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punchdrunkdoc · 1 year

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Part 2, Chapter 1

Summary: After the events of S3, Matt Murdock is trying to once again balance life as a lawyer and a vigilante. But he’s been scarred by loss and betrayal - will a mysterious new neighbour help him heal? Or will her secrets drag him back into the darkness?

Notes: This is a slow burn romance with an original female character, told in 3 parts. There is mystery, intrigue, action/violence and angst - all the good stuff!

Also available on AO3 and Wattpad

Masterlist

Reference pics

Here we go!

Part 2 - picking up right where we left off...

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PART 2

Chapter 1

Calina woke up when the floor disappeared.

The last thing she remembered was sitting on the kitchen tiles, back propped up against the cabinets as she finished her beer. The living room was littered with the fallout from their fight - smashed glass on the floor, furniture in pieces - and neither of them had had the energy to clean it up. So in silent agreement, they’d stayed in the kitchen after ‘introducing’ themselves. Calina had taken the weight off her throbbing knee and Matthew had joined her on the floor, his long legs bracketing hers as they sat opposite each other.

“Are you able to talk about what happened?” he’d asked. “I don’t want to push you, but I need to know more details. I need to know what the danger is.”

His voice had been gentle and hesitant - and she didn’t blame him for his caution. He must have been worried that she’d break down again if she relived the experience. But there wasn’t any risk of that tonight - she still felt strangely numb, the raw fragility of earlier replaced by a detached calm, like a veneer of paint over a crumbling facade.

A temporary fix.

Eventually the emotions would break through again, and she’d have to deal with what had happened tonight, but she wasn’t ready yet.

And she’d never be ready to share all the details with Matt.

So she lied.

And she used his concern and his compassion against him. "I...I don't feel up to talking about it," she told him. "Not yet. But you're not in any danger from me. Not anymore. They can't activate the serum remotely, so I'm not going to suddenly turn on you again."

Matt gave her a small smile. "I wasn't worried about me being in danger. I wanted to know how much danger you're in."

"Oh." There was that compassion again. And the selfless valour that made up so much of Matt's character. She hated herself for taking advantage of those traits. For manipulating him and lying to him mere moments after their ‘fresh start’. But the alternative - sharing the unedited, unsanitised truth about what she'd done in her apartment - would destroy this tentative, fledgling…thing…between them.

He would never look at her the same way, knowing she was a killer by choice. Regardless of the fact that she’d had just seconds to make her choice; regardless of the fact that her mind had been slipping away and her freedom - and the lives of others - had been on the line, she had made the conscious decision to end a life.

And she feared Matt would hate her for it.

It made her a coward. A selfish coward.

But she’d just have to live with that.

"Yelena is much more concerned about the threat than I am,” she explained. “I don't believe they're coming for me. I don't think they even know where I am."

"That's good. But you should lay low for a while anyway. Just as a precaution."

She nodded, then changed the subject. She wanted to steer the conversation to safer territory - and away from her quagmire of lies. “Tell me about today.”

“What do you mean?” he asked.

“Distract me. Tell me about the trial. How did the closing arguments go?”

“Foggy did a great job. This case always felt like a long shot, but I’m actually feeling optimistic. The prosecution could never prove a motive, and their cross-examination of our toxicology expert was weak. They…” As Matt recounted his triumph in court, the words - spoken in that lovely, rich tone of his - turned indistinct; they became a background hum, a soothing track that lulled her into oblivion…

…until she drifted off to sleep.

It turned out an adrenaline come-down, mixed with alcohol and painkillers was a potent combination.

And then the floor disappeared. The cold tile was replaced by air as she went weightless, secured in Matt’s strong arms as he carried her into the bedroom. “I’ll take the couch,” she slurred, her head heavy against his chest.

“The couch that is currently canted at a 35 degree angle?” Matt replied as he gently deposited her on the mattress. “It’d be like sleeping on a playground slide.” He helped her extract herself from her sling, pulling the fabric over her head and smoothing back her mussed hair. She tried to lean into the caressing hand but it was gone in an instant, the casual stroke meaning nothing to him, but everything to her.

She’d never been fussed over like this before.

“What about you?” she asked as he guided her back onto the pillow and pulled the covers over her.

“I’ve got some work to do, so I’ll stay up a little longer. Besides, I need to keep watch just in case there’s any activity next door. And I’ll need to wake you every couple of hours.”

“What? Why?” She heard the whine in her voice but couldn’t help it. She felt leaden with fatigue and wanted to sleep for days - not just a couple of hours.

“You were knocked out cold earlier. Standard concussion protocol.”

“Ugh.”

———

Matt smiled. The last time Calina had fallen asleep in his apartment, she had woken up confused and disorientated. Now she was acting almost petulant. He wasn’t sure which one was more endearing.

He carried one of the living room chairs into the bedroom and settled in for the night, his concentration split between the hallway outside, the woman in his bed, and the deposition papers in his lap. He needed to study the documents for an arbitration session next week, but his fingers soon went lax around the pages as his attention strayed more and more to Calina’s sleeping form.

The events of tonight still seemed to unreal to him. After months of speculation and doubt and curiosity, he finally knew the answer to her mystery.

And it was more horrifying that he could ever have imagined. She’d been stolen as a child and brainwashed, then turned into a mindless assassin. He could barely reconcile that kind of past with his sweet, kind neighbour.

It explained everything of course - the inconsistencies in her story, her nightmares and trouble sleeping, her fight skills and all the injuries he’d detected several weeks ago. Although he hadn’t gotten an explanation on that last count.

Nor had she been very open about what had transpired tonight.

He still couldn’t pick up any physical clues that she was lying, but his gut told him she was holding back. Her story didn’t add up. But he had to hope that she would trust him enough to tell him some day.

For now he would keep watch over her until she was strong enough to do it herself. And if that meant living with her for a few weeks, so be it.

Foggy thought he was crazy, of course.

For multiple reasons.

He’d listed them over the phone when Matt had called earlier to update him. “Number 1,” Foggy had started. “You’ve just found out this woman is a TRAINED ASSASSIN.”

“And as far as I know there are no bounties out on my head,” Matt had responded lightly.

“This isn’t funny, Matt. You’re going to be living with a killer.”

“An ex-killer. She never had a choice about becoming a Widow, Fog. But the first choice she made on being freed was to walk away. She doesn’t want to be a killer.”

“But that brings me to point B.”

“I thought you were numbering these.”

“Shut up. Point B, or 2, or whatever. What happens if she loses her mind and goes all robot-killer again?”

“Apparently the mind control can’t be activated remotely. If someone wants to steal her mind again, they’ll have to do it in person, and they’ll have to go through me first. I’m not gonna let that happen.”

Foggy sighed. And Matt could hear his friend’s frustration over the phone. He knew Foggy didn’t understand his decision to take in Calina. To be honest, Matt hadn’t exactly thought it through - the offer had been an impulse.

But he didn’t regret it.

He was still haunted by Calina’s broken, desperate sobs after she’d been freed from the serum controlling her. He hated the thought of anyone being in that much pain, let alone a woman he cared about. This - opening his home to her, allowing her to stay in New York - was a tangible thing he could do to help her. Rather than letting her default to the life she so obviously didn’t want out of a feeling of defeat and hopelessness, he was offering her a respite. A chance to heal and get back on her feet.

It reminded him of the aftermath of the building collapse, when Father Lantom and his mother had taken him in for a similar reason.

He was just paying it forward.

“You didn’t see her tonight, Foggy. She was so…defeated. I couldn’t stand it.”

“But, Matt-"

“No, let me finish,” Matt interrupted, trying to explain his rationale to his friend. “Imagine having the courage to walk away from everything you’ve ever known and start a new life, in a new country. Having never had a proper job before, or an apartment. You don’t even know how to pay a gas bill. Calina did that. And she’s been trying so hard to live in this alien new world and was just starting to adjust…and it was all ripped away from her in an instant. It left her feeling that she had no choice but to give it all up. And I couldn’t bear for that to happen.”

“For her sake? Or for yours, Matt.”

It was a fair question. And one he’d been quietly grappling with.

Was he really being altruistic in convincing Calina to stay? Or did he just not want to lose her?

“Either way,” he responded. “I’m not going to start anything with her. This will be a strictly platonic arrangement.”

Foggy sighed again. “Let me get this straight. You’re attracted to her. And you like her - enough to share your home with her - but you won’t act on it? Are you sure this isn’t just some new masochistic way of torturing yourself?”

Matt rolled his eyes. “I’m just trying to be a good friend, Foggy. And I can control myself. Its not going to be torture.”

———

This was torture.

“Calina?” The Devil whispered again.

“Leave m’lone,” she slurred in response.

She heard a soft chuckle in the depths of her drowsiness. “I’m sorry. I just need to make sure you’re okay.”

“M’okay.”

It was the second time tonight that he’d woken her up to check on her. And while she appreciated his diligence and care, she was so tired. And his bed was so, so comfortable.

Which made her feel extra guilty about stealing it from him. The first time he’d woken her, she’d repeated her offered to go out to the couch in the living room. This time, she offered to share. She wriggled over to the far side of the bed and patted the mattress. “Lie down. You can’t be comfortable sitting in that chair all night after our fight.”

She’s not sure she would have had the courage to make that suggestion under normal circumstances. But it was late, and dark, and exhaustion had eroded some of her shyness.

“I’m fine,” Matt replied. “I’m still working.”

“Liar.”

He chuckled again.

She persevered. “At least sit on the bed if you’re gonna pretend to work.”

She could sense his hesitation, so she decided to make it easier for him. She rolled on to her side so her back was to him, wincing internally as the movement jarred her sore elbow. Moments later she felt the mattress dip as he climbed onto the bed. She smiled in victory, and closed her eyes.

The next time she woke, it wasn’t with Matt’s whisper in her ear - it was with the morning sunlight blazing against her eyelids. She cracked open her eyes, and slowly adjusted to the strong light piercing into the room. She glared at the bare windows, irrationally angry at them for waking her.

Then her gaze shifted, and she forgot all about her annoyance.

She didn’t remember rolling back over during the night, but she must have done at some point…because now she was facing Matt. He was on his side, stretched out on top of the covers, with one hand tucked under his pillow. And he was fast asleep, undisturbed by the sunshine.

A rush of emotions hit her all at once. Sadness, that his eyes couldn’t perceive the morning light that had woken her; guilt, at the deep purple bruises marring his skin; tenderness, at the soft, boyish look on his handsome face.

And intense gratitude, that after everything he’d learned about her last night, he still trusted her enough to fall asleep next to her. To leave himself so vulnerable in her presence.

It humbled her.

He shifted in his sleep and she held her breath, not wanting to wake him. She felt a tug at her wrist and looked down. The loose sleeve of her dressing gown was held between two of his fingers. Those fingers twitched ever so slightly, as if he was stroking the material in his sleep.

She smiled. She didn’t blame him. She’d bought this dressing gown because the cashmere fabric was so sumptuously soft and delicate. She’d shoved it on over her camisole and shorts last night, wanting to surround herself in comfort and warmth.

She was glad he was benefitting from that as well. Judging from his silk sheets, Matt shared her love of luxurious fabrics.

He moved again, and she glanced up to find his eyes open. “Morning,” he rumbled. His deep voice was thick with sleep, even lower and sexier than normal. He licked his lips, and her eyes were drawn to his mouth.

To that full, curved upper lip…

“Calina? You okay?”

She jerked out of her daze. Then shifted back on the bed, putting a bit of distance between herself and the temptation lying next to her. All her sore muscles and abused joints protested the move at once, and she groaned softly. “Why does it always hurt so much worse the next morning?” she complained.

He huffed out a laugh. “Tell me about it.”

She studied his face again. His nose was swollen and there was bruising beneath his eyes and over his cheek and jaw. The cut on his ear looked angry and red, and she could see the bandage covering the knife wound peeking out the neck of his t-shirt. “I’m so sorry.”

“Hey.” He released his hold on her sleeve and grasped her arm instead. “Stop apologising. In case you forgot, the reason you’re in pain is because of me.”

“I don’t blame you for that. You were just doing what I asked you to do.”

“Well, I don’t blame you either. You weren’t in control of your actions.”

She nodded, accepting his absolution for now. She didn’t have the energy to debate her culpability this early in the morning.

“How do you feel?” he asked. “Apart from general aches and pains. Do you need to see a doctor about your elbow?”

She extended and flexed the joint a few times. It hurt, but not any worse than usual. “It’ll be fine. It’s happened before.”

“Yelena mentioned that.”

Calina laughed.

“Why is that funny?” he asked softly

“Because she was the first person to dislocate it.”

He frowned. “What? How?”

“We were eleven and it was during jiu jitsu training. I’d broken some rule - I can’t even remember which one - and the trainers wanted to make an example of me. So they paired me with Yelena for a practice bout. We were the same height back then, but she was a lot stronger.”

“You didn’t tap out?”

“There was no tapping out in the Red Room. Fights were over when one of us was unconscious…or dead.”

“Jesus. Dead? You were just children.”

“We were assets. And if we weren’t good enough, we were disposed of. Only 1 in 20 of us made it all the way through the training.”

She wasn’t sure why she’d told him that. Maybe it was the intimacy of the space - the shared bed, with their faces inches apart, and their soft voices filling the sun-bathed room - that made her feel safe enough to spill all her secrets. Maybe it was his sightless eyes, the ones that couldn’t lock on to hers and stare down into her soul as she bared it.

Or maybe she just wanted to prove that she was tough. Capable. That despite him besting her last night, and despite breaking down in tears afterwards…she was strong. She had endured so much, and could endure anything else that was thrown at her.

“I don’t even know what to say to that.” Matt shook his head. “I can’t imagine that kind of childhood.”

“From what you’ve told me, it’s not like yours was all sunshine and roses,” she countered. He’d been blinded in a horrible accident, then orphaned. That was still a pretty good hand to play in the game of ‘Who’s Life Sucked More’.

“I guess we make some pair.”

She smiled. “Yeah.”

They were silent for a few beats, and she basked in the comfort of it. She liked this moment they were sharing. This interlude of honesty and intimacy. It felt like they were removed from time - that this room was the only thing that existed, and they were the only people in the world that mattered. She never wanted it to end.

Of course, the universe had other ideas.

A car travelling the street below back-fired, the sound like a gunshot. Matt flinched, as if the noise pained his sensitive ears. Calina jerked upright, an instinctual reaction to possible gunfire. The move wrenched her knee and a cry of pain escaped her lips.

Matt sat up in response. “Are you okay?”

“Yeah, just my knee. I should probably ice it.”

He twisted to face her and crossed his legs between them. His hands hovered over her sheet-covered legs. “Do you mind if I check it out?”

She wasn’t sure what he’d be able to ‘check’, but then again, she didn’t know the full extent of his abilities. She pulled the duvet out of the way and exposed her bare legs. Her left knee was noticeably red and swollen, but it looked a little better than last night.

She couldn’t say the same for the bruises on her thighs where she’d been repeatedly hit - by both Matt, and the man she’d killed. Vivid purple blotches covered most of the skin, and she was glad Matt couldn’t see them.

He slowly lowered his hands until they covered her injured knee. Gently - so gently - he palpated the joint. Then he slipped one hand under her thigh, taking the weight of her leg so he could check her range of motion. Her breath caught at the feel of his warm, calloused fingers against the sensitive skin of her inner thigh. She only managed to exhale again when he finally placed her leg back on the mattress.

“There’s some deep bruising. But nothing’s ruptured or broken,” he said, his voice maddeningly calm and unaffected.

She couldn’t say the same for her own. “Th-that’s good,” she breathed.

“I’ll get you that ice. And some painkillers.”

He started to move off the bed but she stopped him with a hand on his chest. She quickly pulled it back at the feel of his hard muscle beneath his t-shirt. “No. I’ll do it. I, um, need to walk off some of the stiffness.”

She scooted off the bed and practically jogged out of the room, ignoring the lancing pain in her legs. She shut herself in the bathroom, braced her hands on the sink and glared at the woman in the mirror.

Get a grip, she silently admonished. He’s being a wonderful, kind friend. Pull your mind out of the gutter and show a little discipline. You don’t want him feeling uncomfortable around you and your pathetic crush.

She splashed some water onto her face to cool herself down, and took a few deep breaths. Once her hormones were back under control, she laughed bitterly at the unfairness of the situation. It reminded her of a famous proverb from back home: Love is cruel; you could fall in love with a goat.

Forget goats. You could fall for an amazing, brave, handsome man…who didn’t feel the same way about you.

Now that was cruel.

———

Matt hated to admit it, but Foggy was right: this was torture.

He groaned and rubbed his face with his hands, letting out a sharp gasp as he bumped against the swelling over his nose. He probed the bridge carefully, but couldn’t feel the crunch of a broken bone.

Just a lot of bruising.

Bruising which - unfortunately - wasn’t bad enough to block his sense of smell. He would have gladly gone without it today.

Because he’d woken up saturated in Calina’s scent.

It filled the room like an atmosphere, so thick he could swim through it. He could feel it on his skin and taste it on his lips.

Complete and utter torture.

He never should have gotten into bed with her. He should have just kept vigil in the chair all night. Better yet, he should have been out in the living room, as far away from her as possible. But he’d been tired. And sore. And the temptation of the soft mattress had been too much to resist. The moment his head hit the pillow, he’d been out like a light.

It was the best night sleep he’d had…since the last time he’d slept with Calina.

He was just grateful that he hadn’t woken up wrapped around her. It was a distinct threat - he’d always been a cuddler in bed. And it had been so long since he’d been with a woman. He missed the sensation of bare limbs entwined together, silken hair against his cheek, shared warmth…He only had so much restraint, especially in the morning hours when his guard was down. It took all his willpower to fight the lure of her scent, add in the feel of her skin against his and he’d be in big trouble.

Just touching her knee had been bad enough. It had sparked a cascade of reactions in Calina that had nearly made him groan. The moment his hand had wrapped around her thigh, he’d sensed a rush of liquid heat to her core, just inches from his fingers. Her heart had started pounding and her breathing had stopped. Worst of all, her scent changed, her arousal magnifying the already intoxicating fragrance.

Fucking. Torture.

He needed to be careful. She was obviously as touch-starved as he was. Which made sense, given the life she’d lived up until now. A life of control and duty. A life devoid of fun and happiness and the simple pleasures that most took for granted.

A life devoid of…life.

The small fragments of her past she’d shared this morning gave him even more insight into that.

Only 1 in 20 girls completed the training.

What must that have been like? Never knowing if you would survive to the next day. Never knowing if the person next to you would make it either.

You would close yourself off and avoid getting close to anyone. And by all rights, Calina should have still been like that. She should have been cold. Or, at least tentative in her interactions with other people. And, yes, maybe in the beginning she’d been a bit aloof, but now she was so warm and open and caring.

That she could hold on to that side of her after everything she’d been through was…miraculous.

He needed to be careful with her. So, so careful.

She was out in the world for the first time, having never experienced proper human connection. Her reaction to him - her apparent attraction - was likely just a product of that inexperience. He was the only man in her life - maybe even the first one that she’d ever been close with - so he shouldn’t read too much into it.

And he absolutely should not take advantage.

It was yet one more reason why they needed to stay platonic.

Friends. And nothing more.

————–

Chapter 2

Taglist: @hollandorks, @yanna-banana, @stilldreaming666, @tearosearts-blog @chezagnes, @freckledbabyyy

If you’d like to be added, let me know!

#Daredevil #daredevil fic #daredevil fanfic #marvel's daredevil #daredevil fanfiction #daredevil x original female character #matt murdock fanfic #Matt Murdock #matt murdock x original character #tabula rasa

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s0ym1lk · 3 years

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I finished Disco Elysium last night and have come to the conclusion that it is, ironically, about learning how to honor history while also letting it go.

Disco Elysium is set in a world drowning in history. You spend the whole time walking through a bombed-out city, exploring walls where people were lined up and shot, bunkers filled with propaganda, and monuments that were put up and torn down and put up again. The layers upon layers of history that you dig through in every encounter just overwhelms you.

Harry Du Bois is likewise drowning in his own personal history. When you start the game, you literally wake up in the 'ruins' of Harry's own personal country - the room he'd wrecked on his multi-day bender prior to starting the game. He clings to an outdated music style and an outdated celebrity that he models himself after. He worships his ex so much that his brain turns her into a god.

It's no surprise that the most joyful parts of the game are ones in which history is erased or made irrelevant. Harry's relationship with Kim, for example, has no history to it at all. While Kim knows that Harry is a self-destructive asshole, based on the aftermath of Harry's bender that he's able to witness, Kim also begins his relationship with Harry from a point where he's fundamentally a different person, who can and does make different choices than old Harry would havea. Every time Harry's past comes up, Kim is able to relate to him in a different and more positive way, simply because the old Harry and the new Harry are different people. Contrast this with Harry's interactions with his old partner Jean. Those interactions are really depressing, because they're so one-sided - Jean is left to shoulder all of the pain Harry caused to him, but when he tries to lash out, Harry doesn't understand. For example, when Jean tries to pull a mean prank by dressing up as the reporter Harry drove away, the joke goes completely over Harry's head, because Harry doesn't remember his past OR his old partner. Jean is stuck in a cycle of trauma and abuse that he's trying to perpetuate with his actions. Harry literally can't remember enough about himself to be a part of that anymore. That's why his relationship with Kim works so well in comparison - he can leave his past behind and become a better person who has healthier relationships.

Another place you see this quite well is in the storyline for the dance club at the church. The church itself reeks of history, and not in a good way. It's abandoned, worn-out, broken, and it has a giant stained-glass window of a woman who blanketed Elysium in terrible history and destroyed it, then convinced everyone that she was a saint. The history in that stained glass literally towers over you and forces you to cower beneath it. When you help the teens turn the church into a dance club, you disrupt all that. The power and sanctity of the church's history doesn't totally disappear, because the church is still there, but it fades into the background as it's overtaken by a new history. That new history extends to everyone present. It covers the teens, all of whom are either running from a bad past or leaving the people they were behind(you'll notice Disco Elysium has a lot of characters who have become different people than they used to be). It covers Harry, who has struggled to let go of the cool person he was in the days of disco, but ends up not just writing the new anodic music but busting a move to it. It covers Soona the programmer, who's trying to essentially come to terms with her history at Fortress Accident and move on from it. It's a really powerful image, to find the seed of the world's destruction in the church and to be concerned about that, but to then turn it into a bass track and dance to it joyfully anyway. Sure, the end of the world is coming. That kind of sucks. But in this joyful moment, who cares?

