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roguetelepaths · 2 years

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☄️ please!

From your OC’s perspective, write a short paragraph about their average day.

Gonna do this for a Vorta OC I haven't used these to talk about yet. He's kind of on the backburner, but I still love him and think he's an excellent boy. Basically he's my deconstruction of the "let's put a Vorta in Starfleet" concept I've seen a lot of other people play straight— he's on loan to Starfleet as part of a diplomatic initiative, he's not happy there, and (at least at the start) he just wants to go back to Dominion space where everything makes sense. He's a little asshole but he's my little asshole and I hope you care him as much as I do.

Also "short paragraph" lol. lmao. this turned into a ficlet so I'm putting it under a readmore.

☄️ Kilaran

Life as the sole test subject of a "grand diplomatic experiment" was difficult, and definitely not worth it by any stretch of the imagination. Mostly, since his assignment to the USS Eudaimonia, he'd kept to himself. He'd even, by some divine providence, managed to carve out something approaching a routine among the hustle and bustle of Starfleet life.

Wake up, 0500. Get dressed and ready for the day. Perform the morning devotional ritual. He prays for the strength and wisdom to align his actions with the will of the Gods, offering the work he will do today in fulfillment of his orders as tribute. It isn't the work he was built to do. Distantly, he wonders if that makes a difference to anyone but him.

Breakfast. He used to take it alone, at his own table in the mess hall, until that horribly pushy Bajoran lieutenant started on spending it with him. Anaru Elen. She's the most equipped to handle your situation, the captain told him, she worked closely with Odo on Deep Space 9 for a time, so she has a bit more of a nuanced view of the Dominion than most. Well, he has to wonder exactly why the Founder known as Odo decided to avail himself of her services. She's talkative, prone to emotional outbursts, and, by Dominion standards at least, highly undisciplined. He tolerates her, though, because he can do nothing else. The lieutenant orders something new from the replicator every day. He always orders the same nutrition shake, which he's sure is supposed to taste like something, but it's lost on him.

The work is repetitive. They put him on communications, mistakenly assuming that every Vorta was a diplomat. In truth, most of those he interacted with before being assigned to the Eudaimonia were Jem'Hadar, and one didn't exactly need good people skills for field supervisor duty. He does his job as well as he can, though, difficult as it is. Lack of training is no excuse for lack of effort, and the sooner he can show results, the sooner he can go back where he belongs.

Lunch and leisure time come after a while, and he never knows how to feel about it. The lack of structure confuses and repulses him. That Bajoran woman insists, again, on taking her break with him. She wants to know how he's "settling in." He asks her why she wants to know. She says she can tell that he's lonely, and thinks he needs at least one person on the ship who gets him. (She doesn't get him, and if he has anything to say about it, she never will.)

He would never question the edicts of the Founders, but he's certainly questioning what he did to deserve this.

Before returning to his work, he dashes off to send a report back home. Of course, it goes through Starfleet Intelligence's surveillance network before a word of it reaches the Founders. He doesn't begrudge them their suspicion— he's a servant of the Dominion before he's anything else, and suspicion is probably more natural to him than it is to the Federation— but somehow, it feels different than the type of surveillance he's used to from his own.

The rest of the day breezes by. He finishes his shift, then there's dinner and downtime (again, with unsolicited companionship from Anaru Elen, his personal burden to bear), then his private evening devotions, and then, finally, deep and dreamless rest.

He rises the next morning to a memorandum on his PADD. Oh, no.

Your recent reports have made it clear that I must remind you, once again, that this is a diplomatic initiative. To that end, it is imperative that you ingratiate yourself with the crew as much as possible. I gave you this task because I believe in your ability to extend yourself past what you were made for. Prove me right.

He exhales quietly, and sends a quick response. As you wish, Founder.

#oc: kilaran #vorta #star trek oc

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aspoonofsugar · 5 years

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Which is your favourite dynamic in Requiem for a Phantom? Do you have a favourite episode? Quote?

Hello anon!

Thank you so much for this ask because it gives me the chance to talk about this series!

My favourite dynamics are the ones among the three phantoms and especially the one between Elen and Reji because of its importance for the whole series and for the themes.

Phantom explores several themes. Some of them are the following.

