thought of it makes you want to scream, now knowing what you do and how better you could have spent your last night with them.
Sun had bragged about a new shipment of pony beads and convinced you to sit and help him sort. Sorting them turned into stringing, which turned into knots. You had a pretty pastel lineup by the time he was satisfied, and they had two. One bracelet for each of them, yellow and blue. Your own boasted two stars and a heart, childish additions that you couldn’t bring yourself to argue against at the time, but especially now. It would hurt less to simply throw the gift out or stuff it into a box and stuff that box into a closet, and lock the closet door for the rest of your life. But you don’t do that. You keep the bracelet on your wrist like one keeps a locket against their heart, and you pretend it means nothing.
How impossible it is to find solace in the death of something that leaves no trace behind. You have no grave to visit, no ashes to mourn except the old remnants of a crumbling building they refuse to tear down, no final goodbye.
“See you in the morning,” they’d said, something heavier weighing on their tongue. Ultimately, they decided against the words and offered you a parting smile, instead. Warm, doting, it had felt like home.
It’s the last thing you have of them.
And you try to get past it. You run through every stage of grief like it’s a marathon and you’re late for the next race already, but you have no trophies to show for it, no rewarding fulfillment. The wound is fresh and raw. The gaping cavern of hopelessness no less enormous. You are as bitter and traumatized as the day you received that call.
Maybe that’s why you’ve found yourself here again, on the doorsteps to the plex, three-hundred-and-sixty-five days since you last dared to look in its direction. What you need isn’t medication or a therapist burning through your pockets, it’s closure. You need to see the body.
This suffering will not recede until you’ve convinced yourself there is nothing to return to.
There’s a sixth stage of grief they don’t want you to meet. If you remain a stranger to its siren call then you really, truly, will start to feel better. That’s what they say, time and time again, and it’s what you believed for a long while, but you’re through with fighting this emotion and through with pretending it doesn’t rule your every waking moment. Its name is lunacy, and it tells you to duck beneath old, yellow tape and take a brick to the building’s rotten structure.
The shattering of glass falls on deaf ears. You march through the opening with purpose, giving no thought to the nicks and scrapes and beads of crimson that form along your skin as you make your way further into the depths of this desolate building. No life stirs from its festering core, nor light from the smoldered ceiling, blackened with old soot. Debris crunches beneath a pace that refuses to slow until you find yourself standing before the two doors most familiar to you, and only then, do you stop.
Everything stops.
Sanity winds you with its return, startling you into questioning what the hell you’re doing here. They’re dead. You know that, don’t you? Really, deep down inside, you know it to be true. You know there’s nothing that could evade such devastation as this. You know they are gone. For good. Forever.
Still, that minute, resilient hope continues to pulse with a beat of its own desire, and you haven’t the strength to put an end to it now. After a year of waiting, of wailing, of walking into circles that lead to nothing but more agony, you can’t bring yourself to call it quits. Not after you made it this far. You had to know, once and for all, or the question would drive you over an edge you’ve been skirting beyond recognition.
Your hand outstretches and comes to a halt at the doorknob, fingers twitching a flick of the wrist away, and there it sits, hesitant, terrified, until desperation spurs it forward the remaining way and the rusted knob is turned ever so gently to the right.
The door springs open with a force that drives you backwards, tumbling stumbling fumbling through the air, knees buckling, you land on your ass with a hardy thump and stare, aghast, at the wreckage that stands between the open frame.
A familiar face stares back.
The animatronic bursts from their entrapment like confetti out of a canon, claws drawn and eyes aglow with a menacing half-grin, only reeling themselves back a step upon the sight of you, where they go completely still.
The scream that rips through your throat does not come unbidden; they are not your beloveds but something else entirely, a grotesque assortment of gears and torn fabric, disheveled beyond belief, splayed about with the same obscenity of exposed bone. They are not Sun and they are not Moon and they are not someone or something that you can easily recognize, simply a horrifying by-product of disaster.
Even still, your fear appears to force them back a cautionary second step, and then a third, as if taking on the frail hope that they won’t scare you so terribly in the dark. That if you can’t see them past the shadow, maybe you won’t look at them that way.
“Ffr…rrrr...fri…f...”
You swallow hard around the lump in your throat and attempt to make sense from any of this. The word it– he– they attempt to speak is as familiar as it is foreign, and you can feel an immediate shift in the way your lunacy becomes hysteria, and you laugh. You laugh even as tears well up and begin to river down your cheeks. You laugh as their arm outstretches to meet you—
“Don’t!”
–and then you stop, and they stop, too, and all falls silent.
The expression they make is beyond your understanding. Where before you could reasonably find human emotion in their mechanic smirks and smiles, now all you see is barren metal. Loose gears with sharp edges. It creates a nausea that builds and builds until you want to roll over and relieve yourself of everything you’ve ever consumed.