Look at Harry's former relationship with Dora. You spend all this time being triggered by things related to her, like chewing gum, the Dolores Dei references, and near the very end of the game finally have a dream where she turns into a god and leaves you. Harry is obviously an obsessive person. He obsesses about Dora and turns her into something larger than life, even though she tells him frankly that she's just a regular woman. Harry tries to cling to that history by getting her back. He gives her figurines that he remembered she would like. He tells her he's a better person and that they can make it work. He can try to kiss her. He can beg her not to go. She leaves anyway. Despite Harry's desperation, you can tell as the player that this is an unhealthy relationship, and that it's good that Dora left him. You can also see how her leaving triggered Harry's descent into brokenness, and how he never truly recovered from it because he couldn't let go. I don't think it's a coincidence that Harry only manages to face this history after he loses his memory. Some of that past had to be scraped away before he could face the truth and overcome it.

Finally, the reveal of the killer absolutely drives this point home. The whole game follows the traditional detective novel arc, where every detail is a Chekhov's gun leading to one big conclusion. The footprints, the eighth Hardie boy, the drugs, the smoker on the balcony, all of it. And the kicker is that it does all come together - but not in the way you want it to. Because most of the clues are smoke and mirrors. The killer is a sad old man you've never met before hiding on an island, clinging to (you guessed it!) the past. He's drowning in history and can't let go of it. If he feels totally irrelevant to the rest of the game, that's because he is. He doesn't matter! The world let go and moved on without him. The game strongly implies that it was this moving on, and not the old man's politics, that cause him to commit the murder. When he pulled the trigger, he wasn't really thinking about moralintern supremacy or being loyal to the communist revolution. He simply couldn't watch two people steeped in history choose to let it go and find happiness together in moving on. So he killed the merc in a fit of jealousy. Everything else you track down in the game is just people trying to mitigate the consequences of that murder by protecting each other.

History is important, and paying attention to it is how we learn from our mistakes. But what Disco Elysium doesn't want people to do is to get so obsessed with the past that we get stuck in it. You can't live in a bombed-out city or a trashed hotel room forever. You have to let it go.

You may ask, what about the pale, and the end of the world? To me, the game is literally manifesting existential dread as a parallel to the player's own understanding of our world and our limited existence. We know the world will end at some point. Elysium knows it literally - it's being slowly swallowed up bit by bit. We as the players know it metaphorically. We know that we get 100 years, give or take, to live. We know that the planet is slowly being destroyed. In a way, that's our history too. And so the game says to you, it doesn't matter. You should care, but don't get so caught up in caring that you forget to live. Ultimately it doesn't really matter that the world is ending. What matters is something smaller and more personal - that you care about the people around you, that you try to help where you can, and that you dance to anodic dance music while you have the chance.

#disco elysium #disco elysium spoilers #i don't know if people will agree with my conclusions but #if you do #it becomes very funny that so much of the game is then made totally irrelevant #i played SmartCop so my playthrough was all fact dumping about the world #even the politics gameplay becomes irrelevant #which i think fits the conclusion because the politics stuff is so satirical #to me it reads more as a criticism of people who care about that stuff than as a real analysis of it #the game essentially says 'every single one of these political philosophies hurt people #'isn't it time to let them go and start caring about something else?'#okay i could go forever but i'm done

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stylesberries · 4 years

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Rainbow Cardigan

Summary: Harry loses his favorite cardigan. You learn how to knit. (Based on the JW Anderson cardigan knitting trend.)

Genre(s): fluff, a sexual innuendo

Word Count: 2.1k

Warning(s): mentions of sexual intercourse.

Harry’s sense of style is one of the main things that make people around automatically drowns to him. High waisted flares, custom Gucci suits and newsboy caps - Harry in a nutshell.

His style is so distinctive, that even if his face and tattoos were covered, people around would still recognize him just by looking at his outfit.

You, of course, are one of the many fans of Harry’s style. Being his girlfriend had its benefits. Getting to steal his clothes was, obviously, on top of the list.

“Sweetheart!” Harry calls out for you from the bedroom.

You got up from your place in the living room, following your boyfriend’s voice. You knew that if he just wanted to tell you something, he would’ve texted. He clearly needs you to come up to him, so that’s exactly what you do.

Going up the stairs, you kept thinking about who could be the killer in the new detective series episode you’ve been watching.

When you reached your bedroom, your eyes trailed right to your worrying boyfriend, who was walking in circles around the room with his brows furrowed and in deep thought.

“Love, is everything okay? You seem upset.” You gently started.

He really looked frustrated, and you had no idea what was the reason behind it. He would always take every hardship light-heartedly, knowing that everything can be solved and everything can be fixed, and if that’s not the case, he would say, “Well, that’s what life’s about, isn’t it? It can’t always be easy. That’s the beauty of it.” Your mind started walking in circles just like your distraught boyfriend, thinking about anything that could’ve caused him to react this way.

“Y/N, I think I lost m’rainbow cardigan.”

Then it hit you. He really loved that cardigan. It wasn’t just adorable, warm and cozy. He wore it for your first date, and being someone who imbues everything with meaning and gets emotionally attached to things, his reaction wasn’t surprising to you.

“My dear, I’m sure we will find it. Come on. I’ll help you lo-”He cut you off full of sadness and frustration.

“I’ve already looked everywhere, and I mean everywhere. I’ve looked in every room, on every shelf. I looked under every couch, just in case. I even checked the stove. Like, come on, it could never be there, but I still looked! I don’t know what t’do. I always take it along wherever I go. If I am here and it’s not - I lost it. I fucking lost it. Y/N, what do I do? Where else could I look?” He was full-on bawling now. You couldn’t help but cut the distance separating you short and hug him.

“Don’t worry, Har. We will find it. I know how much it means to you. We’ll find it.” You kept repeating it. Although, your voice was muffled by his hair, he caught every word leaving your mouth.

“I cannot lose it. I can’t. What if it’s lost forever? How could I let it out of my sight?” The sight of him so genuinely saddened by the situation made you let out a sigh. You were full of compassion and understanding, trying to remember the last time you saw the poor cardigan. Failing to do so, you turned to your crushed boyfriend and tried to get information out of him.

“When did you last see it, baby? Do you remember?” You carefully asked, trying your best not to push him even more. Judging by his appearance, you knew that he could easily beat himself up for losing the cardigan to a point of having an anxiety attack, and that was the last thing you wanted right now.

You watched him slowly breathe air in and out, trying to slow his heart rate down.

“I haven’t seen it for over a week. The last time I’ve seen it was at the studio, I think. I put it on t’go there. It was cold that day.” He explained.

You remembered exactly what day he was talking about. He went to the studio early and you missed him a lot, so when he came back home you jumped on him, which later on led to a heated make out session. The thing was that you didn’t remember taking the cardigan off of him that day.

“Har.” You tried to be as gentle as you possibly could, but you knew that there wasn’t anything that could make him feel better about losing something so dear to him.

“Yeah?” He took a step back and looked at your saddened face.

“I’m afraid you came home without the cardigan.”

After having your crying-your-eyes-out-because-of-a-piece-of-clothing session, you were determined to find the cardigan. Knowing that Harry just went to the studio and back that day, you did the same. Harry asked everyone working at the studio if they’ve seen the cardigan, and with every new person your hope withered more and more. As you asked more people and tried to track the cardigan down, you realized that it was probably lost on a bench he sat on by the studio, to drink his morning coffee. That meant that you’ll never see it again. Understanding the hopelessness of the situation, Harry gave up looking.

Seeing your Harry walking around the house completely destroyed by the situation, you couldn’t help, but think about a way to make him feel better.

He would skip his morning runs to sulk in the bed, cuddled up in the blankets with his feet tangled with yours. Harry was never one to skip any part of his daily routine, so you understood how attached he was to the lost cardigan.

One night, after you both finished your dinner and went to watch some rom-com in the living room, your grandmother called. You apologized to Harry and answered the call.

As you gave her an update on your life these days, Harry cuddled closed into your side and let his eyes close.

Your grandmother asked you about everything, starting from what you had for breakfast to how your university project was going.

In couple of minutes Harry started lightly snoring into your ear. Next thing you know she’s telling you about the new blanket that she knitted.

Then an idea came to your mind. You’ll knit him a new cardigan.

Next day was spent shopping for yarn and needles and watching knitting tutorials. The fact that Harry was out in the studio made it even easier for you to bring your ideas to life.

In the beginning you found it a little hard, but with a little motivation you knitted a couple of colorful squares, just like the ones in Harry’s precious cardigan.

The image of the cardigan mostly came from your head, but whenever you needed a reference you could type “Harry Styles Rainbow Cardigan” into Google and freshen the memories.

It took you some time to get the cardigan together, knitting every little square with the other, making sure everything is as neat as possible.

You felt bad for lying to your sweetheart, but you had to admit - it was fun running around hiding your surprise from him.

When the cardigan was ready, you took a look at your creation.

Although, it wasn’t the same as the one you both had so many memories with, it was made with love, coming straight from your heart.

You finished the last touches at about 7 o’clock, and Harry was supposed to come home a bit later today due to a meeting with the management. You waited for him until late evening and found a box to put your little creation into.

After folding the wrapping paper around the box and tying a bow from the ends of the yellow ribbon, that was now wrapped around the sides of the box, you laid down in your bed and picked up an unread book to finally finish it.

In an hour or so your exhausted boyfriend stepped into the house. You could head his steps coming from outside of the bedroom. By the time he came back home, the book found its way back on the side table, as you wrapped the blanket around yourself to mimic the warmth of missing Harry.

Harry walked into the room slowly, making sure he doesn’t step on certain creaking planks in the floor, not to wake you up. He carefully undressed himself and folded the corner of the blanket to get under it. As he carefully positioned himself next to you, you turned around, making sure not to take him by surprise and scare the living shit out of him.

“You’re so late, love. Did something happen?” You asked, hoping that everything was okay with the upcoming tour. Your mind didn’t view anything else as a possibility because you trusted him completely. You knew you had nothing to worry about, as he proved his loyalty to you enough for you not to have any doubts about it.

“Jeff kept me a bit late, m’precious. We were going through the tour schedule. I’m sorry I made y’worry, baby.” He wrapped his arm around your waist and pressed a kiss on your temple. You let him shower you with more and more kisses, before you remembered the box you hid in the closet. You eyes abruptly opened and Harry caught the look of realization on your face.

“What happened, bean? Not in the mood?” He made sure to ask you.

You got up from the bed, pushing his hands off of you, and walked right to the closet.

“Baby? Is everything alright?” Harry was confused over the way you were acting.

You left his questions unanswered and grabbed the box, after opening the doors of the closet looking for it. You walked back up to the bed, but now from Harry’s side. He seemed completely oblivious of what was coming next and, obviously, awaited for an explanation.

“It’s a present. For you.” You now let yourself smile at him, after putting on a show to freak him out. You let out a laugh after seeing Harry look insulted by the way you played with his feelings.

“You’re a meanie. That’s not cute. Was gonna make love to you just now, but I am no longer going to do so.” Harry ended the dramatically long sentence with a theatrical frown.

Despite the little show he put on for you, he couldn’t help but keep looking at the box, laying in front of him.

“What’s that?” He curiously asked.

“Open and see for yourself.” You moved closer to him, with only the box separating you.

Harry carefully unwrapped the bow, making sure he doesn’t rip the paper you carefully wrapped. Something so small, almost unnoticeable, but another thing you loved about this man. There was love in every little gesture and move of his. He could’ve just torn the paper and the ribbon off, acting on his curiosity, but he didn’t. He knew you took time to make it look pretty for him, and he wouldn’t ruin your creation, even if it’s just wrapping paper.

When Harry got to opening the box, he looked up at you, as if asking for your permission. You nodded, smile grazing your face.

As the lid came off the box and the bright colors of the carefully knitted cardigan started gleaming from the light, coming from the lamp on the bedside table, Harry’s facial expression turned from curiosity to utter shock. Noticing his surprise, you chose to speak up.

“I made it myself. I knew how heartbroken you were after losing that cardigan, so I thought - maybe I could knit it for you. I know it’s not perfect, but it would make me very happy if you kept it.” You nervously blabbered, thinking that he didn’t seem as happy as you thought he would be.

“You knitted it yourself?” He looked up at you in shock with tearful eyes, as his hands finally let themself touch the buttons of the item.

“I did. I watched tutorials on YouTube. Thanks to those, I learned how to knit.” You joked, trying to lighten up the atmosphere.

“You learned how to knit to make this for me?” His voice turned raspy, as it always did when he got emotional and he looked like he desperately needed a hug.

So that’s what you gave him.

“Come here, my love. Please don’t cry. I didn’t knit it to make you sad. I wanted to make you happy.” You cooed into his ear.

Harry held onto you with such need and desperation, that you haven’t seen him show before. He squeezed you closer, his hands still keeping hold of the knitted piece.

“You made me so happy. You make me so fucking happy.”

#harry styles #harry styles fluff #harry styles imagine #harry styles imagines #harry styles one shot #harry styles fanfiction #harry styles x reader #harry styles masterlist #harry styles blurbs #calm #jw anderson #cardigan

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dreadpoetssociety · 4 years

Text

I Told You So

TW: Suicide, abuse, kidnapping, blood, death

Note: Sorry for any spelling or grammatical mistakes, I didn’t go back through it LOL, but I may in the future. Enjoy !!!

Request: “hi was wondering if i could request a reid x sister fic where the reader gets a boyfriend and spencer doesn’t like him and it turns out the boyfriend is an unsub. i love your work so much!!!”

Pairing: Spencer Reid x Sister!Reader

()()()()()()

When Spencer met your boyfriend for the first time, he told you immediately after that he didn’t like him. He began explaining the signs he was noticing, but you didn’t dare to listen. You told him he was a great guy, and that he was just being over protective because he was your brother. You told him to stop profiling everyone you meet, that who you date and who you’re friends with is entirely up to you, and that he should just let you live things out on your own. Of course, you did appreciate his concerns, but you just figured he was a bit overdramatic. I mean, you were all just kids, and of course Spence would have a biased view on you hanging out or dating someone.

Your boyfriend’s name was Noah. You’d been dating for about four months, he had wavy hair, dressed pretty plainly, very smart, and liked classic rock (Except Led Zeppelin, damn did he hate that band.) You’d met after the death of a mutual friend, Elaine Richards, a year ago, and the two of you became close after helping each other through such a hard time. You hung out all the time, called all the time, merged your friend groups together. Everything. And you loved him. Your friends all knew you both liked each other, and eventually, you finally went out on a date.

School had ended, and you had just got to the apartment to actually see Spencer in it, which was a very rare occurrence.

“Hey Spence! I didn’t know you were off.” you said with a smile.

“I’m not, actually. There’s a case locally.” he said, which turned your smile o a frown.

“Well that’s not good.” you replied, trying to lighten his mood. He seemed stressed and aggravated, as that happened every once in a while when a case was particularly difficult. It always made you feel bad for him., “We should go do something before you have to go back. You know, some good ol’ sibling bonding.”

“Sorry, Y/N, but not today. Serial killers don’t exactly wait for ‘sibling bonding.”” he sighed, annoyed. You figured at this point you’d just leave him to his thoughts, and decided to go out.

“I’m going out with Noah then. “ you replied, grabbing some of your things together. You didn’t’t notice, but this grabbed Spencer’s attention.

“No, Y/N, you’re staying here. This guy that’s out there is killing people who look like you. You fit his type.” he explained, “And I don’t trust Noah, not for a second.”

“Jesus, Spencer, can you stop profiling literally everyone? There’s thousands of girls in this city that look like me, what makes you think I’m the one he’s gonna scoop up?” you realized that was a bit insensitive, and that you probably should care about those other girls, “Besides, wouldn’t it be safer to not be alone? You’re going back to the BAU anyway.”

“Y/N, seriously, this can happen to anyone. You of all people should know that.” he answered. You knew what he was referring to. So a girl almost gets kidnapped once, and suddenly must live her whole life in fear.

“Spencer, that was a while ago.” you said in a small voice, “I don’ want to be afraid of it anymore.”

At that point, Spencer sighed and realized that he most likely shouldn’t have brought up the experience. He of all people should know that this was your way of trying to move on, and bringing up the past would mostly just set you back majorly, but his answer still stayed the same, “I shouldn’t have brought the up, but you’re still not going. I don’t trust Noah, you know that. Especially with a serial killer on the loose, Y/N. You’re staying home.”

This just pissed you off, “You know, you’re not right 100% of the time. You think you know everything about everybody you meet, but you literally do not. Noah is so good to me, and you just bash him and for what? I get you’re worried, but it’s started to get old. I’m not a kid anymore.”

You walked off into your room without any other words being exchanged, and had decided you would just go anyway once Spencer left. You aren’t generally the rebellious type, but every once in a while you liked to have a little fun here and there. Spencer wasn’t home for long, after finding whatever it was he was looking for, and you just walked out the front door ten minutes after he did, texting Noah along the way.

Your boyfriend lived nearby, so it didn’t really take him long to come driving up in his black sedan. You loved his car. It was so sleek, had a brown leather interior, a wood dashboard, and just drove beautifully. If he ever put it up for sale, you would buy it. But once you got into the car, you realized something was off. Noah seemed antsy, like something was bothering him.

“Hey, baby, what’s going on?” you asked, concerned. Noah got like this every once in a while, and you figure dit was just anxiety or something along those lines, and all you could ever do was jus be there for him.

“It’s nothing don’t worry about it.” he answered, somewhat blandly. Almost monotone, like he wasn’t happy to be there. But he was, and for what reason you were unaware.

“Alright.” you said, “Let’s go to the mall, but not the one downtown, the one off the highway.”

“No.” he snapped. He then recognized your surprised expression, “I mean, sorry, I just have a surprise for you.” this made you smile. Your boyfriend had always been a hopeless romantic, and he would constantly surprise you with nice dinners, cute gifts, and it just made your heart warm. He drove for a while, to an area you’d actually never been o that seemed to be completely secluded. There were empty fields, and eventually an old house that looked to be abandoned. You didn’t pass by much after that, except for one cemetery and a church. Even you had to admit, it was a bit weird, but knowing Noah, you knew to just be patient. He didn’t talk much the whole time, and just sat there smiling as he drove. The windows were closed, and you also noticed the doors were locked, but thought nothing of it.

“Spencer wasn’t even going to let me go out tonight, isn’t that so stupid? Like, he said some wack about some serial killer who’s been killing girls nearby. I looked it up, but they kinda seem to be right outside of town, like the dude’s avoiding it or something. I guess that girl from the Washington High soccer team got killed, too. It’s sort of scary.”

“That’s a shame.” was all he said in response.

Eventually, you pulled up to another house. It was absolutely destroyed, but you trusted him anyway. Stupidly. The two fo you walked in, and walked down to its basement. You knew Noah really dug these abandoned places, and you did, too, but the basement was full of rusted weapons, ropes, a table in the middle with restraints. It hadn’t clicked just yet.

“Noah, I don’t think I’m really fe-“ you turned around and were he was, gun in hand, pointe dat you, “What are you doing?”

“Get in the chair, and don’t scream.” he demanded. His whole personality changed. He was dominant, and his voice was heavier. You complied. He tied you tightly to it.

“So it’s you then?” you asked, weirdly calm.

“Shut the hell up, Y/N.” and you did. You looked around you as he walked into another room. Looking to your right you noticed a shelf full of random things, mostly girl’s clothes and rings. Until you recognized one of them. A brown sweater with a tear in the shoulder, folded neatly on he bottom. Your heart stopped.

That was Elaine’s. And you had cut the shoulder open by accident after the two of you were messing around.

“Elaine?” you whispered, “You killed Elaine, didn’t you? She didn’t kill herself, you did! This whole time you faked it? You killed her and I mourned her and you pretended to feel with me? You killed her?” It was now that you fully processed what was happening. Your mind was racing, your heart was pounding, and all you could think about was the amount of clothes up on that shelf, and the fact that you were about to die. The items on the shelf far exceeded the numbers on the news.

“I said shut the hell up, Y/N” he screamed, hitting you across the face with something solid, which knocked you out quickly, but not for long. The dizziness and pain when you woke up two minutes later was almost unbearable, and you had to re-process what was happening to you all over again.

Until your phone rang from the other side of the room. He must’ve taken it while you were out, and the ringtone was specialized to let you know that it was Spencer who was calling.

“If I don’t answer it he’ll know. He’ll track everything from before I got here.” you said. Noah shot you a look, but promptly brought the phone to you.

“Say anything, and I’ll make it painful.” he held a gun to you again, and your heart rate went up. He slide the phone open.

“Y/N?” you’d never been happier to hear your brother’s voice, “Where are you? I told you to stay home, and you’re not here.”

“Sorry,” your voice wavered slightly, “I just really missed Elaine Richards. I went to Southwoods Cemetery to visit her.”

Spencer sighed, “Please get back here as soon as possible, Y/N.” and he hung up. You prayed he picked something up.

()()()()()()

Spencer knew as soon as you spoke that something was wrong. Firstly, you’d never referred to your friend by first and last name, and Spencer actually hadn’t really known her last name until now, and secondly, Elaine wasn’t buried at Southwoods Cemetery. She was buried in the complete opposite direction, actually, at Rose Hill. He couldn’t pinpoint why you would say Southwoods, and why you would talk about Elaine, but he completely forgot about his case, and sped back to the BAU.

The team knew instantly hat something wasn’t right when Spencer came back to the office. He couldn’t pay attention to the case evidence enough to put it together, and wasn’t staying on track.

“Reid, what’s going on?” Hotch asked him. Spencer shook his head.

“Something’s not right.” he said, “Y/N went out earlier, but something’s not adding up.”

“I’m sure she’s alright, kid, teenagers go out all the time.” Morgan joked.

“No, no, really. I understand how the teenage mind develops, and how their brains develop. I know that rebellion is primarily a process that teens go through almost as a way to reject a “child” identity. I know that. But this wasn’t that. I told her not to go out, but she did anyway.” he rambled.

“Spence, kids do that.” JJ reassured.

“No, it’s not right. When I called to ask where she was, she would’ve lied. She wouldn’t have known I was home. She said she was visiting her friend’s grave, but she used her full name and said the wrong cemetery, her voice wavered, but nervously, not in a way that expresses sadness. If she had snuck out, she wouldn’t tell me she went there, and especially get the cemetery wrong when she’s been going to Rose Hill practically religiously. Southwoods is in an area she barely ever goes to.” he explained. Then his eyes grew a bit, “Garcia, can you trace her call?”

“I can try.” she said, rushing back to her computers, the team close behind. They knew not to question Spence, most of the time he was right. They all sat there for about three minutes before Garcia spoke up again, “That’s weird.”

“What?” Prentiss spoke up.

“Reid, her phone pinged off of like, twelve different towers in the two minutes you called her. I can’t track a location for the last hour.” she turned to him, concerned. The team all looked at each other worriedly.

“We’ll have to split up, we’ve still go a case and this is off protocol.” Hotch broke the silence, bearer of bad news.

“No, actually, I think it’s the same case.” Spencer sighed. He looked up at them, “She fits the UnSub’s type.”

“You can’t be a part of this then, Spencer.” Hotch replied, which caused him to whip around, “It’s personal now. You’re victim.”