1) Giving one’s own life meaning despite how tragic it is. Because of the nature of the series, this often happens through death meaning that many characters try to give their deaths a meaning or to conclude their lives the way they want to:

After all the series is called Requiem for the Phantom and a requiem is something made to celebrate a dead person. The title highlights that the story is about celebrating the phantoms’ lives despite how short and tragic they are. The point is that even these individuals who are not part of society and have committed sins and lack an identity are worth being remembered and being given value.

2) The series explores a specific setting and underlines the cruelty of the criminal world from which it is very difficult (and basically impossible as far as the series is concerned) to escape. The criminal world is described as a literal hell and it is embodied by the organization Inferno which wants to unify it under a single name.

Inferno is a group made by the traitors of other organizations:

This is fitting thematically because it shows how the criminal world twists every relationship and attempt to maintain some kind of honor.

This is shown multiple times and the story arc centered on Tony Stone is the first example offered by the series. Tony, despite being a criminal, loves his people and family and believes in a code. However, in the end he loses his family and dies, his organization is destroyed and used as a scapegoat and he is betrayed by a friend. His story conveys the futility of trying to build some kind of ethical system in a world which is driven by power and ambition and where people’s lives are constantly at stake.

In the series as a whole this same theme is mostly expressed through Lizzie’s character arc. She wants to be treated as a person and asks her employer to do as much in exchange of her loyalty. However, in the end she is betrayed and is forced to kill that same employer despite the fact that she still cares about her.

3) Finally the story is one of self-affirmation and of obtaining a will:

A person should take responsibility for their own actions and sins because only in that way they can truly become an individual.

The relationship between Reiji and Elen (and also the one between Reiji and Cal, but I am not talking about it here) is important for all these three themes and it is fundamental for the whole story.

2) Let’s start from the second theme aka how personal relationships are sacrificed for survival or power in the criminal world.

The important thing when it comes to Elen and Reiji is that they are an exception to the rule. As a matter of fact, even if the people around them like Scythe and Claudia try to manipulate them and to force them to fight against each other, they keep caring for each other and always choose each other over the interests of the organization.

They struggle to do so because of their flaws, but in the end they manage not to betray each other.

This is made obvious in the climaxes of the first two acts which are built so that they are mirrors. In the first act Claudia manipulates things, so that Elen and Scythe are hunted by the organization and in the second act Scythe does the same targeting both Claudia and Reiji. However, both times Reiji and Elen avoid killing each other.

This is also connected to theme number 3) i.e. to the ability of affirming one’s own will.

First of all it is interesting that Elen sees Reiji in this way:

Elen is a person with a very frail sense of identity because of the abuse she went through. She has developed a specific coping mechanism to survive her assassination job:

She nullifies herself and makes her completely dependent on others. If she is ordered to do so she can kill anybody without getting hurt because, in a sense, she is not killing out of her own free will.

Claudia wants Reiji to be different:

She wants him to become more independent and to accept his new life as an assassin in a more proactive way. However, she still manipulates him, so that he works for her. Her manipulation is just different from Scythe’s. He suffocates his subordinates’ feelings, while Claudia nurtures emotions and uses them to manipulate people even more effectively than Scythe.

However, the fact that Reiji himself is manipulated is not really important for Elen who simply sees him as a freer version of herself:

Elen had always assumed that her way of coping was the only one possible, but through Reiji she learns she has other options and starts questioning what she was told and what she had assumed.

The story makes clear that deep down Elen has never lost her most genuine part of herself:

Episode four goes out of its way to establish exactly this.

The episode opens with a very different and overly cheerful Elen who acts in a childish way and has fun going shopping:

This is soon revealed to be a mask she uses not to give away her true identity. However, this mask gives us some information about her real self as well.

First of all, Elen uses this cheerful personality whenever she needs to move around in a public place or when she has to interact with regular people. She uses this persona both in the first act and in the third act. This is interesting. After all, Elen could just take on different personas instead of sticking to a single one. The fact that she doesn’t may very well symbolize that this personality tells us something about her.

All in all it might simply convey the fact that Elen is deep down very child-like. She has been taken by Scythe when she was younger than Reiji and so when her identity had still to properly develop. Scythe manipulated her and took her memories away leaving her as a person completely dependent on others like children are. So it is fitting that her “normal” persona is a childish one because that is the stage in which her development was interrupted.