Rather than try again, their arm recoils ever slowly and instead lifts to point at the wrist of their other, gesturing with great hesitance to the two bracelets found there. One blue, and one yellow.
“Ff...fri…e-end?”
Your stomach lurches and then drops as it comes to a conclusion. Quickly, your gaze snaps toward the pastel beads that sit so neatly on your own wrist, the string keeping them together now old and fraying. Your eyes return to their wrist and see perfect color among the blackened metal. The string beneath it still holds up despite its surroundings having burnt hopelessly. The implications of this – that they protected it to the very end – immediately severs any remaining instance of fear.
You move blindly through the tears, climbing back to your feet with every intention to try again. The creak and screech of crooked metal can be heard as they retrace another step backward in response, flinching from your approach, allowing you greater space between them. It makes your heart plummet to the very pit of your stomach.
“They told me you were dead,” you cry, “they told me there was nothing left to save,” a daring step forward has you that much closer to them, and then another, and another, slow and shaky as it goes, “they told me not to come looking,” your feet stop directly before their own, bare-toed silver against scuffed rubber. You share their shadow and in their sorrow, mourning the short distance still between you and the distance of the days you’ve spent apart. They wait for your lead, paralyzed with anticipation, as you raise a doubtful, trembling hand to cup their ruined cheek. “Is it really you?”
The stillness is suffocating, no less agonizing than the phone call, because any answer beyond the one you seek will feel like death all over again. You can’t imagine yourself content in life with the knowledge that the one you care so deeply for – even without recognition, without ever having said the words – is nothing more than a husk of who they once were. It would ruin you.
And what remains after ruination?
Love remains. Love remains and it is a slow, sure nod. It is a cold hand cupping with meticulous care over your own and refusing to let go. It is them. And they are yours.
A sob breaks from your throat before you can stop it, greater and louder than you've allowed yourself to feel to the day. Relief floods your chest until you think it might burst.
The hand at their cheek pulls back if only to wrap around their waist, fingers bunching desperately into the remaining fabric of their collar and smearing the ash at their back, holding so tight that you hear their frame begin to creak and moan, followed immediately by their own arms cradling your body against them with an equally bone-crushing weight, one you for once don’t fight. Rather, you would be content to stay like this forever.
It isn’t the pins and needles in your arms or the pungent smell of smoke that eventually forces you out of the position, but instead, the sudden forming of a plan and your intention to immediately put it into action. When you pull away it’s to take both of their hands in your own, and only then do you step back from the door, guiding them toward you.
“Come on,” you smile, because at last there is reward for your hope, “…let’s get you home.”
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what is with men being mad any time a woman raises her voice where did that even come from. someone posted a video of a small electrical explosion, and the top comment was of course the woman screams. the second comment is women try not to scream challenge, level impossible. i had to go back and watch the video again. there is, somewhat fainty, a little gasp emitted off-camera, more of a yelp than a scream. it is mostly lost in the crack of the explosion. afterwards, you hear her voice, shaken, say, are you okay?
i am helping one of my friends train her voice pitch lower, because she wants to be taken seriously at work. she and i do each other's nails and talk about gender roles; and how - due to our appearance - neither of us have ever been able to be "hysterical" in public. we both appear young and sweet and feminine. she is cisgender, and cannot use her natural voice in her profession because people keep saying she appears to be "vapid". we both try to figure out if our purposeful voice lowering is technically sexist. is it promoting something when you are a victim to it?
a storm almost sends a pole through a car window. in the dashcam, you can hear the woman passenger say her partner's name twice, crying out in alarm. she sounds terrified. in the comments, she is lambasted for her lack of calm. how is that even fucking helping?
in high school, i taught myself to have a lower voice. i had been recorded when i was genuinely (and righteously) upset; and i hated how my voice sounded on the phone speakers when it was played back. i was defending my mom, and my voice cracked with emotion. it meant i was no longer winning the argument: i was just shrieking about it.
girls meet each other after a long summer and let out a little joyful scream. this usually stops around 12-14, because people will not tolerate this display of affection (as it has the effect of being passingly annoying). something about the fact that little girls can't ever even be annoying. we are trained to examine each part of our lives (even joy) for anything that could make us upsetting and disgusting. they act like teenage girls are breaking into houses and shrieking you awake at 3 in the morning. speaking as a public school educator: trust me, it's not that bad, you can just roll your eyes and move on. it does not compare to the ways boys end up being annoying: slurs in graffiti, purposefully mocking your body, following you after you said no. you know, just boy things.