“There’s no say in this.” Spencer had never defied Hotch’s authority before, but his sister was missing, “What do we have so far?”

“Well, we know he’s a sadist, white male, probably in his 30’s. He’d be social, fit in with a crowd. Probably good with the ladies, which means he sticks out, but not too much.” Prentiss relayed. Spencer thought for a moment. Who would you know that fit that profile at all. This UnSub seemed to make a connection with these girls beforehand. The team thought that maybe the victims were a surrogate to a daughter, or a sister.

“I don’t know how this related to Elaine and Southwoods. Southwoods is an hour and a half away, I had only been gone for about an hour, so she couldn’t have made it there yet.”

“Reid, who is Elaine?” Morgan asked.

“Elaine Richards. She was a friend of Y/N’s who died about a year ago. She committed suicide.” Spencer explained. They were all silent for a moment.

“Garcia, can you bring up a picture of Elaine?” JJ asked. The analyst nodded and did so quickly, showing a picture of a brown hair, brown eyed, thin girl. It was saddening, really. They’re always too young. But JJ had confirmed her thought, “Spence, what if it wasn’t a suicide?”

“What do you mean?” he asked.

“She fits his victim ideal, the hair, the eyes. Her file says she was smart, she had friends. They interviewed an ex boyfriend, her father, so on.” JJ explained, “What if Y/N stumbled onto something she shouldn’t have? Maybe Elaine was one of his victims staged as a suicide. The profile says he became active a few weeks ago, but what if it’s been a year? Maybe he’s been testing things out until he finally got something he liked.”

“Garcia, bring up Elaine’s autopsy report. Is there anything about anything that matches up with his current MO?” Spencer asked, “Elaine was found at the basin of a bridge within the water. It was written that she had jumped off.”

“Uhh,” she hesitated, “I’m not seeing anything. . . Wait. Yes, yes there is. The UnSub usually cuts three lines on their necks, right? Elaine had them, too, but there was loads of glass under her, so it was written off that she’d been cut when she reached the ground.”

“This means he’s been at it for at least a year, then. The profile is wrong. This changes everything.” Prentiss sighed. Spencer still couldn’t pinpoint who you would’ve trusted enough that fit the rest of the profile, until it hit him. Noah.

“I knew there was something wrong with that boy.” Spencer said aloud, “Y/N’s boyfriend, Noah. He fits every part of the profile. We got the age wrong, he’s a teenager. He knew Elaine, too.”

“Noah’s the name of the ex boyfriend they interviewed.” Garcia stated. “Noah Allen.”

“That’s him.” Spencer said, “What do we know about him?”

“Well, his parents are divorced, his mother lives somewhere in California while his father- oh geez. His father has a history of abuse towards his second ex-wife, who,” she stopped, “this poor kid. His second ex wife committed suicide after trying to file multiple reports of abuse towards her and Noah about three years ago. His father was finally convicted a year ago and sentenced to life in prison.”

“That must’ve been the trigger. He blames her for his father being sent away.” Hotch said.

“But why would he be angry? Wouldn’t he be happy to see his abuser in prison?” Garcia asked.

“He’s lived with his father his whole life. Most likely he’d developed some kind of Stockholm Syndrome or was manipulated into thinking that’s how life was. He thinks his father can do no wrong.” Morgan said.

“But what’s this have to do with Southwoods? She wouldn’t have made it that far, and something tells me they were already at their destination.” JJ asked.

“Who owns Southwoods?” Spencer asked.

“Let me see. . . The Burke Family. They also own funeral homes.” Garcia said.

“Do they own any other cemeteries?”

“Yes, one, Marshall Fields Cemetery. It’s in a more secluded area. It was considered completely full a few months ago.” she replied.

“Garcia, are there any properties around there that Noah’s family would’ve owned? Even a family friend?” Morgan jumped in.

“His uncle owned a house about a mile and a half up the road. It’s the only house in a two mile radius. It was foreclosed a few years ago and hasn’t been bought or even kept up since.” she said, “I’m sending you the address now.”

“Let’s go.” Hotch demanded. The team ran to the garage and jumped into the SUV’s, but Hotch stopped Spencer beforehand, “You know you could get in trouble for this. This case is too personal.”

‘“I really don’t even care.” Spencer answered, quite informally. Hotchner sighed, and let him go.

()()()()()()

It’d been a few hours by this point. You were beaten up, bloody, concussed probably. Noah had used a whole slew of different objects to torture you, pipes, knives, anything he could find. You could barely stay awake, but he wouldn’t let you fall asleep.

“I’m not going to let you die, yet.” he said with a twisted smile, “That ruins all the fun.”

“They’ll come for you.” you replied faintly, blood dripping from your mouth. He yanked your head back by your hair, which caused a deafening wail from the bottom of your throat.

“They won’t find me. If they could, they would’ve by now.” he giggled. He tightened your wrists until you almost couldn’t feel your hands. Your shoulders were sore from being tied behind your back, but that didn’t amount to the pain in the rest of your body. You bleeding out practically everywhere, you could feel the start of every bruise forming, your head spun and pounded, and you were convinced you had a few broken ribs at least.

“W-why?” you huffed out with tears.

“Why? Why? I’ll tell you why. I spent my whole life looking up to my father, but it’s women like you who ruin men’s lives. And for what? For attention? For power? You’ll never be on the same playing field, but the system is so messed up that it threw my father in prison for something that wasn’t his fault. He didn’t make Brenda kill herself, she did that on her own. And her reasoning? How she cried about him abusing us?” he let out a posh laugh, “That’s just how the world is. She should’ve known her place like I knew mine. And should’ve never spoken for me.”

“Why me?” your face twisted in pain as you spoke, but if you were going to die, you at east had to know.

“I just told you!” he slapped you, causing you to sob, “It’s stupid women like you, Y/N. You just exist to ruin lives, and I’m going to stop you before you start.”

But the door upstairs burst open just then, causing him to look. You smiled mischieviously, “They’re here. You better let them get to you before I do.” you threatened. It was an empty threat of course, given your state, but you felt so much rage that you honestly thought you might’ve killed him, too, which scared you.

“Noah Allen, FBI!” you recognized Emily’s voice, and it was like music to your ears.

Noah had moved towards you and covered your mouth, holding a gun to your head, waiting for them to come down stairs. You watched frantically as you saw JJ and Morgan step carefully down.

“Noah, drop your weapon.” JJ demanded. At this point, Spencer, Hotch, and Prentiss joined them after hearing JJ speak. Spencer’s expression was horrified, and angry.

“Death is an honor, you know.” Noah taunted as he pulled your head slightly back.

“Noah, you don’t have to do this. If you cooperate, we can lessen your sentence, and we can negotiate a deal for your father.” Hotch said. Noah’s head turned slightly.

“That’s not how the system works and you know it. You’re lying!” he yelled.

“That’s not how the system works for civilians. I’m the Unit Chief of the Behavioral Analysis Unit of the FBI. I can pull some strings, but only if you let her go.” he said. Spencer was surprised, Hotch never really used lying as a coercion, but he understood that all this boy wanted was his father to be free, and that he wasn’t a rational thinker. He’d fall for it.

“Swear? Swear on God?” Noah asked.

“Yes, Noah, I swear on God.” Hotch said. The boy lowered his weapon and came closer, but was startled when Morgan quickly, and not so kindly cuffed him.

“What? What are you doing?” he yelled out.

“Noah Allen, you are under arrest for multiple counts of murder. You have the right to remain silent and refuse to answer quest-“

“What the hell! You lied! I’ll kill you for ly-“

“Anything you say may be used against you in a court of law. You have the right to consult an attorney before speaking to the police and to have an attorney present during questioning now or in the future.” and with that Morgan walked him out with a few other backup, while the rest of the BAU rushed towards you.

“Y/N? Are you okay? Can you hear me? What hurts?” Spencer asked questions at about a mile a minute, but you ignored them.

“I g-guess,” you painfully said, “I guess this is that part where you say ‘I told you so.’ huh?”

“Y/N, I don’t care about that.” he said, holding your face trying to check for any signs of concussions, that were definitely there, while Prentiss and JJ worked on getting you untied. One you were, you tried to stand up, stupidly.

“Woah, woah, woah,” Hotch said as you almost fell and hit the floor, “take it easy.”

You had your arm wrapped around Spencer while JJ had her hand pressed on your upper back and above your chest to keep you balanced.

“Heh, so humble.” were your last words before blacking out.

“A medic! Somebody get a medic, goddammit!” Spencer yelled, as he and JJ slowly followed you to the door, “Y/N? Stay awake.”

()()()()()()

You woke up with bright white lines shining in your eyes. Confused you tried to sit up, but painfully failed.

“Y/N? Wait, Y/N, no, no, no, no, no, lay down.” you heard Morgan’s voice and felt him slowly and gently push you back down to the pillow, “How you feeling, kiddo?”

“Like sunshine.” you mumbled sarcastically. You heard Spencer chuckle, “I’m sorry. You were right.”

“Y/N, it doesn’t matter. I’m just glad you’re safe now.” he said. His face dropped, “Y/N, I’m honestly impressed by the hints you gave us. It was clever, and you just saved a bunch of lives.”

“They’re going to have to question you soon. They don’t care what condition you’re in.” Morgan stated.

“I don’t even really remember.” you whispered, eyes closing from exhaustion.

“They’ll do a cognitive interview with you, then. It won’t be fun. But for now, get some rest.” Spencer knew that it didn’t matter what he said anyway, because you were already half way asleep. He was glad that you were falling asleep on your own accord, rather than from being knocked out or drugged up, and smiled at you. He swore then to do better at keeping you safe, and also not to underestimate you, either. How you knew that he would pick up on something as simple as a last name and a cemetery chain was beyond him, but it made him realize that you were actually much smarter than you ever let off. He patted your head gently, before falling asleep in a chair near your bed.

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80s4life · 3 years

Text

Until We Meet Again”

Word Count: 1,353

Status: Not Requested!

A/N: This is completely off from the movie, like, it has nothing to do with the story line. It was just a little something when I got in my feels. I might make a part 2 depending on the hype and whether or not this was actually like lol.

Fandom: The Expendables 2010-2014

Relationship: Tool x Reader

Summary: When the reader has an unexpected turn of events, they realize all the things they’ve never done, and some of the things they should’ve done. Will they make it out or will they never get the chance?

Warnings: angst, regrets, blood, assumed death, Reader is shot, blood loss, violence mentioned, language, VERY SAD (I warned you)

Taglist: @snapessecretdiary ( @one-boring-person cuz u love expendables)

Masterlist Expendables Masterlist

{gif is not mine, credits to @hellofagirl}

People say that, when death happens, your life flashes before your eyes, giving you a slideshow of all the good, the bad, and the downright dirty. Usually, when this happens, regrets and prideful moments occur, making you either want to keep time the way it is or change it in some way, making you burn inside. It is also common for you to die peacefully, surrounded by the ones you love, whether it be of old age or other natural causes. All the people you want, there and supporting you throughout your final hurrah.

Unfortunately, this wasn’t the case for you, you were not one of those people to die of natural causes or simply old age. You weren’t even surrounded by any of the people you loved. You were just a nobody, someone that was used at other people’s expense, used to kill and terminate any threats and rescue what’s stolen or held unlawfully.

Hence your group’s name, The Expendables. Highly trained mercenaries, veterans, and weapons experts used to do as you do best.

You were on a mission with them when your worst nightmare occurred, it being thoughtfully planned and kinks worked out days prior, giving you preparation as multiple other missions had time and time again. Just like any of the jobs you took with the team.

The objective was to take down a newly popular mafia, not unusual to you, the mafia not being too strong or big of a family just yet. However, when finally on the battlefield, you, along with the rest of the team; Barney Ross, Lee Christmas, Hale Caesar, Gunnar Jensen, Toll Road, and Yin Yang, had noticed just how wrong the mission truly was.

It was a set-up, one put in place by your highly unidentified employers, sent to tear your one-of-a-kind, intelligent family apart from what it was. You weren’t very fond to your past enemies, taking them out, ruining their plans, and destroying what could’ve been years of work to put together. This had led to many menacing opponents.

Barney, your leader, had sprung to action quickly, splitting us off and protecting us, being the amazing leader he was. Something you never got to fully acknowledge at times, sometimes being so pissed, you didn’t care if you had threatened his superiority or level of expertise. Hurting his feelings immensely.

The mission had gone fairly well for a while, working hand-in-hand with one another, tag-teaming with your brothers at separate times, given your unexpected predicament and disadvantage.

This was until you had managed to unknowingly cut yourself far from the group of mercenaries, having to run from a silent assailant wielding knives. Running underneath an archway, scared and exhausted, you felt your legs, abdomen, and lungs burn as the only missions in mind now were to get to safety and come home to the one you love undeterred.

Only time would tell if these were going to be successfully accomplished.

You duck and weave through crates and buildings, running through a small town, but quickly run out of options as you draw yourself into a massive clearing. You scream over the comms, turning your mic on, asking for help, anyone, anything.

But they were too far away, rushing as fast as they could, wanting none other than to be at your side, fighting off anything that were to threaten you. You were their sister, whether it be blood or in arms, you were family and connected as one.

You spin on your heels, looking for a way out, but find nothing. Nothing to protect you or hide away in. Nothing to just get you out. Accepting your fate, you decide this is it, facing your pursuer now, hands above your head in an attempt of surrender. The surrender goes unanswered though, unaccepted, your attacker pulling a gun from his waist band, shooting you square in the chest, not giving you a chance.

Walking now, the killer comes to your side, body encased in a pool of blood, seeping into your clothing. Deciding his job is done, he lowers his gun, looking you in the eyes before disappearing into the distance, concluding that a slow death was the best revenge.

All you do is lay there, unmoving, your mic still on and blaring with the voices of your team, concern and anger lacing their tones. You do not answer however, motivating Yin Yang to track your location from his keypad, Caesar and Toll deciding that bullets weren’t enough anymore, throwing grenades and bombs instead, killing the multiples. Barney, Lee, and Gunnar finishing the last of the survivors off, the full team hurrying to get to you from all different directions.

Gunnar is the first to find you, pumping his long legs harder now as he fears the worst, knowing this situation is a close two-end street, your chances slimming by the minute. Lee and Barney file in a moment later, followed by Toll, Yin Yang, and soon, Caesar.

All you can do is stare, lovingly, regrettably, and solemnly all at once, knowing there is so much to say but not enough time to do so. So you told them, as quickly as physically possible, the blood now rushing into your lungs and mouth. You told them what you loved most, what you had regretted saying or doing, knowing the full effect of the past now.

And, when the pain gets to its worst factor, you turn to face Barney, him knowing you the most. “The pink book,” you choke out, Barney knowing exactly what you were referring to, “Give it to Tool for me, will ya’? There’s so much I haven’t told him, and just about everything should be in there.”

“Yeah,” Barney answers, his voice fading now, tears in his eyes, “Yeah, I’ll give it to him. I know what ya’ want, and I’ll send the message. You’ve always had a better way of speakin’ than me, and I think he’d like if you came back home in one piece, Kid. Just focus on stayin’ awake for me for now though, okay?” The last of his sentence comes out choked, tears now pouring from his eyes. Tears pooling from all of the men now, knowing that your fate is nearing its end.

“I love you guys...Always know that okay? Keep it with ya’,” I say, my body now feeling immensely lighter than any high could’ve.

“Yer not dyin’ on us Y/N...Ya’ can’t!” Gunnar yells, his emotional defense kicking in as his way of coping. “Yer supposed to be here always-”

All you can do is watch, tears of your own flowing in waves down the corners of yours eyes, rounding my eye cheek bones, slipping down towards my ears, and falling in delicate puddles. They’re all falling apart, and there’s nothing anyone can do to help it. Instead, you weakly motion your hands, grabbing one of Barney’s and Gunnar’s, the rest motioning to either hold onto one another or a limb of your body, such as your knees or legs.

As your vision starts to fade, and the familiar faces of your family dim and disappear, the last face you see is one that wasn’t there. One who will never know what would’ve happened until the group returns home, your body being held within their own arms. Tool. The most talented, artistic, and loving man of my dreams, will never know the full extent of your passion for him. And now, as darkness overcomes you, your last final regret lies on him, your last tears shedding from your eyes. Closing them, seeing the darkness, and feeling the last bit of your being being lifted, no longer seeing or feeling anything. Just black.

Whoever said death was a pleasant goodbye never really understood all of what leaves with the hollow body of a once joyful, full of life person. The regrets, stories, love, and connections staying remnant within them and never truly leaving even when they are no longer visible. For even as they part, the people who knew them now are haunted and reminded of a person no one will ever see again. Never have the beauty of knowing just like they had.

That is, until they part ways as well.

Until then, it is just a bittersweet goodbye.

#mickey rourke #mickey rourke x reader #tool #tool x reader #the expendables #expendables #mickey rourke imagine #the expendables imagine #expendables imagine #tool imagine #tool expendables

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dooptown · 3 years

Text

S2 Finale

for once i’m actually going to watch the episode again and get my thoughts down as i do cuz holy hell was this well done, i think

“Comet” playing first instead of the OP was brilliant. Also, as a note, the full music video of that came out, along with some killer animation inspired by the manga.

youtube

A detail i love about this music video is Ibuki spotting Free’s motorcycle light in the side mirror before he stops the car and, well, yeah

They actually show Louis reaching for his gun pretty early on into Ibuki’s monologue. I don’t think the manga showed that, but I could be wrong. He definitely has it pointed to him when it’s pitch black same at the anime, but the fact he reaches for it so early means he obviously knows what’s going on, even if he couldn’t pull the trigger.

predictably, the anime does the “darkness” as it always has, with the dark-blue background and bright lines for the characters. The Comet music video does this part of the scene better imo, but it’s not too much of an issue. Free’s whole bit is obviously rushed, and I think the anime suffers for that, but i understand that they couldn’t fit it in. We do miss him escorting Louis out of the BAM though, and also saying he’ll eat Louis if he comes back. That said, I don’t know how Louis gets back...I guess Free drives him back still but we just don’t see it

The Riz and Legosi fight has Riz getting the idea of eating Legosi in his head now that was seemingly missing before. In the manga he was thinking about how he’d become friends with Legosi by eating him, and that never came up in the anime until kinda now. Like I said before it’s an interesting part of Riz’s character so i’m glad it’s touched on a bit at least.

The moth scene is just as confusing here as it was in the manga...and without explanation or confirmation that it’s imaginary chimera (a part of the manga plot that was completely dropped), it just seems like...something. We don’t have Moth-san talking to Riz here or him questioning what he’s seeing so...it could be seen as purely metaphorical but it still remains a mystery (and just like in the manga it accomplishes nothing here cuz Riz just gets up and wails on Legosi) It looks fucking cool though! Word of Power: Respect for Life! It’s all one shot here, so we see every wound inflicted on Legosi, which is only a few slams. In the manga it’s implied he endured way more. That just follows the pattern of the anime, though, where violence is toned way the hell down. I’m not complaining, though. I don’t want to see Legosi hurt...

I knew what i was seeing when it was in motion, but damn does it look fucking good! Orange really is showing how to do CG right by properly stretching models for intense movements and actions! They’ve done this subtly before but here it’s very clear, but not distractedly so (unless you pause frame by frame) However, I still do think the models look a bit stiff when just...like...walking normally sometimes. Like we have this great fight animation but then Riz picks Legosi up and drags him a bit and he looks...off. Ah well

The whole bit about Legosi exposing his stomach doesn’t have the subtleties explained here...and really the anime leaves out a lot of character thinking but i think if they left it in it’d be a bit too hammy and crowded, so it’s fine that they cut it out. But still...tell me more pose isn’t as funny here :(

Legosi’s voice acting shines again here. He sounds really fucking hurt...

The moon cut and then them laying together is nice. Also i do like how there hasn’t been music up until this point at all. Riz talking about everything is nice too...I don’t remember him saying he feels like he could cry in the manga, due to him not remembering anything about Tem but his taste.

Legosi says: “I almost went through the same thing Riz did. If someone hadn’t snapped me out of it, my love for Haru might have made me eat her.” I recall he says something similar in the manga too...but like the only time he ever got close to eating her is when he didn’t know who she was. It really doesn’t seem like the same thing at all...it ties back into Legosi really seeming to have a really firm grasp on everything, all things considered, and he’s just selling himself short. I guess he could also be talking generally but really, he never had a moment where he wanted to eat her again after that first night. And the “someone” who snapped him out of it...Zoe???? Like, I’m just a bit puzzled on this part. I think what it really is is a reference to what he says to Louis later, how he’s the one that guided him and ensured that he is the way he is. Ensured that he did so well to begin with. Like, writing it out like that makes sense, but I guess I’m taking the words too literally.

Anyway, was typing my thoughts out there. I don’t think it’s entirely clear that Louis’s influence is what caused Legosi not to eat Haru after they started spending time together, but if Legosi says that’s what it was, that’s what it was. I felt that Louis’s guidance for Legosi was more about him accepting himself as a carnivore and using his abilities for what he believes in instead of thinking he can only do harm with them...not about controlling his meat eating instincts. I guess it kinda goes hand in hand. Anyway

The hand touch is, well, touching like it was in the manga, however Riz firmly regrasping Legosi’s hand to hoist him up and continue fighting and Legosi sounding surprised isn’t what i pictured. In the manga i saw it more as Riz slowly doing it and Legosi just being too weak to do anything about it. Riz has the advantage, so he can afford to make the action slow and deliberate

Ok here’s where things get interesting. Louis’s appearance is entirely different in the anime, whereas in the manga he appears behind Riz while Legosi is talking to him, with Legosi spotting him and using a distraction to escape with him. HERE!!! Louis actively stops Riz from attacking Legosi again, clearly out of breath as he ran all the way there, but he still has the mind to appear cool and collected and make a lil quip that pisses Riz off. And then when Riz charges him Louis is just walking calmly toward him like!

Like yeah, he does stop and react a bit, but he sees Legosi coming up to stop him so I suppose that’s why he stands his ground (honestly though was he gonna pull his gun? Did he have a plan? I feel like he just got there without one, which makes sense. He just had to stop what was happening no matter what)

And Legosi ragdolls Riz aside to protect Louis. Love wins

Pina scene is the same here. Although previously we didn’t get his thoughts about how he never wanted to get involved with carnivores ever again cuz of these two, but that ties into the whole “anime doesn’t say every single thought that’s in a character’s head like in the manga” thing. I think it’s interesting that they even bother showing him retrieving his phone from the trash bin, since he could have easily just got it from his pocket but it shows that Riz was smart enough to take it away from him (but not smart enough to destroy it or chuck it somewhere or hide it where Pina couldn’t see)

The next scene with Legosi and Louis up on the outcropping..Legosi mentions how this is his last New Year’s. He’s more convinced he’s gonna die than it seems in the manga (although depends on the subs i guess) The part where Riz is looking up while Legosi is talking about their fight to Louis...i never knew if he was supposed to be hearing that or not, here or in the manga. I guess it’s up to interpretation.