At the same time, the episode plays with the viewer’s perspective of Elen. Her having fun with the teddy bear is immediately contradicted by her breaking it to retrieve the data and when she later on is asked if she is interested in the touristic depliants she coldly rejects the assumption.

However, by the end of the episode we are shown that she kept both the Teddy Bear and the depliant.

Both are symbolic objects.

-The teddy bear represents her childish self and it is symbolically broken because she herself has been broken when she was a child. Let’s also highlight that in act three where she had the chance to experience a healthier style of life for some months she has a teddy bear on her school bag.

-The depliant is representative of her home town aka Mongolia which will be the end of her journey where she finally finds herself. The fact that she has it since episode 4 clearly shows that deep down Elen had always known from where she came from.

Then why did she not try to leave before Reiji’s arrival?

The answer is this:

In order to grow up Elen needs to face who she truly is. This means that she gets to finally feel complete, but at the same time she has to leave behind a coping mechanism which makes her feel safe and to accept what she has done.

This is something she can’t do alone and needs Reiji’s help in order to succeed.

Reiji too needs Elen and this is made clear at the end of the first act.

As previously stated, Claudia is manipulating Reiji to have him grow apart from Scythe and Elen, so that he can work as her own Phantom. She tells Reiji she is leaving the final choice to him, but she doesn’t really plan to as her orchestrating the whole mess with Scythe proves.

In the end she gives Reiji a choice. He can either go back to Japan or work for her. She knows fully well Reiji will not probably be able to go back to his normal life and the chaos of the situation might very easily push him towards her side. However, Reiji takes a third option:

He wanst to protect Elen and to help her to become a complete person. This is the path Reiji chooses in order to remain himself despite his new identity as an assassin.

In other words, Reiji needs Elen just like Elen needs him, but in a different way.

We can say that they develop a relationship which has shades of codependency since one can’t properly function without the other.

Without Reiji Elen can’t free herself from Scythe, while without Elen Reiji completely loses himself and spirals in his new role as phantom until he meets Cal who saves him.

The end of the second act perfectly shows what their relationship is about.

Elen is still unable to rebel against Scythe and keeps fighting Reiji, but stops when Reiji takes away her mask which is symbolic of him seeing her as a person.

At the same time Reiji is ready to die. He thinks Cal has died because of him and that he has become a monster and prefers to die rather than keep living in the criminal world where people use and betray each other. However, Elen saves him:

Elen’s two scars were both made by Reiji. Reiji is fixated with the second one he gave her when he accidentally shot her. That scar represents Reiji’s guilt and his crimes and it is the only part of himself he can currently see. However, Elen reveals that it is her other scar the one she cares about aka the one he gave her when he saved her. She claims that that scar is the proof of her existence and why she keeps fighting.

In this way they save each other. Reiji is given a new reason to live, while Elen is taken away from Scythe for good.

The third act shows that they keep learning opposite things from each other:

And it is also interesting that in terms of proactiveness and passiveness they start to exchange roles. As a matter of fact in the third act Elen is far more active than Reiji, while it used to be the other way around, especially in the first act when they had to run away.

This is also something that Scythe’s behaviour highlights:

He keeps assuming that the one taking action against him is Reiji, but it is not him the one who has come up with counter-measures against Inferno, but Elen who proves herself to be perfectly able to read Scythe’s way of thinking.

This is illustrated also in their final showdown.

Scythe thinks that thanks to having integrated Claudia’s philosophy with his own he has finally been able to create a group of perfect specimen. However, Elen proves him wrong and states that these new experiments are exactly like her and that Scythe has not grown:

While she has:

Her reasons for killing Scythe are also interesting:

She says that she is killing him because he hurt Reiji which is surprising because she too has been hurt by Scythe and she has been abused by him far longer than Reiji. However, I think that this line highlights once again that Elen really sees Reiji as a better version of herself. Even if she has grown Elen still struggles to see herself as a person and so, instead of telling Scythe that he has hurt her, she tells him that he has hurt Reiji, but she is really speaking of herself in the scene.

In other words both Elen and Reiji are able to go back to be people because of each other. This is true especially for Elen whose whole arc is about this. What is more, they are clearly presented as two sides of the same coin to the point that their two arcs and characters appear as clearly linked:

When Elen “dies” at the end of the first act, so does Reiji and he has does so in a way similar to hers.