there's another video of a man who is not allowed to yell in the house, so he snaps his fingers when he's excited about soccer. the comments are full of angry men, talking about how their brother is unfairly caged. let him express himself and this is terrible to do to someone. eventually the couple has to address it in a second video: they are married with a newborn baby. he was trying not to wake the infant up. there is no comment on the fact women are not allowed to yell indoors. or the fact that it could have been really alarming or triggering for his wife. sometimes i wonder if straight men even like women, if they even enjoy being in relationships with them.
for the longest time, i hated roller coasters because it always felt inappropriate and uncomfortable for me to scream. one of my friends called me on it, said it was unusual i'm so unwilling. i had to go to my therapist about it. i don't like to scream because i was not raised in a safe situation, and raising my voice would have brought unsafe attention towards me. even when i am supposed to scream, it feels shameful, guilty. i was not treated kindly, so i lack a basic form of self-protection. this is not a natural response. it is not good that in a situation of high adrenaline - i shut up about it.
something very bad is happening, i think. in between all the beauty standards and the stuff i've already discussed - this one feels new and cruel in a way i can't quite express. yes, it's scary and silencing. but there's something about how direct it is - that so many men agree with the sentiment that women should never yell, even in an emergency - it feels different.
is the word shriek gendered automatically? how about shrill or screech? in self defense class, one of the first things they tell you is to yell, as loud and as shrilly as you can. they say it will feel rude. most women will not do this. you need to practice overcoming the social pressure and just scream.
most women do not cry out, even when it's bad. we do not report it. we walk faster. we do not make a scene. what would be the point of doing anything else? no matter what we do, we don't get taken seriously. it is a joke to them. an instagram caption punchline. we have to present ourselves as silent, beautiful, captivating - "valuable."
a woman is outside watching her kids when someone throws a firecracker at them. she screams and runs towards her children. in the comments, grown men flock together in the thousands: god. women are so annoying.
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Mizu, femininity, and fallen sparrows
In my last post about Mizu and Akemi, I feel like I came across as overly critical of Mizu given that Mizu is a woman who - in her own words - has to live as a man in order to go down the path of revenge.
If she is ever discovered to be female by the wrong person, she will not only be unable to complete her quest, but there's a good chance that she'll be arrested or killed.
So it makes complete sense for Mizu to distance herself as much as possible from any behavior that she feels like would make someone question her sex.
I felt so indignant toward Mizu on my first couple watchthroughs for this moment. Why couldn't Mizu bribe the woman and her child's way into the city too? If Mizu is presenting as a man, couldn't she claim to be the woman's escort?
However, this moment makes things pretty clear. Mizu knows all too well the plight of women in her society. She knows it so well that she cannot risk ever finding herself back in their position again. She helps in what little way she can - without drawing attention to herself.
Mizu is not a hero and she is not one to make of herself a martyr - she will not set herself on fire to keep others warm. There's room to argue that Mizu shouldn't prioritize her quest over people's lives, but given the collateral damage Mizu can live with in almost every episode of season 1, Mizu is simply not operating under that kind of morality at this point. ("You don't know what I've done to reach you," Mizu tells Fowler.)
And while I still feel like Mizu has an obvious and established blind spot when it comes to Akemi because of their differences in station, such that Mizu's judgment of Akemi and actions in episode 5 are the result of prejudice rather than the result of Mizu's caution, I also want to establish that Mizu is just as caged as Akemi is, despite her technically having more freedom while living as a man.
Mizu can hide her mixed race identity some of the time, and she can hide her sex almost all of the time, but being able to operate outside of her society's strict rules for women does not mean she cannot see their plight.
It does not mean she doesn't hurt for them.
Back to Mizu and collateral damage, remember that sparrow?
While Mizu is breaking into Boss Hamata's manse, she gets startled by a bird and kills it on reflex. She then cradles it in her hands - much more tenderly than we've seen Mizu treat almost anything up to this point in the season:
She then puts it in its nest, with its unhatched eggs. Almost like she's trying to make the death look natural. Or like an accident.
You see where I'm going with this.
When Mizu kills Kinuyo, Mizu lingers in the moment, holding the body tenderly:
And btw a lot of stuff about this show hit me hard, but this remains the biggest gut punch of them all for me, Mizu holding that poor girl's body close, GOD
When Mizu arranges the "scene of the crime," Kinuyo's body is delicate, birdlike. And Mizu is so shaken afterward that she gets sloppy. She's horrified at this kill to the point that she can't bring herself to take another innocent life - the boy who rats her out.
MIZU'S ONE MOMENT OF SOFTNESS AND MERCY, COMING ON THE HEELS OF HER NEEDING TO KILL A GIRL TO SPARE HER THE WORST FATE THAT THIS RIGID SOCIETY HAS TO OFFER WOMEN, AND TO SPARE A BROTHEL FULL OF INNOCENT WOMEN WHO ARE THE CASTOFFS OF SOCIETY, NEARLY RESULTS IN ALL OF THEIR DEATHS
No wonder Mizu is as stoic and cold as she is.