Legosi delivering this line in the manga: determined, stoic

Legosi delivering this line in the anime: clearly in love

we finally get one of these scenes for Louis! Season 1 had a few of these for Legosi and Haru when they had moments where they were deep in thought about the other. I thought that Louis’s would have been in his initial meetup with Legosi in the manga, but that scene got cut. It’s cool that they put his here, though! Also correct me if I’m wrong but I think this is the only shot like this in season 2

When Louis’s theme starts here when he’s acting strong, trying not to cry, I thought it’d slowly start to break down as he did and transition into a new track but it just kinda...keeps going. It sounds like a more somber, shaky version at the very least but I think the music at this part is a bit lacking...thankfully the animation and Louis’s voice acting more than make up for it

Boy, does Louis really cry. I’m glad they let him let loose like that but the bad thing about seeing it animated is...they don’t hug! I always wanted a hug here...one that Louis fully embraces unlike the earlier one on the balcony. It makes sense the Legosi doesn’t try to do anything and is taken aback, of course, but damn...and considering how Louis is treated later and at the end of the series...it stings a lot

Idk what to say about this scene...it’s done so well. Louis having his internal monologue, talking to Legosi...Legosi looking so damn guilty that he wants to go back and fight...the transition to the foot reveal...it’s all so good

A change here in the anime...Louis is a lot more steadfast. He offers his foot and is like, completely at peace with it. In the manga he’s still shaking and his expressions are like, more unsure, but here he seems a lot more convinced that it’s what he has to do

jeez

Legosi’s thoughts about how eating his leg feels almost ritualistic and it actually makes him desire and hunger for it is gone...which like, idk why it is. We just hear Legosi say that he wants to but we don’t feel it (we do see his lips pull back and reveal his teeth tho)

Enter: Buffgosi. This happens in the manga but since Legosi’s model is so much smaller in the anime it seems like a much more drastic difference.

intimate...

Legosi doesn’t apologize for not being able to stop growling, but it seems like they did a lot to remove any humor Paru put into these scenes. I guess it doesn’t work that well in one continuous scene vs. chapters broken up by weeks

Louis’s funny deadpool moment is changed with him just...telling Legosi to be a hero again. Guess he really likes that line. The way it’s delivered really feels like a video game, like Legosi is recovering from a hit and Louis pops in to heal him with some words

Seriously, Louis just keeps making this face...after an entire season of being super serious and stone faced he’s looking softer

the Riz and Tem story isn’t changed at all, and can still be read as either romantic or platonic. Seeing it in motion makes it hit harder though, for sure

Legosi still wishes Riz a happy new year here. He seems a lot happier here than in the manga. Also Louis doesn’t berate him for it, instead opting to speak up and talk to Riz here after hearing about his heartbreak. He does it without the pressure of the cops being there, and it truly shows that he really does like carnivores and sympathizes with their struggles now.

Yeah, so the cop scene is gone, which kinda condenses and cuts out a lot (including Pina’s small appearance) but I kinda like it better. It allows all the characters to breathe. Legosi thanks Louis naturally for the meal, and Louis telling Legosi to wipe his face is done in a friendly, joking manner...it just all feels a lot softer and friendlier without the cops being there making it all fucked. Just like in real life

THERE IT IS THERE IT FUCKING IS THEY EVEN GAVE LOUIS HIS LIL SMIRK AAAAAAAAAAAAAAAAA

god i keep tearing up around these parts IT’S BEEN ALMOST 2 HOURS SINCE I STARTED MAKING THIS POST GOOD FUCKING LORD

I kinda thought they might put the aftermath in a sort of credits scene, and i think it works, even if it does pave over some important stuff

god it’s just so validating to see Legosi care for Louis and Haru equally. Like we all know it’s the case but they’re both dear to him

Now this is a far departure from his thoughts in the manga. I suppose it only fits with the ending of the season to make it more optimistic, but we skip the while “you can’t marry an herbivore cuz of your record” thing...but here he still cherishes it in a way. Very interesting. Wonder if they’ll backpedal on it in season 3

Legosi actually tells Haru he’s dropping out here too! He still does in the manga but it seems more abrupt there, like he already did drop out and then goes to tell her instead of telling her before he does. He’s also not suffering through his meat withdrawal here like he was in the manga at this scene (or at least the manga’s counterpart at Haru’s house)

The ending convo mirrors what Haru says to him in that scene too. It’s a funny way to leave off on the season without a stinger or anything. It just kinda makes the audience question their relationship (and now that Lougosi is pumping through everyone’s veins...hehehhehehe)

uh, well, anyway, i kinda wasted all of my time off after work writing this so...i hope you enjoyed it? Not gonna get one of these for a while...i know at least some of you like them

Also...what the hell was the extra “broadcast only” scene??????

Well, anyway, I hope you all have a good day, night, whatever, wherever you are. And remember: Legosi and Louis are in love

#ok this is long #this is kind of my love letter to the series too almost #this is the definite high point of the story and it delivered #lougosi always and forever

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venushasvixens · 3 years

Text

Your Nervousness - Kylo Ren x Reader

Warnings: angst ( talks of anxiety) fluff, some sexual references

The towering scenery of the planet Actlyon always intimidated you. As one of the many bases of the First Order throughout the galaxy, these was one of your least favorites. When asked what you hated about the planet, you could save them the time of a few hour conversation and just saying "everything". But as companion of Supreme Leader Kylo Ren, you have to put a lid on the subject and just deal with it.

It had been two weeks since you had seen Kylo. You were used to him being away for a long time, but he had never been gone this long. When you last saw Kylo, you were both in the control room of the Finalizer, watching as they determined where a small portion of the Resistance was, and the plan to destroy it. Instead, the Resistance caught wind of the First Order's presence, and escaped before any of the plan was put into place.

"All the better." Hux stated, " by fleeing, they'll lead us right to the Resistance."

You watched as Kylo walked past you, the Knights of Ren following suit. You immediately took after them, jogging just to keep up with the intimidating crew. You were not going to be just sideswiped by him.

"Master Ren!" you called out. Due to protocol with your high status of a prominent family of the galaxy, and your relationship with the Supreme Leader, you had to keep formality in public. But right now, you didn't know how this was going to play out, and it could've been the last time you would see Kylo ever again. Kylo continued his way down the hallway, ignoring you.

"Fuck it." you muttered under your breath , "Kylo!"

Kylo and his Knights came to a halt. He tuned to approach you, the Knights parting through the middle. His footsteps echoed through the cold, metallic hallway. Your boldness melted into obscurity as you weren't sure what was going to happen in the next few seconds. You could see your reflection in the visor of Kylo's helmet, taking note of the closeness between you two.

"Aren't..aren't you going to say goodbye before you go?" you said softly. "I don't know how long this is going to take."

Kylo stayed still, and the sudden bass of his voice startled you. "It won't be long at all, I assure you, (y/n)." That was complete bullshit, and you knew it.

Your eyes traveled down, knowing that meant it was going to be a long mission. Tears welled in your eyes. Kylo sensed your nervousness, hurting him to see you so worried of his departure.

"Hey," he murmured, his voice not loud enough for the vocoder to pick up. He lifted your head up with his hand, cusping your chin gently. "I will be back. In the mean time, I want you to be strong. For me please."

That was the last exchange of words before Kylo set off on his shuttle. You had received word from Hux that the shuttle was approaching Actlyon by evening, and with it, the Supreme Leader in one piece. Waiting was such a pain, and your anxiety was through the roof. You were so worried, you hadn't changed into your nightwear, still wearing the clothes you placed on since the early morning meeting with Actlyon First Order officials.

You jolted as your door buzzed. "Come in." you called out.

"Supreme Leader Ren is awaiting your presence in his office, my lady." the female officer announced.

You were so relieved you could've hug her. You quickly walked out, hurrying your steps to Kylo's office. As confusing as this starship was, Kylo's office was one of the few places that you knew exactly where it was. You approached the door, which was guarded by two Stormtroopers.

"The Supreme Leader has sent for me." you said, pushing past the guards. As the door closed behind you, you were standing in the small hallway, smoothing out yourself, emotionally and physically. Before you could open the door, Kylo beat you to it. Mask off and his clothes caked with substances unknown to you, Kylo looked like shit. He grabbed you and pulled you into his office.

Before you could get anything out, Kylo arms wrapped around your waist, picking you up and holding you tightly. Your arms wrapped around his neck, smiling that he was finally here with you. You held Kylo's face in your hands, kissing all over his face. Kylo's gloved hand gripped the back of your neck gently, moving his lips to yours. You melted into his kiss, feeling all the pent up anger and stress being released between you. You both pulled away, breathing heavily as Kylo rested his head on in the crook of your neck. The smell of burnt leather and fuel filled your nostrils, and should have repulsed you, but instead was very much welcomed.

"Why didn't you send me a message?" you mumbled, twirling your fingers in his long dark locks. "You had me worried for so long."

"Shh." he hushed you, "Let me just relax for a moment."

You nodded, scratching his head softly and slowly. That's all you needed to hear. Not long after did Kylo tell you how he and his Knights tracked down the Resistance, going from planet to planet, to city to city, until eventually they caught up with them, but to a dead end.

"And that's when we killed them." Kylo finished, sparing you the details of the Resistance spies gruesome deaths caused by the Knights and Kylo. You furrowed your brow in disappointment, hoping that Kylo would've spared them. Even after all this time that you both had been together, it still got to you that you were in a relationship with the mighty Kylo Ren, supreme leader of the First Order, and a killer feared by many.

Taking note of your troubled expression, Kylo brushed his hand over your cheek. You leaned yourself into his touch, placing your hand over his. A faint smile spread over the Supreme Leader's face. That was something you haven't seen in a while, and you would give up anything to see it a million times.

"Now, my love, its time for me to bombard you with questions." you said, getting out of Kylo's lap.

"Like what?" he scowled, leaning back into his chair.

"Have you ate today?" you asked, "have you showered, slept?"

Kylo sighed. "One at a time, (y/n). And no to any of them."

You chuckled. "Okay, that's all I needed to know."

While you ordered a meal to brought up, Kylo supported his head on his fist, watching you take care of him. He always loved to just look at you. And it could be you doing anything, from doing your makeup, to you getting angry over some small thing. To him, you were a walking piece of art, a masterpiece. A strong feeling of affection and love filled Kylo, almost like a fire was lit in his heart. It was like this ever since you and him met. There was never a dull moment, your relationship always filled with intense passion.

Kylo got out of his chair, walking over to you. As you made preperations for the night, you felt two hand snaked around your waist. Kylo placed his chin on your head, rocking you both back and forth slightly. The Kylo Ren that you saw was definitely not the one the galaxy feared.

"I love it when you order people around." he whispered in your ear. You giggled, interlocking your hand with his. "Come to my room tonight."

"Hmm, what for?" you teased, expecting to hear some raunchy responses.

"To sleep, obviously." Kylo replied.

"Ah, sure. To sleep." you said, air quoting. "Because that's all we do when I sleep over in your room."

"This time, I just want to sleep." he said. "I promise, my sweet." Kylo pulled back your hair to the side, exposing your neck. He placed kisses from your shoulder all the way up to your cheek, his soft lips causing goosebumps to spread all over your body.

"N-now, see this right here.."you whispered, your voice wavering from Kylo's teasing, "this is what I'm talking about."

"Just trust me. I want to sleep next to my wife, that's all." Kylo really knew how to reel you in, and you fell for it every time. Heat radiated off your face, burning your cheeks. "And if you would like, we could fuck all day tomorrow. I know that you have been wanting it as badly as I do. We both crave it. Would you like that, my sweet?"

And now, you knew for sure you were going to catch on fire.

Stars, it was so good to be home

"I'm beat." you said, yawning.

"How are you beat? You haven't done anything all day." Kylo teased nonchalantly as he dimmed down the lights in the bedroom.

"I waited for you, I cried for you, I even put up with Hux for you. So don't say I didn't do anything all day." you smiled, throwing your robe onto a chair.

"Yeah, sure." Kylo mumbled as he snuck himself underneath the black covers, watching as you brushed your hair thoroughly. You set the brush down, giving yourself a once over to make sure you looked alright.

"You're still beautiful. Come to bed." Kylo begged sleepily, laying on his side.

You blushed. "Alright, I'm coming."

Kylo held out the comforter as he always did. You laid right into his chest, his arms, along with the thick black comforter, engulfing you in darkness. The difference between Kylo's room and yours was definitely astounding, to say the least. You would think that the Supreme Leader's girlfriend could get some decent sheets, or maybe some more comfortable chairs.

You laid your arm around Kylo's torso, your leg wrapped between his. You closed your eyes, sighing peacefully. Kylo gave you one last kiss on your head, before turning over on his side. As betrayed as you felt, you needed some air from the sudden heat of another person and his thick ass comforter. It felt like forever laying down, and Kylo was out like a light.

But you were still wide awake. Thoughts swarmed your mind about multiple, worthless topics. Is there a guard at the door? What's Hux thinking right now? Matter of fact, what does Hux even do in his free time? Not like you cared, you just wonder if Hux had a life out of the First Order (which you concluded, he did not).

I want to sleep, you thought. And you kept thinking it, over and over, as if repeating it would inch yourself closer to some shut eye. You shifted positions, fluffed your pillow, counting backwards, forwards. Thinking of leaping fathiers could've helped.

But not one hint of sleepiness.

Eventually, you just said fuck it and got up. You carefully got up, as to not wake Kylo. You grabbed your robe and headed to the living area. You took your datapad, and flipped through the numerous events and special occasions that were coming up. You read up on the planets that you were to visit alongside Kylo, and their customs. Embarrassing yourself in front of Kylo was the last thing you needed, but knowing him, anyone who would point out your mistakes would be swiftly met with a blazing lightsaber.

You started planning your outfits and speeches while you heard shuffling from the other room. Looking up, you saw Kylo emerging from the bedroom. Rubbing his eyes, he looked at you as you continued working on your datapad.

"Its too early, starlight." Kylo said, crossing his arms.

"I couldn't sleep." you replied, meeting his gaze.

Kylo strolled over to the couch, and plopped down next to you. He placed his hand on your back, rubbing small circles. "You're stressed. I can feel it."

You hummed in response. "I am."

"Tell me why." Kylo murmured. He gently took the datapad out of your hand, placing it on the other side of him. "What's stressing you out?"

You shrugged, honestly not sure what was stressing you out. You've had trouble with anxiety ever since you were a teen, but you weren't sure why you where it came from, and why you had it. It came out of nowhere, making minor situations into paranoia and doubtful thoughts in your mind. Sometimes, you had control over it, and other times, you let it run rampant. Right now, it was running everywhere it could reach.

You felt a small pressure on your head, knowing that Kylo was trying to read you through the Force. As much as it annoyed you when Kylo did that, you were glad he did it this time. It was hard putting into words what was bothering you, and this is exactly what was needed.

"Ah."

The pressure left from your head. The use of the Force by Kylo was more comforting than it was strange. For some reason, it was how you and him bonded. For prisoners, you couldn't say the same.

"Well?" You replied softly, "what's your diagnosis?"

One beat of silence. Two beats of silence. Finally, Kylo motioned you to come closer, taking a hold of your hand. "You're stressed about me."

"Of course." You replied, "we discussed this earlier." You intertwined your fingers between Kylo's, his palm sweaty.

"We did." He mumbled. "But there's a difference between hearing it and feeling it. I thought I really understood what you were feeling, but.." Kylo shrugged. "Fuck, I feel guilty."

"Why? Because I'm stressed about you?" You said, sitting up. You took Kylo's face in your hands, his eyes averting from your gaze. "Yes I do stress about you, but my love, please don't feel guilty. At all." Kylo quickly met your gaze, and looked away.

"I'm not just saying this to make you feel better, you know. I understood what was in store when you asked me to be yours, and I still keep it in mind. Always." Kylo eyes shot up to yours after hearing your voice crack. "But I always think you're going to leave, and never come back. T-that someone will hurt you, and I'm not there to save you. And that fear weighs on my conscious all the time, Kylo."

Your tears flowed down your cheeks, your soft sobs racking your body. He hated seeing you cry, and at every opportunity that you were going to, he would try his best to stop it immediately. But by doing just that, Kylo realized, while gazing in your pained eyes, that maybe that was one of the contributing factors to your stress.

This time, he was going to gladly welcome your emotions, and ease his starlight's anxiety.

"I-I'm sorry." You croaked, swallowing the lump in your throat. "Please don't be mad at me."

Kylo shook his head, facing you as he wiped your tears away with his hands. "I could never be mad at the one person who is my reason to fight."

You laughed softly. "You're bullshitting me."

The corners of Kylo's lips upturned into a sympathetic smile. "I've never lie to you, have I?"

You sat in his lap, your head on his chest, your eyes gazing up into Kylo's. "Not once."

Kylo stroked your hair, kissing your forehead. "Is there any way that maybe you could put me to sleep with the Force?" You asked, the lines between joking and actually asking blurred.

"That's not how the Force works." Kylo said. "So what I need you to do is sit here and relax."

"That sounds like you're trying to use the Force, it really does."

"I'm not. Please shut up."

You giggled, your chin resting on his shoulder. Kylo lazily traced his fingers on your back, your back muscles relaxing instantly. It wasn't the Force, but it sure did feel like it. Maybe that's how Kylo knew how to do this. How and when did he learn how to do this? Who help him, he didn't just read these techniques in a book, someone must've taught him but who-

"I can hear you. Loud and clear. No it's not the Force, and you taught me."

You patted his chest, letting him know you heard him. Kylo moved his hands to your hair, massaging the nape of your neck, up to your scalp. Tugging gently, scratching behind your ears, your busy continuing to melt into his. Your mind wandered into off into thoughtlessness, nothing to think about or to care about, except for one thing. One little piece, a message now ingrained into you, for you to carry from now on. That you were not alone in what you were feeling, and that someone will be there for you.

And that's what helped you finally drifted into a deep sleep.

"(Y/n)?" Kylo whispered, patting your back. Hearing your small snores, Kylo got up carefully, carrying you to your bedroom. Placing you gently in your spot, Kylo took the comforter and placed it on you. You grabbed ahold of the pillow, softly cradling it. Your face was so much at peace, compared to how you looked earlier. But it didn't matter to Kylo. Every face you shown each other had been a gift, and any emotion you had is better than no emotion.

Kylo quickly made his way to your side, slipping underneath the covers. You flipped yourself to face him, your noses just inches from each other. As Kylo closed his eyes, he wondered what brought him ease. It didn't take him long though, because it was right in front of him.

Over anything, above all everything, you were his peace. His relaxation. His purpose.

——

(A/N) Thank you guys for reading, it means a lot. I'm sorry I have not posted in a while, 2021 has definitely had a rough start for me and my family. I'm hoping for the rest of the year to have mercy on me and everyone else. This is going to be a bunch of one-shots that I'll make in between the Spike Spiegel x Reader fic chapters, which I know for sure another chapter is supposed to be out neeoow.

#kylo ren x y/n #kylo ren #kylo x you #ben solo #adam driver #star wars #rey #the force is strong with this one #the last jedi #general hux #lukeskywalker

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danger-xylophones · 4 years

Text

Family Reunion (Darth Maul x reader) Pt. 4: Madness of Maul

{masterlist}

Story summary: the reader reunites with Maul for the first time in twelve years and...the ex-sith lord gets a strange surprise

Warnings: none, canon-madness

Notes: female pronouns, an OC child

Part 1, Part 2, Part 3, current read, Part 5, Part 6

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You could feel yourself colliding with rogue bits of metal as he went, even though you could see where you were going, your own human legs could not keep up with Maul and his reckless running. The entire time, he continued to wail and mumble to himself with one hand covering his ear and the other steadily cutting into your arm. You could definitely feel blood beginning to flow out of the large punctures. But, that wasn’t what pained you the most. No, it was Maul and the state you had found him in. What had happened to your lover? What had done this to him? If you had known he was alive and you had been able to find him could you have prevented it? “NO, no, no…” Maul mumbled to himself. His voice was a growl and the noise of his metallic legs clicking against the metal walls mockingly echoed in your head, saying ‘you could have done something’.

Maul was dragging you further down into the tunnels and you could safely say that you were thoroughly lost. And, worryingly, the two of you were approaching a warm light. “Lost, she was, lost. Here she is....with me.” Maul muttered before falling into a cacophonous bout of unhinged laughter. You knew he was referring to you-had you been lost? Had he also fallen for the ruse that was your death? Guilt crashed down on you. What if that had pushed him even farther over the edge?

“Maul...Maul, I’m sorry.” You whimpered despite the niggling feeling that told you he wouldn’t understand what you were saying. “I’m so sorry I wasn’t there.” Maul hissed something garbled and incomprehensible. Soon, the source of light the two of you had been approaching was identified. In the center of a wide cavern was a pyre of burning garbage. Maul charged right towards it with another cry. Without warning, the demented zabrak scooped you up and deposited you in the corner of the clearing. “Maul?” you questioned quietly, staring up into the unfocused eyes of the man that was once your everything. The zabrak spat out a string of complete gibberish as he looked at you with his head tilted. “I-I don’t understand you!” You sobbed dryly and Maul’s face fell. He lowered himself to be closer, hands reaching out for you and, instinctively, you flinched away. But that only seemed to make his panic worse. Maul wailed at your fear and burst into his own sobs that mixed unsettlingly with high-pitched laughter. What had happened to him?

“No, no, no…” Maul heaved as he moved around his apparent new-home, swatting at invisible enemies. Your eyes stung at the sight. Slowly, you tried to get to your feet now that Maul wasn’t hovering over you. The zabrak watched your every move with a pain in his eyes that, for a second, might have convinced you that he was of sound mind. With palms raised in surrender, you dared to step closer to the man you had once described as the most cunning being in the universe. You opened your mouth to speak but, by now, Savage had caught up to the two of you.

“You are the brother I’ve been searching for.” The golden zabrak’s booming voice carried across the open area to steal Maul’s attention from you.

Immediately, Maul began to recoil. “No, no!” He shouted towards Savage as he backed away from you as you watched on completely at a loss.

“Yes, we are, we are brothers!” Savage continued despite his brother’s objections. “And look, Maul, your wife is here too. We’re here to help you, brother.”

“No!” Maul screamed again before falling into another round of demented chuckling. “You don’t know...you don’t know anything!” Maul seethed, swiftly throwing his arms out in punctuation as he clambered up what looked like a busted engine. “Never, never!”

Amidst his laughter, you looked at Savage through the flames of the pyre. Savage met your eyes and softly shook his head-he wasn’t sure how to help his brother either. Speaking of which, Maul was already on the move again. He had climbed back down the fallen engine and was now scurrying across a small ramp behind you. Maul’s brother was tracking his movement just as you were. In an effort not to anger the unstable zabrak, you stayed rooted to the spot he had left you in as Savage slowly worked his way towards you, talking all the while. “I know I am your blood.”