At the same time, the first act also plays with the dream/flashback in episode 7.

The sequence starts with Elen remembering the day she met Reiji and it ends with Reiji waking up from a dream where he supposedly has remembered a part of his past. In short, it is not clear who is the one really having the flashback and it is really not important because this just cements the idea that Elen and Reiji are complementary and really two “versions” of the same entity without a personhood who is the phantom.

1) It is precisely because of this link that symbolically Elen dies when Reiji does.

When one considers it from a realistic in-universe stand-point it has probably to do with the afore-mentioned codependency. The two of them have been utterly devastated by their experiences and would need time to properly heal, but they are denied it. Because of it, when Reiji dies Elen takes her own life.

However, I think that there are different reading levels to the ending which have to do with different themes the story wants to convey.

As mentioned above the series depics the criminal world as a horrible place from which it is basically impossible to escape. This is why we are shown different people trying to live in this world with different methods and objectives. Claudia wants power and believes that one can only live one’s own life to the fullest by taking risks. Scythe wants knowledge and believes that he can pursue it in the criminal world. Lizzie wants to apply some sort of ethics to her killing, but she realizes that her gun has become too heavy for her and prefers to die rather than to kill a person she cares for again. Cal and Mio are both asked to choose if they want to enter the criminal world to be with a person they care about or not. Cal does so and dies, while Mio doesn’t and survives. The different outcomes of their stories have also to do with their different social standings. Mio is privileged and loved and has her family’s support when she needs it, while Cal is a runaway child who is left alone by everybody she cares for. For her entering the criminal world has also to do with her gaining strength.

What is important is that all these characters die. As I stated above the only prominent characters who survive by the end of the series are Mr McGuire and Mio. This is not by chance because they represent two opposite extremes thematically speaking.

Mr McGuire is literally the devil who rules Inferno as all the symbolism associated to him proves. He is symbolically the underworld itself and this is why he survives the ending and has supposedly Reiji killed. It is because the underworld is very difficult to destroy.

Mio is the normal person whose life is not involved in the underworld. The fact that she is secretly a mafia princess without her knowing might very well be symbolic of how even the parts of society which seems uninvolved with the criminal world are actually still intertwined with it even if they ignore it. Mio has come to an understanding of it by the end of the series and chooses to keep living her life in the normal world.

In other words, if the series wants to give this depiction of the world of criminality as a world which is unescapable at least physically, then it makes sense that Reiji and Elen, just like Cal, can’t survive the ending. However, they are given, just like Cal, an ending where they can stop being phantoms and become someone. This is emphasized by the last episode being called Elen. The title highlights how the whole story is about the original phantom aka Ein becoming Elen.

This is what the last scene is about. Even the fact that Elen kills herself, as sad as it is, it is something she had failed to do early on in the series:

In the end Elen chooses to die as herself and in her hometown.

This is at least one reading that can be done. Either way, several are possible in my opinion.

This is an analysis of Elen and Reiji’s relationships which is one of my favourites. I also love the one between Cal and Reiji, but I chose the first one because it let me talk about the series more generally.

When it comes to my favourite episodes, I love the last two ones where the major conflicts are settled and where there are many of my favourite moments.

I also love episode 6 because of how well it is structured and powerful thematically despite it being tragic.

As far as my favourite quote is concerned, I actually love this one by Claudia:

Like you say, we may be forcing this lifestyle upon you, but you are not a slave. Even you possess a freedom…Speed…Even in a set course, as long as you desire and work for it, you can accelerate towards any goal. (…) How you run through it is up to you. Don’t ever think of yourself as a slave again. As long as you have that thought in mind, you are granting victory to those who belittle you.

I think this quote is very meaningful when it comes to Claudia’s character and also to the series general themes because it emphasizes the necessity of facing even an unfair life and to do the best you can of it. It is just that what Claudia wants to do with hers is something completely different from what Reiji wants.

Thank you for this ask!

#phantom: requiem for the phantom #requiem for the phantom #phantom: requiem for the phantom meta #azuma reiji #elen #ein #zwei #my meta #asksfullofsugar #anonymous #suicide: tw

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