And no wonder Mizu has no patience for Akemi whatsoever right before the terrible reveal and the fight breaks out:
Speaking of Akemi - guess who else is compared to a bird!
The plumage is more colorful, a bit flashier. But a bird is a bird.
And, uh
Yeah.
I like to think that Mizu killing the sparrow is not only foreshadowing for what she must do to Kinuyo, but is also a representation of the choice she makes on Akemi's behalf. She decides to cage the bird because she believes the bird is "better off." Better off caged than... dead.
But because Mizu doesn't know Akemi or her situation, she of course doesn't realize that the bird is fated to die if it is caged and sent back home.
Mizu is clearly not happy, or pleased, or satisfied by allowing Akemi to be dragged back to her father:
But softness and mercy haven't gotten Mizu anywhere good, recently.
There is so much tragedy layered into Mizu's character, and it includes the things she has to witness and the choices she makes - or believes she has to make - involving women, when she herself can skirt around a lot of what her society throws at women. Although, I do believe that it comes at the cost of a part of Mizu's soul.
After all, I'm gonna be haunted for the rest of this show by Mizu's very first prayer in episode 1:
"LET" her die. Because as Ringo points out, she doesn't "know how" to die.
Kind of like another bird in this show:
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You know what I realize that people underestimate with Pride & Prejudice is the strategic importance of Jane.
Because like, I recently saw Charlotte and Elizabeth contrasted as the former being pragmatic and the latter holding out for a love match, because she's younger and prettier and thinks she can afford it, and that is very much not what's happening.
The Charlotte take is correct, but the Elizabeth is all wrong. Lizzie doesn't insist on a love match. That's serendipitous and rather unexpected. She wants, exactly as Mr. Bennet says, someone she can respect. Contempt won't do. Mr. Bennet puts it in weirdly sexist terms like he's trying to avoid acknowledging what he did to himself by marrying a self-absorbed idiot, but it's still true. That's what Elizabeth is shooting for: a marriage that won't make her unhappy.
She's grown up watching how miserable her parents make one another; she's not willing to sign up for a lifetime of being bitter and lonely in her own home.
I think she is very aware, in refusing Mr. Collins, that it's reasonably unlikely that anyone she actually respects is going to want her, with her few accomplishments and her lack of property. That she is turning down security and the chance keep the house she grew up in, and all she gets in return may be spinsterhood.
But, crucially, she has absolute faith in Jane.
The bit about teaching Jane's daughters to embroider badly? That's a joke, but it's also a serious potential life plan. Jane is the best creature in the world, and a beauty; there's no chance at all she won't get married to someone worthwhile.
(Bingley mucks this up by breaking Jane's heart, but her prospects remain reasonable if their mother would lay off!)
And if Elizabeth can't replicate that feat, then there's also no doubt in her mind that Jane will let her live in her house as a dependent as long as she likes, and never let it be made shameful or awful to be that impoverished spinster aunt. It will be okay never to be married at all, because she has her sister, whom she trusts absolutely to succeed and to protect her.
And if something eventually happens to Jane's family and they can't keep her anymore, she can throw herself upon the mercy of the Gardeners, who have money and like her very much, and are likewise good people. She has a support network--not a perfect or impregnable one, but it exists. It gives her realistic options.
Spinsterhood was a very dangerous choice; there are reasons you would go to considerable lengths not to risk it.
But Elizabeth has Jane, and her pride, and an understanding of what marrying someone who will make you miserable costs.
That's part of the thesis of the book, I would say! Recurring Austen thought. How important it is not to marry someone who will make you, specifically, unhappy.
She would rather be a dependent of people she likes and trusts than of someone she doesn't, even if the latter is formally considered more secure; she would rather live in a happy, reasonable household as an extra than be the mistress of her own home, but that home is full of Mr. Collins and her mother.
This is a calculation she's making consciously! She's not counting on a better marriage coming along. She just feels the most likely bad outcome from refusing Mr. Collins is still much better than the certain outcome of accepting him. Which is being stuck with Mr. Collins forever.
Elizabeth is also being pragmatic. Austen also endorses her choice, for the person she is and the concerns she has. She's just picking different trade-offs than Charlotte.
Elizabeth's flaw is not in her own priorities; she doesn't make a reckless choice and get lucky. But in being unable to accept that Charlotte's are different, and it doesn't mean there's anything wrong with Charlotte.
Because realistically, when your marriage is your whole family and career forever, and you only get to pick the ones that offer themselves to you, when you are legally bound to the status of dependent, you're always going to be making some trade-offs.
😂 Even the unrealistically ideal dream scenario of wealthy handsome clever ethical Mr. Darcy still asks you to undergo personal growth, accommodate someone else's communication style, and eat a little crow.
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