“Never!” Maul growled at Savage and came swooping down to place himself between you and his brother. “Never.” He groaned, head tilted back with his eyes pressed to his face. You carefully tried to move away from the zabrak in case he decided to do something rash. Your movements were forced to halt though when Maul brought his hands down and laughed once more. Again, you made eye contact with Savage. All three of you were at a crossroads, no one sure which direction to take.

But, suddenly, a familiar voice humming a foreign tune decided to interrupt the tension of the strange lair. “I’m ready for my leftovers!” Morley was back. His head popped up over the edge of the clearing with a smile on his face that soon fell into a look of pure shock upon spotting you and Savage. “Oh, you’re still alive?” He asked nervously. Savage took a step towards him and Morley fell back, trying to slither away as fast as he could but your zabrak companion was far quicker. In just a few strides, he had caught up with Morley and picked him up by the neck attached to the base of his head.

“Who did this to my brother?” Savage demanded as he marched back. You attempted to step around Maul to also interrogate Morley but his attention snapped to you in an instant and he was quick to block your way by caging you in his arms. “Are you part of this?”

Maul’s skin was searing against your own but it felt wrong. Your reunion was supposed to be warm and beautiful and sane. You struggled to get out of the zabrak’s grip, blindly kicking backward with the intent of finding purchase, but Maul held tight. One of his hands rested atop your head, nails slightly digging into your scalp as he muttered to himself and you were left suspended by his grip. “No, no,” Morley’s struggled confession took you away from the fact you were dangling like a ragdoll for a moment. “I-I found him this way.”

You were moving. Maul had lowered himself suddenly and thus, you went with him, face dangerously close to touching the rock below. You could feel Maul’s every shuddering inhale and his fingers mindlessly drummed atop your skull. Formless utterings fell from your once proud lover.

“I found him this way, I swear!” Morley still struggled to defend himself while you tried to wriggle free. But, your movement only made Maul’s grip tighten around your waist, ensuring your hands were completely useless from their position trapped against your hips. From your rather compromising position, you focused on the two other sane people in the room.

“You are a slithering liar, Morley!” You spat and the golden zabrak turned his hand so the snake was forced to look at you. “You can’t be trusted!”

“You should have been helping him!” Savage piled on, voice thundering.

“I-I didn’t know! I didn’t know!” Morley wheezed but his pleas fell on deaf ears as Savage crushed the uppermost part of his neck with a single squeeze. As the sounds of the snake’s bones cracking faded away and his body found a home on the pyre, Savage started to approach you and Maul, the latter pulling away with a hissed laugh and taking you along with him.

Not quite reading the room, Savage continued to step closer and closer. “This is where you live?” He addressed Maul who twisted his torso away from his brother. “How long have you been here?”

“Years and years and years.” Maul answered swiftly, finally letting go of you in the very corner of his home. You fell on your backside with a small huff as Maul remained hovering over you, hands making odd grabbing gestures in front of his face. “Through victory, my chains are broken. The chains, the chains are the easy part.” He took a deep breath in, “It’s what goes on in here that’s hard.” And let it out in a heart-wrenching wail as he tapped his temples.

“You have been lost, my brother.” Savage calmly explained over Maul’s sobs and you made eye contact with the golden zabrak under one of Maul’s legs. The crimson zabrak lowered himself further till his head was pressing into your shoulder and, unsteadily, you reached up to massage the back of his neck. In response to the ministration, Maul’s sobbing died down. It was strange. Your lover was not himself, not in any way, shape, or form but he responded to your touch the same way he always had. In fact, if his hovering was any indication, he still craved it. “Do you remember who you are, where you came from?”

Maul sat up, eyes glimmering as he looked past you. “Always remember I am fear.”

“Y/n, my love, my bright shining sun, how can you stand to be held by me?” Maul asked out of the blue, disrupting the still air of his ship. Confused, you pulled your face away from the juncture of his neck and shoulder where you had steadily been pressing whispering kisses against his skin.

“What do you mean?” You asked softly as one of your hands gently traced the tattoos on his chest. He didn’t answer until you looked up at him, glittering gold eyes meeting your shining (e/c).

“Always remember I am hunter.” Maul seethed, hands grasping at nothing.

“Look at me. I am Sith-a dark lord. I’m a trained killer.” Maul’s grip tightened around your waist, one hand ghosting over the steadily forming bruise on one of your hips. “I’m not meant to love or be loved-I am meant to destroy.”

“Always remember...I am filth.” Maul’s voice cracked.

“And you’re a...my light, you’re this beacon of good.” He sighed into your ear, breath ghosting over the side of your face. “You’re someone that knows how to heal and how to create. You deserve the universe, (Y/n).”

“Always remember, I am nothing.” Maul broke into sobs once more, his face falling to your shoulder as his hands wrapped around your arms.Helplessly, you looked at Savage who seemed to be contemplating his next move.

“Your legs…” he began with a vague gesture to Maul’s lower half.

“That scum!” Maul screamed into your shoulder, pulling away as he swatted at the air. “He took them from me! He took them!” His voice echoed around the chamber as you got to your feet to avoid being trampled by Maul’s spider legs.

“Who? Who took them?” Savage pressed.

“Jedi. Jedi!” Maul whispered, crouched so his torso was parallel with the floor.

“You remember?” You asked disbelievingly. If he did remember who had hurt him, then it was possible that his other memories were in there too. And maybe that meant that you could make him remember. You moved to be in Maul’s peripheral vision and Savage took a step forward to crouch in front of his brother.

“I must ask for mercy, Master. Mercy is a lie, a delusion of the weak to make themselves strong. I ask not for mercy…” Your love rambled on, moving back inch by inch as he struggled through the annals of his mind.

“What? What is it? Brother, what are you saying?” Savage yelled as he hoisted both himself and you to your feet.

“And through the filth,” Without warning, Maul charged at Savage. He picked the larger zabrak up and threw him against a wall, leaving you separated from your companion. “through the grief, Jedi!” You and Savage were struck silent as Maul’s voice bounced from wall to wall and seemed to resonate within your very bones. “Revenge. I must have my revenge.” He whispered, suddenly calm.

Quietly, you crept forward and gently placed a hand on Maul’s bicep, trying to coax him to let his brother go. “And you will have it, Maul, but first we must get out of here. Will you let Savage go and then come with us?” You squeezed his arm gently, boldly looking into Maul’s eyes which, for the first time since you’d found him, seemed focused. “My love, please.” Maul’s gold eyes flicked between you and Savage before he suddenly smiled and dropped his brother.

With an almost dopey smile, Maul clasped both of his hands around your arm and moved your hand to be cupping his cheek. “Anything...anything for my light.”

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#darth maul #star wars #the clone wars #tcw #danger-xylophones #Family Reunion series

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leverage-commentary · 4 years

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Leverage Season 2, Episode 7, The Two Live Crew Job, Audio Commentary Transcript

Dean: Hi, I’m Dean Devlin, Executive Producer and Director of this episode of Leverage.

Amy: Hi, I’m Amy Berg, Supervising Producer and Writer of this episode.

John: John Rogers, Executive Producer and Co-Writer of this episode. Hold on. [Opens bee.] There we go.

[Laughter]

Dean: The beer has been opened.

John: The Guiness has been opened. Amy Berg where did this episode come from?

Amy: Well, I mean, when you have a show about a team of con men sort of- one of the first episodes that you think of is-

John: Yeah, it was like one of the first ones we broke- we talked about last season-

Amy: What happens when they go up against another team of con men? And obviously that's not something you really wanna, sort of, pull the trigger on during season one, so we sort of sat on it for a bit.

Dean: But we talked about it a lot in season one.

Amy: We did talk about it.

John: Yeah. But really you have to have your- part of the fun is having your characters and opposition- of people that make a difference, having the opposition of you need to know the characters really well.

Amy: You need to learn who our people are before we can bring in a new set of people.

John: Yeah, so it was a lot of fun putting together the different combinations and different variations on this- the evil team of evil Leverage.

Amy: Loves it.

John: Why the Gustav Klimt?

Amy: The Gustav Klimpt, now you're testing me and it's been a while, I believe this painting was called Higeia and it was technically destroyed by the Nazis in 1945. And it was sort of a choice to pick a painting that wasn't actually in existence, so we weren’t stepping on anybody's toes, saying that this was a stolen painting.

John: The likeless- the equivalent of likeness rights on paintings is an enormous pain in the ass so as a matter of fact, there's a statue of Lincoln in the park that's in the sequence later that we shot and then we had to get the rights to using that statute, even in the background.

Dean: Yeah.

John: Now that's very tricky stuff. Dean tell us about the fun of shooting this.

Dean: Well we wanted to try and keep perpetual motion and show two different attempts. Our team, which tries to do a low tech break in through basically just cutting through a wall through this cheapo office behind the high tech office, and then the daring team that actually chases the bullet head on.

John: Yeah. And there is our villain, Griffin.

Amy: Griffin Dunne.

John: Exactly.

Dean: I've wanted to work with Griffin my whole life. I remember seeing him in An American Werewolf Through London and just falling madly in love with this guy; I just thought he was amazing. And then when we went to do this episode, it was actually Tim Hutton who said, ‘What do you think about my pal Griffin Dunne playing this part?’ And it was just like a gift from heaven.

John: Oh yeah, we are all over that. And this is a lot of fun and we built a fake wall- And that is Tim's assistant, correct?

Amy: That’s that’s Elle, yeah.

John: That's Elle, Tim’s assistant, in her big screen debut with us tormenting her.

Amy: Indeed. And they're playing detectives Marlow and Archer who, as you know, is an homage to both Raymond Chandler and Ross Macdonald.

John: That's right.

Dean: And there's fun outtakes from that which will be in the gag reel.

Amy: Excellent. This should have a lot of gag reel footage.

John: It's also- to tell you what's weird is, Archer actually-

Amy: Was the name of Tim Spades partner in [mumbles]?

John: That's right. That's what the original reference was. That’s also Ross Mcdonald.

Amy: But Ross Mcdonald was inspired by that character in order.

John: Really?

Amy: Yeah.

John: I didn't know that. There you go.

Dean: Fans of the show In Treatment should know that this actress, Noa Tishby, is actually the Executive Producer of In Treatment on HBO.

John: That's right Noa is an Israli actress, she was in Israel, she saw the original show, she dug in, got the rights herself, brought it to America, and wound up executive producing the American version.

Amy: By the way, that's Wil Wheaton.

[Laughter]

Amy: Which is so awesome. And who cast Will Wheaton in this episode, John Rogers?

John: Well I technically cast him, but I believe you had the idea of hiring Wil Wheaton because I'm the one who actually signed the papers.

Amy: Thank you, I appreciate the credit on that.

John: Yes.

Dean: And I was so happy because Wil Wheaton and I actually used to play on the same hockey team together.

Amy: That's right.

Dean: And this was back when he was on Star Trek. And I was dumb enough to allow him to play goalie at the time and-

[Laughter]

Dean: And [Unintelligible]’s son took a slapshot that cracked his helmet open and gave him 17 stitches across the forehead.

Amy: You helped break Wil Wheaton's face.

Dean: And the producers of Star Trek called me screaming at me and forbidding me to ever allowing him to play on the team again.

Amy: Nice. Dogs Playing Poker, by the way, totally public domain. That’s why we chose that one.

John: There you go, there's a lot of variations of that, too, that’s right. And this is actually our little slam is not a part of the subtle on a lot of the CBS crime shows; just the sort of horrible-

Amy: Yeah, the over the top-

John: When we created Leverage, one of the reasons we did it was because so many shows were chasing serial killers. I think it was Chris Downey who said, ‘You know what? Serial killers are covered. Let’s chase rich white dudes in suits.’

Amy: I think they're done.

John: There's only ever been 10 and they've been caught 100 times. And that was Apollo Robbins. This is a great- this is one of Dean's signature roundy-rounds. And I was saying the other day-

Dean: An amazing steadicam shot.

John: I was saying the other day, we've actually learned in the writers room how to assign dialogue to make this easier.

Amy: Yeah.

[Laughter]

John: So rather than rewriting on the fly-

Amy: -we write towards the circle track.

John: Cause you can actually see. It goes- it's like triple play: it goes to Beth to Aldis to Chris to Tim and then back around again.

Amy: I love Parker; there’s always- always something secret going on, whether its secret nazis or-

John: Yeah well, we kind of establish it in The Day of the Hunter Job, Parker’s realm of knowledge outside of stealing is not good.

[Laughter]

John: Like, anything that doesn't involve stealing, she will believe it if the other team members tell her. Oh this is great. I remember we shot this day. Dean, tell us about this bit.

Dean: Well this was one where we actually went full circle because we came in, we rehearsed it one way and it felt really good, but then we started to feel like, ‘Gosh we're not doing enough.’ And so then we reblocked the entire scene so we could all do more and have more happen, and then we all paused and went, ‘You know, the first one was much better.’

[Laughter]

Dean: And that's what we went with.

John: Yup. What I think was part of what was driving that was because I was on set that day, ‘Do not touch the motion sensitive bomb.’

Amy: Thank you.

John: Was the fact that this was gonna be Gina's last episode, full day with the cast- And also, she really dug in on the fact that the character was going to die and it genuinely upset the cast. Like the cast was a little freaked out here; they got way- cause this is a very claustrophobic set, very claustrophobic scene. The way we usually shoot is we shoot longer takes. So we do the whole thing, like we’ve shot entire acts in one take at some point.

Dean: That's true.

Amy: Yeah. By the way, this bit with the pudding, I've known John for two years and this is the only time I've ever turned him on.

[Laughter]

Amy: I wrote this bit, and he read the act and he came in and he burst into my office and was like ’hahaha’.

John: Remember you didn’t use it you; had talked about it and-

Amy: That’s true. That’s true. I brought it up in dialogue, but I didn't actually employ it. They didn’t- Parker didn't actually use it.

John: I actually kicked in the door- the only time I’ve yelled at you-

Amy: Yeah, he yelled at me.

John: I kicked in the door and said, ‘How do you come up with instant pudding in a motion sensitive bomb and not actually use it?’ And so we had- and Parker, we had Parker do it. There's a lot of great acting in here, there's a lot of Gina digging in on, sort of, Sophie's past catching up with her. Hardison-

Amy: But this is a scene where it’s really easy to overwrite it, because your instinct is sort of to write to the emotion of this scene like Sophie could die. But the point is to underwrite and let your actors find the emotion between the lines.

John: That beat right there with Chris and Gina.

Amy: Yes.

John: There's a very nice recurring thing we try to do, which is, whenever it becomes something about killing someone, they go to Eliot because Eliot- because Eliot used to do that. And there's a nice moment there. I was actually there- oh look at that look. I love that look. Where-

Amy: Emotion between the lines.

John: Where basically Eliot signs off on the fact that she's probably gonna die and Gina and Eliot worked that out and it's just a lovely moment. Ahhh this is great, now how did we do this?

Amy: Gina just knocks this out of the park.

Dean: So Gina was very pregnant at the time, so we had to do a double for the wide shots, for the running, and Gina for the closeups.

John: Yeah, and then this is a miniature.

Dean: That's right. Well, the building is the actual building we shot at, but the explosion is a miniature that we shot at our parking lot that we digitally composited on top of it. Now at the time, people didn't know what we were gonna do with Gina's character because Gina was pregnant. So when we did this scene and we aired this episode a lot of people were really upset at this point because they actually thought we had killed her off of the show.

Amy and John: Yeah.

Dean: And early Twitters were very upset.

Amy: Were not favorable.

John: Were very angry.

[Laughter]

Dean: How could you kill her off the show? But then-

Amy: This was originally intended to be the midseason finale, which in that case, the fans would definitely think for sure she was gonna be gone for a while or forever.

John: Yep.

Amy: But we ended up adding two episodes to the end of the midseason run, so we did get to see her again.

Dean: I don't know what it is exactly, but for me, Parker’s performance- or Beth’s performance as Parker in this section here is reminiscent of some of the great comedians.

Amy: Yeah.

Dean: Because it's so subtle what she's doing. And a lot of this came out of Beth herself who said -

Amy: I rewrote this scene based on Beth's notes that you were so kind to give me, and it sort of- it made the scene like 10 times better. I don't even remember what it was originally, but-

John: She's trying to remember what her lines are to say as Parker and her eyes roll up like ‘what am I supposed to say’ and then she gets freaked out at seeing Gina dead and loses it.

John: And then she totally spirals out.

Amy: There's a lot going on in, like, 20 seconds; it's pretty funny.

John: And then Hardison having to go up and bail her out. And again, there's a lot of- there's a lot of stuff going on in the structure this year with Gina leaving, and just for that tempering and having us to accelerate that storyline- There's a lot of Hardison/Parker relationship stuff between the lines on all the shows, we just never made it an A plot, but you can actually see the relationship evolve over the course of the season, when you watch the entire season particularly, the second half. And of course Chris is wearing a bandana under his hat because that's when he had slammed his head onto the set.

Dean: In the previous episode.

John: Exactly.

Amy: Yeah, he’s got a giant scar on his forehead right now.

John: Beautiful cemetery up on a big hill in Portland, nice enough to let us shoot there. Beautiful, gorgeous location. And that's a nice bit of acting, too.

Dean: Yeah, just the little moment of him seeing her and then getting that shock of losing someone that he cares about.

John: Yeah, and just processing.

Amy: So far you've pointed out that your favorite moments are the ones where there's no dialogue, so I'm glad I could contribute to that.

[Laughter]

John: Well you wrote- no no, that’s right, I usually go back and write the stage directions, but you do a lot of the-

Amy: This- and so it begins, when John makes fun of me throughout the commentary.

John: I don't make fun of you, just when you take too much credit.

[Laughter]

Dean: This is the controversy.

Amy: I was taking no credit!

Dean: In this scene, the gravestone says Cathrine Klive, her actor name, and at the end Sophie Deveraux and a lot of people thought that was actually a mistake, but why don't you address that?

John: Well we were really- it comes up in the end. We really wanted- and this is sort of a meta structural thing - she wants to kill Sophie Deaveraux. She realizes Sophie Deveraux as an identity, as a life, is a dead end, and so she changes the tombstone so that she can eventually give up that identity. And it's interesting because what Sophie is- realized is that she's going down a dead end, and in theory she’s the current criminal and Nate is the honest man. Nate is also going down a dead end, but he's way too obsessive and blind to realize it.

Amy: Yeah.

John: And so by the end of the season, you’ll see Sophie is a lot more emotionally evolved than Nate is.

Amy: It's true. This is sort of the beginning of Nate’s spiral where-

John: Yeah, maybe the end of Sophie’s thing.

Amy: His priority shifts and, like, winning becomes more important than servicing the clients.

John: We just sort of tease in 206. Great scene between Griffin and- really that was kind of fun. Once we knew we had Griffin Dunne, a lot of these scenes became, ‘Alright, it's really just gonna be head to head.’

Amy: Yeah, yeah.

John: Yeah. It's just- we’re just gonna have the two of them- And the fact that they're friends was really helpful.

Amy: And this the promise of the premise when you do a crew vs crew episode. What you are promising to the audience is you're gonna have one-on-one faceoffs between the characters and their counterparts.

John: And this is part of the evolution of writing an episode, is when we were breaking this, we had a really hard time getting that up as fast as possible, and that's what you wound up- doing the inner cut break in at the opening. Because even though they weren't facing off at each other, we gave the audience the promise of the premise.

Amy: Yes.

John: And the beautiful Hyundai Genesis. A fine automobile.

Amy: A fine, fine vehicle.

Dean: Beautiful peel out.

John: It was nice. In a cemetery!

[Laughter]

John: There was a moment where I was talking to one of the actors, I looked down and realized I was standing on a civil war veteran’s grave. That was a little disturbing.

Amy: That’s classy Rogers.

Dean: I absolutely love the little makeup and hair choices of Gina in this scene, it's so 40’s noir.

John: Yes.

Amy: Yeah, yeah the hair.

John: The whole episode she's playing 40’s noir. And it was a really interesting look, and not one we can do a lot because of the characters she's played, but this was interesting; she's not playing a character ever in this episode except in the opening.

Dean: Right.

John: I kind of liked her in the cop outfit.

Amy: It's one of my favorite running gags in the entire series of the show. Parker just not entirely buying that Gina’s actually alive.

John: Yeah.

[Laughter]

Amy: ‘I'm not dead!’

John: Some part of her brain understands it, but the emotional center is so screwed up.

Amy: ‘I saw her in a coffin, ergo, she must be, in fact, dead.’

John: This is also great, is digging in on the fact that the whole ex-boyfriend/crew/guy who runs the crew she used to be with. And for a while, for like a minute and a half in the room, remember that character was Sophie's boyfriend for the whole first half of the season and this was gonna be the payoff, but we just never knew if we were gonna get the availability for that actor and we just couldn't risk it. And it also seemed a little dishonest she would hide that, so.

Dean: I love the Hardison line, ‘You saw other teams before us?’

[Laughter]

Amy: ‘No, just another Nate.’

John: ‘Just another Nate.’ That's- yes, this is a big family beat of looks back and forth.

Amy: Lots of looks.

John: Now how did you- I remember you were very, Dean, very big into designing the other team’s headquarters.

Dean: Yeah, well I really wanted to feel like a mirror of our headquarters. But in a believable way in that they don't have permanent space so they’re in a small space. But I was trying to mirror even screen direction-wise that one team is looking left-right the other team is looking right-left so that we can really feel like these are absolute mirror images of each other.

John: Yeah even the looks left-right and right-left match.

Dean: That’s right.

John: Yeah, no it's interesting. And there's Apollo Robbins, who we haven't mentioned yet.

Amy: Apollo Robbins! Yes, he's our technical consultant on the show. He is a master thief. But not anymore, he's a good guy now. I feel like I should point that out.

John: Yes we should. You can't hire him to do crimes.

Amy: When I say consultant, I mean he's not actually a thief anymore.

John: This is also great; this is also the Mona Lisa scam. Why don’t you explain the Mona Lisa scam since you’re a research freak?

Amy: Oh great, now I’m-

John: 1911.

Amy: Yes, 1911 there was a con man, I don't remember his name, but someone says it I think in this scene, where he created six forgeries of the Mona Lisa, stole the original, and then sold the six fakes on the black market to individual buyers as though they were the original and got six times the profit.

John: Some con and heist shows will just do that plot and act like they came up with it. [Coughs] Asshole! [Cough].

[Laughter]

John: Rather than mention the fact that this is something that really happened, that you should honor.

Amy: This is something that really happened, that I actually read about.

John: Also used the Doctor Who's: The City Of Death written by Douglas Adams.

Amy: Oh yeah, oh yeah.

John: There you go. This is something else we did a lot of, which was the process of elimination bit with the screens. Remember we did it in Hunter too? And it's just kind of fun because it’s kind of something from my physics background which is all about probability. And the fact that a series of educated guesses- it's kind of like our version of detective work.

Amy: Yeah.

John: You know, it's like crime detection, it's a lot of fun. And yeah, and now we're really seeing Nate start to spin out of control.

Amy: But this is what I would call dueling competence porn.

John: Yes it is.

Amy: This, and the third act where the teams are doing their jobs and doing them well.

John: Competence porn, by the way, is a term- I forget how it came about, but it's basically-

Amy: It's just a room bit.

John: It’s a room bit. It’s like, you know what? I just like watching people who are good at their jobs doing it, especially if they're entertaining. A lot of it was from 208 was watching Beth Riesgraf- in 208 there was an entire act that's a break in-

Amy: Oh yeah.

John: That’s Beth breaking into a vault. And when you're writing it, you're like, ‘Gosh, that feels thin,’ and then you're watching it and you're like, ‘I'm watching Parker break into a vault for 15 minutes and this is amazing!’

Amy: I could watch it for 40 minutes.

Dean: This is one of my favorite bullet time shots that we’ve done.

John: Yes, now this is- now remember this is all done not digitally- well we do it really. We freeze everyone in the background and the cameraman walks through it and we digitally speed it up. What is this space? This is the-

Dean: This is an actual museum in Portland that we turned into our space.

John: Yup.

Amy: Wasn't there a naked sculpture that you guys put a leaf on?

John: Yes, up in the upper level.

Amy: That's my favorite story.

John: Yeah. And then- yes, this is 4-way; this is not as insane as the one in the season opener.

Amy: But it’s still insane.

John: But this is a 4-way through about 100 extras.

Amy: I don't think Dean understands that we’re making television.

[Laughter]

Dean: Well, you know, honestly you don't even attempt a shot like this without a steadicam operator like Gary Camp.

Amy: Gary Camp is amazing.

Dean: He's a serious feature film guy. I mean, that was all one shot.

John: Yeah. That's stunning. And then you bring it back to Parker- and this is also fun, is the fact that we make fun in the show. And this was- even when we did tap out and some people were like, ‘Oh, you're making fun of Lincoln, Nebraska,’ when we had Sophie make fun of the food. We’re not making fun of the locations, we’re making fun of the fact that Sophie’s a little princess.

Amy: Yeah.

John: She's not someone who does well with things that- and the van, the van, actually, over the course of the second season becomes a character.

Dean: I love that she's says about how it smells a little whiffy.

[Laughter]

Amy: Which is a callback in The Future Job as well.

John: Yes, this is hard work, it smells like hard work. Yeah, Hardison's affection for the van.

Amy: Respect the van!

John: Respect the van, yeah.

Dean: Now this is actually the first scene where we’ll see the teams start to go head to head.

John: Yeah. Split up, call out your jobs.

Amy: This is the promise of the premise act, as we call it. And it's the Van Gogh that they're after, the Cafe Terrace At Night, I believe it’s called.

Dean: And this is a very important moment because it really established who Nate and Sophie were to the rest of the team. Nate being the one that makes the plans, but Sophie being the one who keeps them safe. And that had never been exposited before, and by doing that, it really set it up.

John: Boom! And then the parallel structure over to Hardison's opposite number, Chaos, played by Wil Wheaton, just four vans down.

Amy: Nice.

John: That was really inspired. They’re the most twin of the bunch. Oh, and this is amazing. This is amazing because that's all real time. That wallet never came off. This was this whole section we just gave to Apollo.

Amy: Yeah. He's like, what can you do? And he just basically-

John: And he took Beth aside and they came up with a bunch of- it’s like, you know what? We're just gonna run camera, you just do a bunch of you do you, man.

Amy: By the way, there was no one else we had in mind for Apollo. Even when I was like- when I came up with the concept, and then I also did the outline, I also called the character Apollo, hoping at some point we would actually cast him.

John: But was the Wil Wheaton character originally a girl?

Amy: In fact, she was.

John: Yes, that’s right.

[Laughter]

Amy: Yeah, it was- I believe it was a hot Latina-

John: Yes.

Amy: -that he was going up against, and then at some point, you know, in the casting process I turned to you and I was like, ‘You know, we've been talking about Wil Wheaton for something. Is this not the prefect role or not?’

John: And Noa Tishby rocking the dress. Noa was actually in the Israeli army. So that was kinda cool as we were looking at a lot of different actresses and Dean had seen her tape.

Dean: Yeah.

John: And it was like, you know, I wanna try a different ethnicity. I wanna try a different look, and brought her in. And what's great is she looks like she can take a punch, you know, that's a tough chick. And she really did great in the fight scenes and was a really- we got really lucky in this episode.

Amy: Oh yeah.

John: You know, we usually have to cast one big role; we cast five.

Dean: Right.

John: And they were all great.

Dean: Now this fight scene was-

John: Ok I'm gonna take credit for this one because nobody else is-

Amy: I wasn't gonna take credit for it.

John: No shadow on this, I had to explain this 9 times.

[Laughter]

Amy: Oh yeah, that’s right.

Dean: And this sequence was actually getting directed by Marc Roskin and you, John.

John: Yes, at two o’clock in the morning. But I will give Mark Franco big props for throwing the old 1970’s film look.

Amy: The film reel stuff.

Dean: I love it.

John: That is so great. The Shaw brothers look is that and this is the whole-

Dean: That's how they see- in their minds that's how they see fights, like the karate movies they grew up watching.

John: Yes. And this is based on two things. 1) a great story about samurais- I love that look that Chris did. Great story about two samurai who faced each other, knew each other’s skills so well they fought the entire fight in their head and walked away. And Warren Ellis’ character the Midnighter from The Authority comic book who has sort of the same thing. He does fights backwards in his head. Ah look at that, oh he's a great physical actor, too, it was really- it was nice, cause we cast Apollo, he's never done acting before, he'd never done TV before. And it's the one gamble on the whole show and he was fantastic.

Dean: And he totally pulled it off.

Amy: But he's just so damn charming, it’s like you, sort of, just believed from the beginning that he could do it.

John: Yeah, he's very dangerous.

[Laughter]

John: It's really- if he ever turned evil, we'd be in a lot of trouble.

Amy: Oh my gosh.

Dean: This next sequence, outside, while I had done the storyboards for it, Marc Roskin shot the hell out of it. And what we wanted to do was an homage to the great Western movies, you know, the Spaghetti Western.

John: Well this was the challenge, and we talked about this when we were writing it. It’s like, nobody does hacking in an interesting way. There's no way to do hacking in an interesting way.

Amy: Visually it’s- filming it is not effective.

John: So abandon trying to do it with the computers and just do the metaphor, which is two guys pitting each other’s intellects against each other, and make it text.

Amy: And it's much more interesting, look at each other than looking at screens.

John: Oh and that timing is great, look at this, it’s just fantastic.

Amy: This is so nerdgasmic.

[Laughter]

Dean: He even had that Spaghetti Western whistle.

Amy: Yeah. I remember the first cut it was only in there subtly and you were like, ‘Hey turn that up, man.’

Dean: Listen, I’m-

John: And look at the little holster move, too.

Dean: I'm all for subtly, I just want a lot more of it.

[Laughter]

John: Oh no, Wil knocked it out of the park in this. Did you know that he had been doing a bunch of shows and people have come up and asked him to sign his autograph as this character?

Amy: As Chaos.

Dean: That's great.

John: Somebody came up with the anarchists cookbook and asked him to sign it as Chaos.

Dean: And I love that Sophie can’t use a computer.

[Laughter]

John: Utterly useless.

Dean: She just closes it.

John: Well Hardison’s taught Eliot- and the look to the swords. We had so much fun coming up with different props in the scenes. And this was at 2 o’clock in the morning fight fight fight, you win. Fight fight fight, you win. And just- cause they had to learn the routines and we were banging it out in three sizes at a time, it was great. Then we shot the bird.

Amy: So many looks.

John: And this- you could run the entire Parker/Apollo scene without dialogue and you'd know exactly what's going on.

Amy and Dean: Yeah.

John: Actually-

Dean: She's a little bit the Harpo. You know what I mean.

Amy: She's the Harpo.

John: She's the Harpo, he's Groucho in that scene, it's very subtle.

Amy: Is that Chase? Was that Chase walking towards the camera? It looked a little like Chase.

John: No, no. And this is, again, one of the rules, one of the hard rules of doing these shows. These shows are very hard, is that it can't be a random obstacle. Whatever is your obstacle heading into the third or fourth act must either be a product of the villains plan which you've already set in motion, or something that the team has screwed up or succeeded too well. And not screwed up too often cause that means they suck. So-

Amy: You make it sound like we did something good on purpose. That’s awesome.

John: Yeah, every now and then. And this is just- I want-

Dean: We almost didn’t do this.

John: We almost didn't do, but this is the punchline to the bit, that they're so locked into each other-

Dean: I'm so glad we did it.

John: Yeah. I actually was ready to bail on it, you were like, ‘Yeah, you know what? Let's make time.’ And the little look, and he gives them a bunch-

Dean: A bunch of crazy idiots.

John: Yeah, exactly. Now this is great, Nate’s totally lost in the need to win at this point.

Amy: Oh yeah.

Dean: I love Parker saying that, ‘The people in this line of work are unstable; we can use that.’

John: Yes.

Dean: Completely not realizing that she's in that line of work.

John: Tapping the pad look at that and look at the look Chris- that's another thing.

Amy: ‘I'm totally helping.’ That's it.

John: Gina gives a little smile which I missed the first time I saw this show.

Amy: There's a lot of little subtleties.

John: And again, second season, you start pairing up things differently. Chris and Gina found a nice rhythm for Sophie and Eliot this year that wasn't there first year, just in the pairings. And we wound up working; it was nice. And this is- yeah, she killed a guy with a mop.

Dean: I love Hardison's jealousy about Chaos, the whole ‘ugh.’

Amy: ‘Chaos.’

[Laughter]

John: Cause, you know, and it's a great thing of acting on Aldis’ part, you know he's beat him. You know that Chaos has beaten him a couple times. He's really- he’s not a pleasant loser, Hardison. And the nice little fist tap for the Kobayashi Maru.

Amy: Nice little knuckle bump, Parker.

John: Yup. Well that was another one of the little subtle things, that Parker has plainly sat down and watched like all nine Star Trek movies with Hardison because it was just something he did on a Saturday, you know?

[Laughter]

Amy: Well she wants to see, you know, what normal people do.

John: Yeah, Hardison's probably a bad example of that.

Amy: I don't think that's right- the right choice.

John: There's not- you know-

Amy: I gotta say, I love Tim in this scene.

John: Yeah. He’s really mad.

Dean: This one, out of all the cutting back and forth, this was the trickiest because it had to match rhythm, intensity-

Amy: And dialogue.

Dean: -and dialogue.

John: That's right.

Dean: This was really tricky.

John: Line by line. And that was the tricky bit, too. We had to give both of them the entire script for each one so they could know what they were doing to each other. I think- did Griffin come down the first day and watch Tim?

Dean: I actually think this was Griffin’s either first or second day on the show.

John: That's right. Tim came down to watch- yeah, so he would know what he had done physically. There's a parallel structure even with the team. This was a lot of fun. But this is one of those things that looks really elegant, but scripting, it's a little chimpy. It’s like, once you know what you're going to do, this wrote pretty easy.

Amy: Ok, yes, but I'm gonna go on record in saying that this is the best third act we've ever done in the history of Leverage. I just love it so much.

John: Well, you know what? Again, this is something you sorta learn. We- you know what? You learn how to write the show while you write the show. This is when we really where we realize you only need to do one thing an act. We so tried to buff all the people and, ‘Oh look, at the incredible plot twist’ like, you know what? They're fun characters, they're good characters, let them do one thing.

Dean: Yeah, it's fun to watch them do their thing.

John: One thing every act.

Dean: And I love how they all started to get pumped up for it. On both sides, they are gearing up for game day.

John: This is a great act break.

Amy: Nothing about that act I dont like. And I had very little to do with it.

John: This is easily- this is one of my favorite shows of the season. Of both seasons.

Amy: Mine too.

Dean: And beautifully photographed by our great cinematographer, Dave Connell.

John: That's right, because we were shooting parallel; we were shooting inside the museum and outside. You were outside running back and forth.

Dean: Very intense.

John: And this is a lot of fun. All the security guys were great. Portland once again gave us a great, great acting pool.

Amy: Go Portland!

John: And then this was a lot of fun, was setting up the snarky dialogue and Aldis and Wil basically sat and sweated in their vans-

Amy: Yeah.

John: -for 6 hours. Cause Aldis is always going, ‘Nobody knows what it's like to work in the van’. That van is hot. So he was very glad to have a playmate.

Amy: Aldis had like one full day of shooting in the van and nowhere else.

John: Yeah, exactly.

Dean: I love the character Tim came up with here, that was great.

John: And Emily is actually the girl I went to prom with. That's where the name comes from.

Dean: Nice.

John: Yep.

Dean: Poor Emily.

John: Yeah I’m- hey!

[Laughter]

Amy: I said nothing. If you noticed, I stayed quiet and said nothing. I'm learning.

John: And Tim plays drunk, distracting guy an awful lot this season. This- and by the way, the security guard that talks him down is great, he's got a really great comedic beat. This, by the way, is a stunning sequence.

Dean and John: 10 millimeter lens.

Amy: 10 millimeter lens?

John: Down in the basement.

Dean: And look at this steadicam move - down the stairs!

Amy: Running down the stairs.

John: This is a guy walking!

Dean: And then whipping around, that is-

Amy: This is inhuman.

John: It really is.

Dean: For steadicam artists, they will understand how difficult that shot is.

John: By the way, I like the fact that we just locked Beth into the air conditioning system.

[Laughter]

John: ‘Are we gonna build one? No, there's one downstairs! Should we put Beth Riesgraf in moving machinery? If she's up for it.’

Amy: Not sure why we had to put the lock it, but that's ok.

John: It's a good look. And oh yes, it-

Dean: I think this is my favorite of all the air duct scenes, this is my favorite air duct scene.

Amy: This is actually-

John: Well like Two Horse- all of Two Horse where she was bitching while having to do it.

Amy: Oh yeah.

John: This is also- we built the most complicated duct system on earth for this.

Dean: Talk about the bird, because you were there for this.

John: Oh yeah, I- we thought the bird would be CG, much like, we thought we’d be on a CG roof the series premiere, instead we wound up in Chicago 40 stories up. Dean went and found a bird-

[Laughter]

John: -a North American Kestrel. He said it would be easier to shoot a real bird that was trained, and so if you go on my blog you see pictures of the bird, but that's the last thing we did that night, so at 2 am we had this bird in a box, which was really beautiful.

Dean: Yeah.

John: And-

Amy: No birds were harmed in the making of this episode.

John: No birds were harmed. It was a really beautiful bird. But yeah, the trainer was hiding right off screen to summon the bird to get it to fly across.

Dean: This was actually one of the most difficult fight scenes we've ever shot, mainly because of the small space they were in.

John: How did you get the camera up there?

Dean: We literally locked it onto the ceiling and just let it run for the whole day. And then hoped we had good material.

John: Oh cool. That everybody would hit their marks.

Amy: She's so intense, I love it.

John: And the- him switching back over to Hebrew, this was a lot of fun. Oh and ‘now I’ve got the lasers.’

Amy: ‘No, now I’ve got the lasers!’

Dean: His arrogance was just awesome.

John: The two of them were fantastic.

Amy: He’s almost too good at it.

John: Big thanks to Derek, yet again, for building a great interface that lets the audience know exactly what’s going on.

Amy: Derek’s our graphics guy, he's amazing.

John: Does all our computer stuff. And our security guards, you know, somewhat oblivious, but good guys.

Dean: That's just the oldest gag in the world that I love.

Amy: It flickers only when they're not looking at it.

John: You know what it is, it’s the Abbott and Costello, it’s the candle on Dracula’s coffin.

[Laughter]

Dean: And I love that.

John: I love that reveal.

Dean: And he comes in dressed as, and named as, Nate Ford. I mean, that is just fabulous.

Amy: He's with the insurance company, what?

John: It is a great little, ‘Fuck you,’ from that character.

Dean: And Tim’s look at him for doing it, it’s just awesome.

John: But this was the fun of the fourth- and this was really hard when we were plotting. It's like ok, in the fourth act they have to be good, but they have to look like they’re losing. And they have to look like they're losing so bad you come into the fifth act not knowing if they won, and then we have to somehow pull it out.

Amy: Yeah. This, by the way, the scene with the two of them talking with the bird cage, was one of the first images that popped into my head when we were breaking this episode. I just love this.

John: But this duct tape- cause here's the thing, we have to shoot this direction and you have to shoot them crawling off these directions. This thing was huge, a human sized hamster trail. Took up an entire ball room for that one shot. Great fight scene, and we had talked about this, and this is a lot steamier and sexier than originally pitched.

Amy: It's literally steamy.

John: Dean was all over- like ‘I'm going to fight. I'm gonna shoot the steamiest fight scene that we've ever had.’

Dean: I thought it would be interesting to do a fight scene as a love scene.

John: Yeah.

Dean: And so the fight is actually foreplay.

John: Yeah.

[Laughter]

John: And a dance. It’s really like a dance sequence. We used to always say fights are like dances because of the movement and everything, but you know, you took that very literally and everything, which was great.

Dean: Now, by the way, we've done lasers in several episodes before.

Amy: Yeah.

Dean: These are the best lasers we ever did by far.

Amy: It's pretty cool.

John: Yeah, and having them move, that was the key. It's yet another example of something that you think will be really hard, actually turns out to be a little easier and way cooler.

Dean: And way cooler.

John: Yeah.

Dean: And again, kudos to the effects artists. If you look carefully, you can see the lasers reflecting in her pupils.

John: Reflecting in her eyes. I know, that’s sick.

Amy: That's really hot.

John: That was really great. This is a big ‘they are screwed’ act out.

Amy: Oh my god, look at that!

Dean: That is so cool.

Amy: Why did I not notice that before?

John: And wet people fighting.

[Laughter]

John: You know what? We give you everything on Leverage.

Dean: Little sex, little violence.

John: And it’s good.

Dean: And now we were able to take the hat off cause we were able to use the real scar on his forehead finally in the episode!

John: Also kinda cool, Kevin, our stunt coordinator, had them fighting in Israeli military style. That they were both- they had both sort of picked up- we always had Eliot kind of fight in that style, but the fact that that would be her training-

Dean: And I love that these two are standing next to Honest Abe.

[Laughter]

John: And that's a great entrance. She's really got-

Amy: ‘Oohhh.’

John: She's got 3 great entrances this year.

Amy: Yeah, she does.

John: One I'm not gonna talk about.

Amy: Cause you haven't seen it yet.

John: You haven’t seen it yet. But the Annie Croy entrance in the season opener was one of my favorite Gina bits, and then that.

Dean: Fabulous. Gina absolutely brought her A game this season.

John: And yup, this is our double just whipping through this.

Amy: That was me.

John: That was you? I forgot about that.

[Laughter]

Amy: It's a secret skill. I don’t like to talk about it.

John: And that's the thing, that was footage of the gymnast whipping through those maneuvers with Beth popping up. The special effects people had to put the lasers through those moves to coordinate with- you know, ordinarily, you build these shots incredibly carefully. It was like, ‘No, here's the footage. Make it work.’

Dean: I love this old school crank.

John: ‘Can't hack a classic.’

[Laughter]

Amy: More competence porn.

John: More competence porn. Hardison- the staff will tell you the first year we had Christmas together, I got them all wind up radios and flashlights.

Amy: Yes.

John: I'm a big believer in emergency preparedness for the apocalypse.

Amy: He cares! He cares about us.

John: You mock.

Amy: Wants us to live through the world ending.

John: Well, you know. I play a lot of Left 4 Dead. I want to make sure my crew’s ready.

Amy: Alright, cool.

Dean: I love that - Parker not quite good at acting yet.

John: No. This is key, Parker can't do a long con. She can maintain it for maybe 4-5 minutes before her inability to mimic humans breaks down. And there we go.

Amy: By the way, this episode totally screwed my- the way I do story telling now, because I'm thinking as the criminal all the time.

John: Yeah.

[Laughter]

Amy: Like, it's terrible. ‘How would I break into an auction house? Well to control the motion sensors-’

Dean: I love this beat right here.

John: Yeah.

Dean: Like, ‘Ahh, screw the fight.’

[Laughter]

John: Well he knows he's won by this point, so it's just really-

Dean: And she's so turned on by the fact that he did, cause no one else has ever beaten her.

John: Yeah, that was a lot of fun, was the idea that people- it's, again, you respect someone who’s competent. And the hand- yeah the little look after the handcuff-

Amy: Wow.

John: He actually looks a little scared there.

Amy: I know, I know.

John: He's like, ‘I got you! Oh wait, what did I get?’

Amy: ‘Is it over?’

John: This is nice.

Dean: In the original longer version, they originally kissed and then fell out of frame.

John: I missed that! I missed the fact that they banged out a quickie during the middle of the con.

Amy: Uh, no.

John: Alright, fine. By the way, Christian loves the badge on the chain. Anytime he can have the badge on a chain, he’s the happiest man alive. And Hardison-

Dean: A little bit of improv-ing by Aldis Hodge here.

Amy: Indeed.

John: Aldis- and again, this pops up in the next episode, Hardison always goes a little too far. He's never able to quite control the- he’s never able to get out without pushing it too far.

Amy: Are you saying that's going to catch up to him at some point?

John: That will catch up to him. The very next episode matter of fact. And yeah, this was a lot of fun driving police cars around Portland at six o’clock in the morning.

Amy: I'm sure no one was alarmed.

Dean: Now young filmmakers, that little move there is to get on the other side of the line.

Amy: Oh yes.

John: What was that?

Dean: So we- after we established them coming out of the building the camera slowly tracks over to the other shoulder on both sides, so now we're on the opposite side of the line and all of their looks have now reversed from the previous scene.

John: You and your looks.

[Laughter]

Dean: But this allowed us to now do our car gag, because we couldn’t really blow up a car in this location.

John: At two o’clock in the morning.

Dean: So we had to whip-pan off of a look to a parked car, then later we blew up a model car and replaced it.

Amy: We did two miniature explosions.

John: I love this reveal. I love this look. It’s like, ahhh, it's like Christmas.

Dean: Bingo.

John: Yeah.

Amy: Always knew you were evil, Wil Wheaton.

Dean: And now the evil speech of evil.

Amy: The evil speech of evil!

John: The evil speech of evil! A crucial part of the- well, this isn't really an evil speech of evil. The evil speech of evil is usually when they are-

Amy: Yeah, it’s the evil griping of evil.

John: The evil speech of evil is just: define your behavior. He's straight up monologuing here.

Dean: This is a little bit more of the, ‘I would’ve gotten away if it weren’t for you meddling kids.’

John: Yes, exactly.

Amy: Are you saying this is a Scooby Doo?

John: In the original version of this, he pulls off the Wil Wheaton mask only to reveal he's still Wil Wheaton.

[Laughter]

John: But he wears a Wil Wheaton mask. You know what? We should've called Wil for this.

Amy: Oh my god, why didn’t we do that? Now we gotta record it again.

John: I know. Maybe- You know what? We’ll do one on iTunes with him.

Amy: We'll do a special one.

John: And we may be playing Dungeons and Dragons while we actually do the commentary. This is great now. This is tough. And talk about- we had a couple different endings for this episode in this particular scene.

Amy: Yes.

John: Go ahead.

Amy: I don't remember them, I just remember there were multiple endings. [Laughs]

John: We actually, for a couple different versions of the outline, had him lose. Had Nate and the guys lose.

Amy: Oh, that’s right.

John: And then our team conned them about the painting. And the moral was basically our team kinda sitting around, pissed off they lost, but they were still a family while the other team broke up. And it just didn't feel-

Dean: Wasn't satisfying.

John: It was one of those good writer beats- and that's why Dean’s actually a very valuable producing partner, because he's all heart.

[Laughter]

John: Seriously man, he’s- and he’s, ‘I don't feel it.’

Amy: And we have none.

John: And we have none, because we’re writers and our blackened little hearts are shriveled away.

Amy: And our dark souls.

John: It's very easy when you're writing a con and heist show to get a little too clever for your own good.

Amy: It’s true.

John: And Dean’s a very good barometer on, ‘You know, do I really-? Am I gonna be happy with this?’ And you know, he’s right.

Dean: I like a little fromage.

Amy: Well what were the reasons-?

John: No, not fromage, but just, you know-

Amy: I think one of the reasons we were gonna have them losing was that this was gonna be episode three or four, and then we had the wild thought that we would bring the evil team back for episode seven.

John: Yes.

Amy: And sort of do, you know, ‘We lost the first one, but we won the second one.’

Dean: There's the recall of your Emily story.

John: Yes, that's right, the little go to the dance with. No it's- oh and that's great.

Dean: Again, that was Apollo who came up with that idea.

John: Yeah, that they're picking-

Dean: A lockpicking race.

John: And also Beth tossing the lockpick into the air and catching it? After a week with Apollo, she’d really gotten disgustingly good. I think they're actually picking there.

Amy: Well Apollo has gone on record as saying Beth can actually be a professional pickpocket if she wanted to.

John: She's got soft hands.

Dean: And this is, again, one of those scenes where Christian shows you how good he is at comedy. How subtle he is when he realizes she may be the person who actually shot him.

Amy: Look at that look!

[Laughter]

John: Yeah.

Amy: His eyes widen just like a millimeter, but-

John: Yeah. And that was an improv, I think. ‘Y’all nasty’. He's supposed to just look at it.

Amy: That’s awesome.

John: And Griffin doing the Nate Ford, ‘I'm an honest man’ speech here, incredibly uncomfortably!

Dean: Well, we always want the villain to suffer and this is how he suffers.

John: He’s just sweating it out.

Amy: He's getting more satisfaction out of watching Griffin Dunne lose than he is from getting the painting back to the clients.

John: Which is something wrong.

Amy: Yes, that's not right.

John: Sophie's actually the moral center of this scene.

Amy: This is the episode where they, in a way, sort of switch roles. She becomes the honest thief, and he becomes-

John: They were a lovely couple. God, these actors were nice.

Dean: Just amazing local actors.

John: No, this was a lot of fun. And then, again, giving him just enough rope to hang himself with. And making sure that he's pissed off enough to come back in season three.

Dean: The other part of this scene I like is, it really shows how far Sophie has come, that she’s actually not just doing this, she’s actually, really- she’s drank the kool aid by now. She really believes in what they're doing.

John: To a little bit more than Nate at this point.

Amy: Yeah.

John: Yeah. Which, you know, and that- we really took the, ‘You killed Sophie Deaveraux.’ And the funeral was a late addition; that wasn't in the first outline.

Dean: Yeah.

Amy: No, it wasn't. That was something that we added later.

John: Yeah it was.

Amy: But that was an element of knowing we were gonna lose Gina and trying to set up an awesome departure.

John: Yup. And that bomb thing wound up being really- Because originally- it was originally a sort of investigatory clue path and then when we lose Gina it's like, alright let's scare the audience a little here.

Dean: How did you come up with this bit of how they tracked-?

John: I think that was some geek bullshit I had in the notebook, I’m fairly sure. Whenever it’s some tiny minutiae of how phones work, it’s you know-

Amy: Good old GPS.

John: Yeah well, you know what? I think at the time there were some protests about the fact that you couldn't turn off the GPS tracking in your phone, and it was- they were talking about a lot in England you being able to do that, so that just kinda stuck.

Amy: Well I imagine all this would-

Dean: There's Chase!

Amy: See, yeah, there's Chase. I knew I saw him at some point.

John: Is this-? Yeah, here we go. All these great local actors.

Dean: And I love the security guard; this woman is fabulous.

Amy: So much personality, only a few lines.

John: And again, this is one of those things where you are trying to come up with a really clever way to screw him and then you suddenly realize, no, it’s just a box full of paintings; there's nothing really subtle about this. You’re just going to jail forever.

Dean: But in a way, this is what makes it work. ‘This is the real one.’

John: We had a couple of different notes, too.

Amy: He lost by winning. Cause what he wanted was the paintings, and we gave him the paintings, but that’s what did him over in the end.

John: Another rule: the villain must be brought down by their own sin.

Dean: Now this, for me, is my favorite scene for a number of reasons.

John: It’s a good scene.

Dean: First of all, just the lighting. We got this at the perfect time of day.

John: Yeah, how'd we get the lighting Dean?

[Laughter]

Dean: We accidentally went over that day and somehow went into-

Amy: Oh accidentally?

John: Oh did the director somehow go over in the morning, so we just happened to be shooting at the magic hour?

Dean: It was odd how that worked out.

Amy: Oh interesting.

Dean: That we just happened to be in magic hour to shoot the romantic scene.

Amy: That is so funny.

John: What I love is the fact that you’d never work again as a director for boning your producer that bad, except you’re the producer?

[Laughter]

John: No, this scene is stunning.

Dean: They both knocked it out of the park on this day. And for me, it's weird to say it because I directed the episode, but this is the best almost-kiss I’d ever seen before. And it's really the way they did it.

John: Yeah. This was another one where it was like, set up the cameras, let the actors work.

Dean: This was also a callback to what happened in the episode at the school, because-

Amy: Fairy Godparents.

John: Yeah.

Dean: Cause in the Fairy Godparents that she had never really been honest.

John: Exactly.

Dean: And here she realizes she doesn't know who she is anymore because she's been so many other people for so long.

Amy: She got dumped because she wasn't being truthful with her boyfriend, and she actually recited all the names of her aliases, and this is sort of the callback to her having to bury them in order to move on.

John: Yeah, she's more attached to fake people than real people and it’s caught up with her. And this is the moment where Sophie Deaveraux becomes a better human being than Nate Ford.

Dean: And that red coat was totally Gina.

John: That was Gina. That's right, she came in with that she and Nadine went hunting for that. This is a great almost kiss.

Dean: Ow! Ow!

John: This was an Italian over. This is- what's that terminology?

Dean: It’s a French over. Rather than being in the front of them, you're over their backs and then this walk away.

Amy: The Italian over is you're drinking wine while you’re doing it.

John: And this walkaway was fantastic with that light right there!

Amy: Through the trees! It's so pretty.

John: You knew what scene was good when we were shooting it because I was watching it on the monitor and I turned around and all the local PA’s were standing behind us watching the scene and two of the girls were crying.

Dean: Yeah. It was awesome.

John: You just really nailed it. And that was going to be the summer season ender, 207, and wound up being still a great send off for that character. And really one of the best episodes of the two years I gotta say.

Amy: Yup, it's one of my favorites for sure.

Dean: For me it's almost like the two part season finale of one, season one, done in one episode.

Amy: Yeah, exactly.

Dean: So thank you for watching.

John: Thank you for watching.

Amy: Thanks everybody!

#Leverage #Leverage TNT #Leverage Audio Commentary Transcripts #Audio Commentary #Transcripts #Parker #Alec Hardison #Eliot Spencer #Nate Ford #Sophie Deveraux #Season 2 #Episode 7 #Season 2 Episode 7 #The Two Live Crew Job

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oilgroove · 3 years

Text

That is a very upbeat statement

On 20 January 2004, George Bush Jr. the President of the United States gave his last (?) State of the Union Address. In this article, I will point out 25 fallacies of the speech on the war on terror. Fallacy 1. "By bringing hope to the oppressed and delivering justice to the violent, [the American servicemen and women] are making America more secure." Apologists of the war on terror are quick to point out that there have not been any major attacks on the U.S. since September 11, 2001. But what of the numerous terror alerts? And how did the deadly toxin ricin recently find its way into the US Senate for the second time! Or did & PTFE Bushes Manufacturers 8216;Senator' Ricin, the ‘terrorist,' win a re-election into the upper house? Does that not show that the terrorists still present a clear and present danger? Clearly an early warning signal! Fallacy 2. "Each day, law enforcement personnel and intelligence officers are tracking terrorist threats; analysts are examining airline passenger lists; the men and women of our new Homeland Security Department are patrolling our coasts and borders. And their vigilance is protecting America." Americans and indeed the world should not live under the false hope of being protected by the intelligence officers. Because the terrorists themselves are becoming more creative. Who has ever heard of shoe bombers before? The U.S. House Democratic Leader Nancy Pelosi exposed this illusion in her speech: "One hundred percent of containers coming into our ports or airports must be inspected. Today, only 3 percent are inspected. One hundred percent of chemical and nuclear plants in the United States must have high levels of security. Today, the Bush Administration has tolerated a much lower standard. One hundred percent of the enriched uranium and other material for weapons of mass destruction must be secured. Today, the Administration has refused to commit the resources necessary to prevent it from falling into the hands of terrorists." In this case, is America protected? If the answer is no, what about other countries with less security measures and porous borders? Fallacy 3. "We have not come all this way, through tragedy, and trials, and war, only to falter and leave our work unfinished." The war on terror is an unfinished business. In fact, the battle has only begun. Commenting on this, the New York Times Magazine said that the war on terror "is the beginning of an epic battle." And to support this, La Repubblica newspaper said: "Today we get the feeling that we are living in the middle of a tornado, an unparalleled catastrophe." Those are not the right words to describe the end of a story. Fallacy 4. "And by our will and courage, this danger must be defeated." That is a very upbeat statement. On 24 July 2003, US Vice-President Dick Cheney also sounded oracular when he said: "One by one, in every corner of the world, we will hunt the terrorists down and destroy them." Al-Qaeda has now mutated into multifaceted anonymous groups. And this new phase is more dangerous than the former centralized visible organization. Take a warning: Do not go to some radical Muslim country to search for terrorists. Because that your prodigal son, or your estranged husband, or in fact, that distant relative of yours may be a terrorist. A roll call in the prison at Guantanamo Bay reveals that even some Americans and Britons—citizens of two nations in the forefront of the war on terror—have been "Talibanized." Besides, these groups are becoming more desperate. They have succeeded in their use of surface-to-air missiles (SAMS)—tumbling down military aircrafts at will in Iraq. And make no mistake about it: these cave dwellers may crack a dirty nuke somewhere someday, or unleash a deadly plague. In that case, how would the world respond? Detonate a nuclear bomb? So you can see that "we are perilously near a new international anarchy" according to the Washington Post. The war on terror, therefore, is not winnable. Fallacy 5. "And one of these essential tools is the Patriot Act, which allows Federal law enforcement to better share information, to track terrorists, to disrupt their cells, and to seize their assets." Terrorism can not be wiped out by legislation. After all, these are man-made laws and man himself is imperfect. There must be loopholes, and the terrorists exploit the weakness of the system. Now, what if they stop living in cells? Or what if they stop keeping their money in banks? Then they would be as elusive as the shadows. Fallacy 6. "We are tracking al-Qaida around the world and nearly two-thirds of their known leaders have now been captured or killed. Thousands of very skilled and determined military personnel are on the manhunt, going after the remaining killers who hide in cities and caves—and, # one by one, we will bring the terrorists to justice." It is true that most of the key terrorist suspects—including Saddam Hussein—have either been arrested or eliminated. But according to Time Magazine, "Lopping off the beast's head may not kill the body." If Saddam or Osama bin laden are hanged today, more Saddams and Osamas will rise tomorrow. Terrorists want attention. And that is why various groups are eager to claim credit for any attack—even though they are not responsible. In like manner there may be a lord of the flies waiting for Saddam and Osama to pass on before taking center stage and bringing his pursuers to ‘justice.' Fallacy 7. "The United States and our allies are determined. We refuse to live in the shadows of this ultimate danger." Right? Wrong! We must continue to live in the shadows of the terrorists. This is because terrorism is as old as the history of man on this planet—6,000 years. We have never left its shadows. Rather, terrorism continues to increase with the passing of the day. It is no wonder that Time Magazine remarks: "Determining whether the West is gaining in the fight against terrorism requires interpreting shadowy, shapeless data. Yet this much can be safely said: international terrorism existed long before 9/11 and will continue long after that." This is the message of my published book, CHASING SHADOWS!: A Dream. (A book that reveals the terrorists' master plan to finally set the world on fire! ) Terrorism starts from the heart and mind, and this is fueled by the hypocrisy and double standard in this world—two things that are not in a hurry to go away. In this regard, killings and destruction will exacerbate, rather than stop terrorism. When will the world address the issues that cause this evil, instead of chasing shadows? Fallacy 8. "The first to see our determination were the Taliban, who made Afganistan the primary training base of al-Qaida killers. As of this month, that free country has a new constitution, guaranteeing free election and full participation by women." Afganistan is not a free nation. Terrorist attacks and bombings are the order of the day—signifying that the Taliban and al-Qaeda are back. Warlords are also doing their thing. The only ‘free' place in Afganistan is the capital Kabul. Some Afgans even long for the return of the Taliban because of security concerns. Democracy itself is not an insurance against terrorism—some ‘democrats' are known to terrorize their subjects. Ask Zimbabweans. Fallacy 9. "Since we last met in this chamber, combat forces of the United States, Great Britain, Austrialia, Poland and other countries enforced the demands of the United Nations, ended the rule of Saddam Hussein—and the people of Iraq are free." The U.N. did not send any country to invade Iraq and change its regime. It was a unilateral action, a pre-emptive war, which itself is a weapon of mass destruction. Says Nancy Pelosi: "But even the most powerful nation in history must bring other nations to our side to meet common dangers. The President's policies do not reflect that. He has pursued a go-it-alone foreign policy that leaves us isolated abroad and that steals the resources we need for education and health care here at home." The Iraqi government was toppled on the excuse that it possessed dangerous weapons that could sink the world in 45 minutes. (Sorry, Lord Hutton has cleared British Prime Minister Tony Blair, for sexing up the report on Iraq. Let's blame the BBC.) But about a year after the invasion and the collateral damage of Iraq—and after a thorough search of the deserts and tunnels in that country, no such weapons have been found! Again in the words of Nancy Pelosi: "The President led us into the Iraqi war on the basis of unproven assertions without evidence; he embraced a radical doctrine of pre-emptive war unprecedented in our history; and he failed to build a true international coalition." Fallacy 10. "These killers, joined by foreign terrorists, are a serious, continuing danger. Yet we are making progress against them." This was in reference to the American war in Iraq. The President did not mention the over 500 American troops that have been killed and the thousands that are wounded. Nor did he mention the scores of daily attacks against American soldiers, or the crashing planes. Is it progress when servicemen and women are killed or maimed? This reminds me of the saying: winning the war is not winning the peace.

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bluespruce25 · 3 years

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A Life for a Life to Balance the Scales

CW: Suicide/Self-sacrifice

Follow #L4LBS for updates | Up on AO3 | Previous Chapter

Chapter 2 of 5: We Go Together

Lena was working alone in her lab to destroy the last vestiges of Non Nocere and considering where to next apply her mind and energy. She needed a new project but had lost faith in her own ability to create and innovate for good. She stood in front of her lab table, tablet in hand, flicking through files and noting ideas. It was taking longer than anticipated because, despite her best efforts, she found her thoughts frequently turning to Kara, to Supergirl, to Kara Zor-El; to that infuriating blonde who almost ruined her life. The time for berating herself for not seeing it sooner had passed. Now, she was working to reconcile the three of them in her mind, hoping to find an answer there that would provide clarity and direction on how to proceed. She wasn’t sure if she had forgiven Kara, but she was finally ready to admit that she still loved her; admit to herself that is; this was not something she would ever admit to Kara. If the revelation of Kara’s secret had proven anything, it was that Kara could not possibly return her feelings. Kara could not be in love with her and yet lie to her every moment they spent together. The way Kara treated her, that was not love. Then again, Lena asked herself with a sigh, “What do I know of love?”

Lost in her daydreams, Lena almost missed the notifications that popped up on the screen of her monitor, then on her tablet, as they filled her displays with increasing urgency. Startled out of her reverie by a particularly aggressive alert in bold red text, Lena swiveled to her computer and started frantically typing.

“No. No no no no no, this can’t be right. This doesn’t make any sense.”

“Unless.”

“Oh god, Kara !”

Lena grabbed her tablet and her bag and ran out the door of the lab.

---

Alex was standing at the war table in the middle of the control room looking wistfully at the second floor balcony. She could just make out the tops of heads where the Superfriends were gathered around Brainy when Lena Luthor came crashing into her line of vision.

Alex was momentarily stunned because there was no universe in which Lena Luther crashed into a room. As Lena flailed herself into a full stop in front of Alex, the agent managed to close her mouth and regain her composure, if just barely.

“It’s Kara, the Sun. Have you seen these readings?”

“Woah, woah there killer. Slow down.” Alex put her hands out as if to steady Lena.

“Alex! Have you seen these readings?!”

“Lena, what are you talking about?” Alex asked as Lena pulled her tablet out of her bag and thrust it in front of Alex’s face.

From what Alex could tell, LuthorCorp’s satellites in deep space had picked up on a massive solar flare. These readings showed one of the most prolific solar flares ever witnessed on Earth.

“Lena, I know. We all saw this two days ago. It’s been all over the news ever since. We are still seeing the geomagnetic storms today. Power has gone out all over the city and half of the country’s servers are down. So much for cloud computing.”

“Alex.”

Alex, looked up. She had never seen Lena Luthor look this disheveled, even with about a dozen assasination attempts in her frame of reference. Lena’s expression was almost wild. Her hair was somewhat disheveled and she was still breathing heavily from running into the room. The flush was resting high in her cheeks and her eyes were wide, frantic. Alex cocked her eyebrow and grasped Lena’s elbow, waiting for her to collect herself enough to elaborate.

“Look at the energy readings. Look at the radiation signature.” Lena was jabbing her finger into the tablet hard enough to make an audible noise.

Alex went pale and looked down at the tablet with new understanding. She felt as the blood drained out of her internal organs. She suddenly didn’t feel quite steady on her own two feet.

“Lena…” Alex said, though barely a whisper. “Lena, these indicators... I don’t know anything that would show up like this...not unless.”

Alex looked up at Lena expectantly, waiting for Lena to tell her that she’s wrong; waiting for the prodigal genius to explain the real reason why the solar flare is giving off readings that would only be possible if a Kryptonian had flung themselves bodily into the sun.

“Alex. Where’s Kara?” Alex opened her mouth, “I...she-,” but she couldn’t finish her answer. Lena repeated, “ Where. Is. Kara? ”

Alex continued to stare unseeing at a nondescript point in space somewhere in the vicinity of Lena’s face.

“ALEX, WHERE IS SHE?! ”

Lena was screaming at Alex and tears were raining down from her cheeks onto the cool polished marble of the DEO floor, but Alex couldn’t move. Alex couldn’t think or breathe or move.

---

Eventually, the sound of Lena crying out wordlessly in pain snapped the agent out of it. She turned on her heel and addressed Vasquez at the control panel.

“Pull up everything we have on the solar flare two days ago. I want radiation signatures, energy readings, thermal imaging, EVERYTHING WE HAVE. And I need it NOW.”

“Yes, ma’am. Right away, Director Danvers.”

Alex was lost in her own thoughts while her agents worked, this cannot be happening. She wouldn’t. She couldn’t do that to us. She doesn’t even have powers in space. It’s not even possible. How would she even get there?

Alex’s body went cold as realization washed over her. Reaching for her phone, she dialed Clark. She turned to face Lena, as she spoke into the phone, “Clark, it’s about Kara. No time to explain. I need you to go to the fortress. Now. As fast as you can. Call me when you get there.”

“Thank you, Clark.”

Lena was standing with her arms down, holding her bag with both hands in front of her. She had regained her composure and the mask Alex was so used to seeing had slipped back into place. The only hint of thoughts hiding behind it was the flash of panic in the way she moved her eyes; the set of her mouth, her lips pressed so thin they may as well be nonexistent, as if she could press her mouth closed hard enough to keep her pain contained inside.

She opened it carefully to ask, “Alex, when did you last see her?”

“She was here two days ago checking on Brainy. She said something about making Lex pay for his crimes and…” Alex reached out and grasped Lena’s left bicep. “Lena, I think she was saying goodbye.” Alex turned to face the empty foyer, the balcony Supergirl used as a personal entrance. “Oh my god. Kara, what have you done?”

“Alex... Director Danvers! ,” Lena grabbed Alex’s arm and shook her as Alex tried to bury her head in her hands, “What did she say about Lex? What was she going to do to him? Does she know where he is?”

“I don’t know. She didn’t say. She just said that he had to pay. That she had to do it for all of us. Lena, I’ve never seen her like that. I think...I think Kara was going to kill Lex.”

“Lex hasn’t been to LuthorCorp in two days. It came up at a board meeting this morning. I assumed that he was skipping town because Brainy had been found and Leviathan defeated.”

Lena turned to Alex again, interrupting her pacing, “Alex, what if she did it? What if Supergirl killed Lex Luthor?”

“Supergirl does not kill.”

“Then where is she?”

***

One thing no one counted on, certainly not Lex, was that Kara had spent a lot of time thinking while she was at the Vanishing Point with all the other Paragons. She still had all her powers, including her superhearing. There was no time at the Vanishing Point, no sun to rise or set, no rhythm to life but the rhythm they gave it. Their bodies were frozen in a moment outside of time and space. The only cycle was the unending dance of sleep and awareness. It had been her little secret that when she couldn’t rest, couldn’t turn off her mind, she would listen to the heartbeats of the other Paragons. Just like she did with Alex’s in Midvale and Lena’s in National City. It was the soundtrack to her misery, her anchor in the void. It was a coping mechanism; meditative almost. It wasn’t too long until she had memorized the heartbeats of every Paragon; including Lex Luthor.

You see, he might have known every power she possessed through his copious research on Kal El, but there’s one secret she’d never given away to anyone. One trick that only she knew, and for once, she could be one step ahead of him in his sick game of chess. She would only have one shot to play this card.

So there she was, hovering high over LuthorCorp, sending out her hearing all across the city, looking for the signature heartbeat she had decided to stop forever.

It took longer than she expected; hours in fact. She knew it would be difficult. Lex traveled in lead-lined and soundproofed cars, and lived and worked in lead-lined and soundproofed rooms. He had built his whole life around thwarting Kal El. But even Lex Luthor had to leave his bubble of safety occasionally.

As soon as he stepped out of the car, she heard it. On the corner of 8th and Main. Using her x-ray vision she narrowed in on a barber shop. Of course his vanity would be his downfall. The beginnings of a smile lifted the corner of her mouth, but it didn’t last long as she steeled herself for what came next.

Lex was lounging in his favorite barber’s chair at the very back of the shop, a warm towel over his face in preparation for his first close shave since Crisis, and boy was he looking forward to it. Lex was a regular at Al’s Corner Shop. He had been relieved to see it still standing in the same place after his return from saving the universe, it was the one thing he hadn’t considered in his adventure with the Book of Destiny, but he was glad that his rare oversight hadn’t cost him the best shave he’d ever found.

As he sat there with a smug grin plastered on his face under a hot towel, he heard the bells on the door jangle against each other when another customer came in. He lost track of the footsteps as he ruminated on the pros and cons of bribing Al to work for him exclusively in the comfort of his own home. His smile faltered as he realized that the footsteps accompanying the new customer were still moving closer, too close. They should have stopped and deposited the offending stranger in a chair further down the row, closer to the door. Instead, the footsteps came to a stop right behind him. He barely had time to rip the towel off his face. He started to stand, ready to unleash a torrent of vitriol on the person arrogant enough to interrupt his only time of relaxation, when he saw the blue and red of the suit standing over him.

He froze.

“Supergirl, ” he hissed. He sat back down hard into the chair. His mind immediately started spinning his go-to villain speech, as he straightened his shoulders and smoothed his features into calm neutrality. He decided to start with, “To what do I owe the pleasure?”

Before he finished the lilt on the end of the question, he was airborne. It seemed that Supergirl was no longer tolerant of the melodramatics of villains’ speeches and heroes’ pleas. He would have found this an amusing discovery, were it not that he was currently being flown across the city at mach speed; his body thrown helplessly over Supergirl’s shoulder like a sack of potatoes. He lost consciousness as they broke the sound barrier somewhere over Saskatchewan.

***

They were gathered around the war table. Alex was bent over a tablet studying the latest readings, Nia was standing behind Brainy who, against everyone’s advice, was out of bed and sitting in a wheelchair looking up at the control room screens trying to piece together any other possible explanation for what Lena had already deduced.

Kelly was pacing behind them, on the phone with James who was at his gate waiting to board the first flight back to National City.

Lena was standing off to the side, her bag still held in both hands in front of her. She looked like a statue, so still that no one had noticed her in almost an hour. Lena remembered a time when she had been at the center of this camaraderie, when her advice had been sought and she had been intimately involved in reviewing the data and making the plans. Now she was just a witness to other people’s pain. “I will not let them be a witness to mine,” she thought as she checked her dispassionate mask vigilantly. Her hands went to the watch stowed in her purse, to the button she had been pressing over, and over again for hours. She knew that if Kara were still on Earth, she would have found a way to be there by now.

---

Everything stopped as soon as Alex’s phone rang on the war table. They all rushed to the table. Even Lena was stirred from the shadows to move towards the lifeline on the other end of the call. Alex put it on speaker for the Superfriends to hear:

AD: “Clark...”

CK: “Alex, she’s not here. Hold on, is that the crest off her suit? It’s just sitting here, like it’s on display or something. What is going on?”

AD: “What do you mean the crest? Does it look intentional? Did she put it there?”

CK:“Alex, I don’t know. Kelex said that she was here two days ago with a man and then. Hold on.”

[In the background, they heard Clark ask Kelex, “What pod? Show me.”]

AD: “Clark, what’s going on? Was that Kelex? Does he know where she went?”

CK: “Alex. [Clark’s voice was muffled. They heard him sniffing through his nose.] Alex, she’s gone. She took my pod. Kelex said she programmed it to fly into the sun. He tried to stop her but she commanded him.”

AD: “The sun? Clark-”

CK: “Alex, that’s not all. Kelex said that she brought someone here with her. He showed me the surveillance. It was Lex. She brought Lex here and she injected him with something. Alex, I think Lex...is... is dead. She put him in the pod and she flew off into the sun with his body.”

CK: “...Alex? Alex, are you there? Alex ?!”

Alex couldn’t hear him anymore. Alex couldn’t hear anyone or anything. Alex couldn’t move or speak or think. She barely registered as the phone dropped out of her hand and smashed to pieces against the polished concrete of the DEO floor. She saw everyone’s eyes on her, watched as they moved toward her in slow motion. She saw their mouths move, their faces twist in shouts, but she heard nothing.

“ Kara-”

The tilting world blinked in front of her eyes once, twice, and then everything went black.

***

Lex came-to a while later in what could only be the fortress. “You know, Supergirl, this isn’t quite how I imagined my next visit to the Fortress of Solitude, but I have to thank you for helping me get here,” he said with narrowed eyes and a smug lopsided grin on his lips.

Kara wanted nothing more than to wipe the smirk off his face with a backhand to the mouth, but she kept her composure. His time to taunt was nearing its end, and he hadn’t yet come to realize it.

Bound to his chair with the crystalline ice of the Fortress, Lex surveyed his surroundings. He noticed that his transmat portal watch had been removed at some point and he looked up just as Supergirl seemed to finish x-raying his body for any other devices.

“What do you want?” Lex asked, uncharacteristically lacking in snark this time.

Supergirl said nothing as she fiddled with a syringe full of clear liquid.

His eyes grew three sizes as she walked over to where he was sitting.

Without fanfare, without speeches, or explanation, Supergirl inserted the syringe into his carotid artery and depressed the plunger fully; only then did she speak.

“Lex Luthor, you have murdered countless citizens of Earth. You have been sentenced to 31 consecutive lifetime sentences. You broke out of prison while serving that term and promptly murdered again. You were largely responsible for the mass extinction event known as Crisis and are, therefore, responsible for the deaths of untold trillions. For these crimes, and those you will inevitably commit in the future, I cannot allow you to live.”

Kara turned her back to Lex and sighed, “You should have stayed dead when Lena killed you the first time.”

Lex raged against his bonds, “What have you done to me?!”

He felt his limbs getting heavier. It was getting harder to keep his eyes open. Kara leveled her gaze at him, her eyes full of pity and sorrow.

“It was the most humane way. It will be over soon. You won’t feel it; I made sure of that. If you calmed down, it might even be peaceful.”

Lex broke out into a toothy smile. “You’ll never come back from this. Killing me will haunt you until the day you die. And as a Kryptonian, you’ll have eternity to agonize over this choice. It will eat you alive. You may kill me, but you will never survive it, Supergirl ,” he spit the last word back at her; his eyes barely open, his head starting to sag off his shoulders, his posture slipping.

Supergirl closed the gap between them, slowly, deliberately. She reached one hand gently under his chin and raised it so his eyes could meet her own.

“You’re right Lex. This time, we go together.”

His eyes showed just the barest flicker of confusion before he went slack. Supergirl dropped to one knee, hanging her head as she listened while his heartbeat slowed, and eventually came to a stop. She x-rayed his chest, just to be certain and found it still, eerily still.

---

The one thing Lex Luthor never counted on, could never understand, was that not only would Supergirl sacrifice her life to protect her friends, but after Crisis, she would sacrifice her soul. It just so happened that she was destined to sacrifice both to kill him.

Kara let out a shaky breath as she knelt next to Lex’s body. She didn’t know how to feel. She’d never once killed on purpose. It went against everything that she was; everything that she believed in. Kara knew that as Lex’s heart stopped beating, Supergirl ceased to exist.

Kara stood and, without using her powers, she peeled the crest of the great House of El off of her suit. She couldn’t bear to wear her house crest any longer. Where she was going, she had to go alone. El Mayyarah had gotten her far, but it couldn’t go with her to meet her end.

Kara cleansed Lex’s body in the Kryptonian way and gave him full funeral rights in the only manner she knew. She gently placed his body into the back of Kal-El’s repaired pod and climbed into the pilot’s seat.

It was a tight squeeze for both of them, the pod gave Kara flashbacks to her time in the Phantom Zone, triggering what would probably be her last claustrophobia-induced panic attack. The dead body of her arch nemesis laying just behind her didn’t bring her any added comfort.

Once she recovered, she took a deep breath and sealed the pod. She raised her hand to the pad in front of her and began to key in the coordinates for their destination. Halfway through, she had trouble making out the Kryptonian glyphs through her blurred vision. She reached a hand to her cheeks and noted with detachment that it came away covered in warm wetness. She raised her eyebrows but couldn't reach deep enough to be surprised.

She wiped her eyes and carried on entering the coordinates. Once she was done, she turned to Kelex standing outside the pod at the command module. “Kelex, initiate the launch sequence.”

“I feel it is my duty to warn you that the coordinates you have entered - “

Kara mustered the last piece of courage she possessed. She raised her chin and steeled her eyes, and in a decisive tone Kara declared, “I am Kara Zor-El, Last Daughter of Krypton, and I command you to initiate the launch sequence.”

Taken aback, but bowing to her authority, Kelex replied, “As you wish, Kara Zor-El. May your journey bring you peace”

With that, Kara felt the pod rumble as the engine kicked on for the first time in over thirty years.

With one last look at Kelex, she was flung out into the atmosphere on a parabolic trajectory into space.

***

Small sounds started to grate against her consciousness. She could hear incessant beeping and murmuring. As she opened her eyes, Alex’s field of vision was flooded with the harsh, white lighting of the med bay. After a few moments of blinking her eyes into focus, she could make out the medical equipment and the dark blobs around the edge of her vision solidified into her friends’ faces. Nia & Brainy, James & Kelly, even Clark was there standing vigil over her.

As she blinked again and looked up to the tall figure looming over her, she let out a sob, not expecting to see J’onn’s worried eyes looking back at her.

“J’onn...Kara…she-”

“I know, Alex. I know.” J’onn whispered in a soothing tone, trying to keep the tears from spilling over, “just get some rest for now. We will talk more when you’re ready.” He carefully brushed her hair off her forehead and leaned down to place a gentle kiss on the top of her head. With that, he moved towards the door.

“Alex?”

The agent turned back to look at him as he paused on his way out, an earnest look on his face.

“I love you; so very much.”

Alex just nodded, pressing her lips together to stop the sobs from escaping.

The rest of her friends followed shortly after, leaving with soft pats on her knees and feet, squeezes of her hand, mumbling words she just couldn’t care enough to try to decipher.

As they funneled out one by one, only Kelly remained. Even Brainy wheeled himself away from the bed next to hers to give them their privacy. The idea that he shouldn’t be out of bed lest he compromise his recovery briefly flitted across Alex’s mind as she pursed her lips, but it just wouldn’t stick. She couldn’t bring herself to care about anything, or anyone. She closed her eyes against the torrent of feelings and memories that threatened to overwhelm her.

“Hey,” Kelly started softly, “talk to me. What are you feeling?”

Alex just shook her head, eyes closed and mouth shut firmly against whatever she might have said.

“Okay. Okay, it’s okay. Can I just sit here with you? Hold your hand?” Kelly asked.

Alex dipped her head just enough to be taken as acquiescence. The agent would’ve given anything to go back to the void of unconsciousness. She ran her fingers through her short hair, remembering the days before the DEO where she drowned her own feelings of failure in the bottom of a bottle. Somehow she knew that Kelly wouldn’t let that kind of self-destructive behavior slide this time. Alex sighed and dropped her chin to her chest. She might as well start talking because Kelly was nothing if not patient. They both knew who would win the waiting game.

Alex’s voice cracked as she attempted to untangle her thoughts, “I have always, always, had faith that the universe would bring her back to me. Through everything, when her brain was altered on Red K, when Cadmus and Lillian kidnapped her and Mon-El, when Mon-El left and Kara...” Alex choked back a sob. Now that she’d started, she couldn’t stop, “...when Supergirl tried to destroy Kara Danvers. Every single time she set off into the multiverse with Barry. Even during Crisis. I always knew that she would come back to me; that she would find a way back. She’s the god damn Paragon of Hope for christ’s sake.” Alex threw her hands up and out towards the end of her bed in an exasperated half-shrug.

“This time is different, Kel. This feels... real.” Alex looked up into Kelly’s eyes, trying to convey wordlessly the feeling settling over her, the finality of it. “I don’t think she’s coming back from this one and I don’t -” Alex sobbed uncontrollably so that Kelly just barely made out her next words, “- I don’t know who I am without her.”

Kelly took the hand closest to her on the bed in both of hers. She thought of a million things to say, a million ways to reassure Alex that there was far more to her than her relationship to sister, that she was her own person before Kara came into her life and that she would be her own person now. She considered trying to reassure her that everything would be okay, but immediately the therapist in her shot that idea down, hard . This would never be okay, even if someday Alex would be. Kelly sighed softly and eventually settled on silence. She crawled into Alex’s bed and held the red headed woman until she drifted back to sleep, spent from the grief spilling out of her in endless tears.

As she slept, Alex muttered the same thing over and over, one name, Kara.

It was Kelly’s turn to cry, softly so as to avoid waking Alex. She let the tears flow freely and tried to keep her body from being wracked by the sobs threatening to crush her resolve. She reached out to gently cradle Alex’s cheek, pulling her even closer. “I’m so sorry, Alex. I’m so sorry.”

---

“Alex, it is time. Enough of this. You cannot stay in bed like this any longer. We need you, Alex. The rest of us still need you.” J’onn implored Alex, but there wasn’t even a flicker of recognition across her face. Alex wasn’t there. She was awake, but the lights were off and no one was home. “Alex, it’s been a week. You have to get up and you have to get out of bed.” Still nothing, Alex just stared straight ahead out of the glass panels of the wall in front of her. She hadn’t said anything since her brief discussion with Kelly. She wasn’t eating, and for the time being they had been giving her IV nutrition, but if she didn’t eat that day they were facing a feeding tube. J’onn said as much, but Zombie Alex gave no indication that she’d heard him.

J’onn sighed. Hands on his hips, he turned away from her to face out over the DEO. He watched as Eliza held Kelly outside Alex’s room. He shook his head, mind made up. He had planned to wait until she recovered, but there was no sense in that now. If he didn’t tell her now, then she may never recover, and then, what was the point. He walked over to sit on the edge of her bed and Alex’s eyes flickered to his for just a moment before darting away again.

“She left you a message, Alex.” J’onn said softly. “She recorded her goodbyes on Sunstone Crystals in the pod. She sent the pod to Earth, but the solar flare knocked it off course. It landed on Mars. That’s how I knew to come back. That’s why I’m here.”

This seemed to rouse something in her. Alex looked at J’onn, the emptiness in her eyes breaking his heart, but he couldn’t force himself to break contact.

“Alex, you have to listen to her. You have to give her the chance to say goodbye. You owe her that much.”

Alex’s eyes snapped back straight-ahead. She opened her mouth for the first time in almost a week, “I don’t owe her anything.”

J’onn sighed and patted her leg, getting up to leave. He paused and said, “When you’re ready; I’ll keep it safe for you.”

He hazarded one last look back at her before leaving, her cheeks were glossy with tears as she cried silently. Alone.

***

Kara had hours to kill until they reached their destination. She had to do something to drown out the voice in her head, the voice of the dead man on the floor behind her seat; to drown out her own doubts and regrets.

She decided to use those regrets as inspiration; to use her last few hours to continue her work as the Paragon of Hope, even if Supergirl was no more. Taking out a handful of Sunstone Crystals - small, pale, and long, about the size and shape of a tube of lipstick, albeit more angular - she set to work saying goodbye. She knew that her friends would never understand, but at least it could bring her some peace on her journey.

Alex.

Alex would never understand. Kara was so grateful that Alex had Kelly. She knew that Kelly would help her sister navigate her grief. The therapist in Kelly would never allow Alex to fall into the dark, but that didn’t mean that Kara can’t try to do her part to help give Alex some closure.

What do you say to everyone who has loved you, supported you, and guided you when it’s time to say goodbye?

---

Kara placed the last Sunstone Crystal in the console as her destination loomed before her. She wiped her eyes, closing them before the last tear could fall. She powered down the engines of the pod to give herself a moment more time, to decide how to do this. She programmed the pod to hover in place while she made her preparations. She pulled out a small metal box and placed it between the empty, broken stitches where the crest of the House of El used to sit. Slowly, the enhanced suit that Lena designed for her unfurled, covering her usual suit and then encapsulating her face in a helmet-like design. If she was going to have enough time to finish her plan, she had to have some protection from the raw violence of open space. Kara placed a hand over the crest she knew she no longer deserved to bear. She had forgotten that Lena’s suit would also bear the crest. Apparently, it was her fate to be unable to escape the shadow of her family; of her lost world and her responsibility to Earth.

Taking a shaky breath, Kara opened the pod hatch, exposing them to the full elements of the sun. Kara couldn’t fly in space, but with the pod hovering in place, she could maneuver around it, as long as she stayed tethered.

She got to work extricating Lex’s body from the pod. A process that was much more difficult than getting him in originally. It wasn’t helped by how intensely she felt her powers, the energy of the yellow sun coursing through her. “ At least I can’t hurt him, ” she thought sarcastically.

Finally, she got him out of the pod. Then she grabbed a Kryptonian shroud, her old cape, originally a piece of Kal El’s baby blanket. She wrapped it around his supine body and whispered a Kryptonian prayer as she secured it to the best of her ability.

She turned toward her target and closed her eyes for a moment, soaking in the rays of the sun. As she opened them again she gazed upon it. The source of her power, of her identity on earth, was now closer than any human could survive. She turned Lex so the head of his body was facing the sun and she gave him a gentle send off. She watched as his body drifted closer and closer to the surface of the sun, gaining speed as the gravity increased, until suddenly in a flash of light he was enveloped in the surge of a solar flare. Kara continued to hover next to the pod for a few minutes, allowing this new reality to sink in, a reality where Lex was dead; where Supergirl killed him; where she, Kara Zor-El, personally escorted him to the sun where he was engulfed in this bright, glowing source of energy and life. It was poetic, she thought, that his body should return to the very thing that gave her and her cousin their powers. That he should return to the very thing that made the people he hated most in the world.

Kara sighed. She couldn’t delay the inevitable any further. It was her turn to return to the sun, to the source of her power. It was her turn to be cleansed of her crimes, to be cleansed of murdering Lex.

“I do not kill.”

She said it to herself, but also to Rao. She had violated her most sacred moral oath and she must now pay the price. Her purpose was once to protect Kal El, but since landing on earth so many years after him, it had transformed into protecting the citizens of Earth. Now that she had murdered a human, she could no longer be a force for good.

Kara tugged once on the tether to bring her back to the pod. Without getting in, she reached her hand up to program the coordinates of Earth. She programmed the pod with a delay so that it could record her final moments. She rested her hand for a moment on the console, taking a deep breath as she drew from the calming force of her home planet’s presence in the pod. Opening her eyes, she detached the tether and placed it back on the seat. She hit the autopilot button and pushed off as the hatch slid itself closed. Turning her back to the pod, she pushed off of it with one arm to float gently towards the sun.

As the sun got closer and closer, Kara spread her arms wide, bending her left leg slightly at the knee, like she used to do so often when hovering on Earth just before she landed somewhere. She closed her eyes as she felt the gravity pull her in, accelerating her towards her end. At the last second, she lifted her chin and met the sun as an old friend. She felt no pain, as in a flash, she was welcomed home.

***

Next Chapter

#L4LBS #Content Warning: Suicide/Self-sacrifice #Supercorp #Grief and mourning #Stop making Supergirl sacrifice herself for no reason #Exploring the toll her sacrifice takes on loved ones #Written before S6 plot announced #Was already mad about it #Stayed mad about it

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linkspooky · 4 years

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The Characters of Nisioisin (2)

Trickster - Ii (Boku)

This is a post in an ongoing series about the common character archetpyes used by Nisioisin. If you want more information check out the previous post, here. Consider this a part two of that same post. Today we’ll be looking at the nonsense user, and deceiptful protagonist from the aptly titled series “Zaregoto” or in english “Nonsense”. More underneath the cut.

I established the four criteria we are going to be dividing this post into in the previous post, as well as introducing what the idea of the trickster archetype is. Using Kumagawa as the UR-example we’re going to compare Ii-chan with those same tropes.

Introduced as a Villain

Subverts Expectations

Lying, Liar who Lies

Inherent themes of Nihilism

1. Introduced as a Villain

So, next Iichan. He's a special case out of these three because he's actually the series protagonist. But he still kind of fits the criteria because in his series the basic premise of every book is that iichan goes somewhere and a murder happens and then he tries to solve the murder for like the whole book and he sort of kind of solves it and then Jun Aikawa whose much more of a "hero" character than him, the coolest, sickest, strongest detective ever shows up out of nowhere and lectures him.

The sort of conflict set up between Ii-chan and Aikawa as two detectives of the story reminds me of a quote by Maiji Otaro, author of Jorge Joestar (among other things).

“Two detectives, one true. If both are detectives, then both must arrive at the same truth. But does that happen in the novels of this world?” “Most novels with two detectives have one solve it and the other discover the real solution hidden behind it.”

“At that point, are they both still detectives?”

“Hmm.. they’re treated like detectives but certainly, within that novel, the latter is the real detective. But they might switch places in the next novel.”

(Jorge Joestar).

Ii-chan is never introduced as an antagonist from the start of the series he is and always is the narrator. However, he’s still introduced as something he is not. Kumagawa is introduced as a villain and goes on to become a deuteragonist. Iichan is a main character but he doesn’t affect the story like a main character ought to, nor does the story really revolve around him.

So there’s still an inherent lie to his introduction. He is introduced as the center of the story but he is not the story’s real center. However, there’s another subversion implicit in Iichan’s character from the first novel to the second novel.

The first novel is the one where Iichan plays the role of the detective the most straightforwardly. He figures out the trick, solves the case, corners the murderer, but doesn’t solve it all the way and gets lecture by Aikawa at the end. However, there’s a strange way that all the characters react to Iichan despite the fact that he constantly makes himself out to be just a completely harmless, and incapable normal guy.

“Ther’s no meaning. Just like there’s no meaning in your actions. You know, you’re, wow, so you’re the kind of guy who’ll get angry for the sake of a complete stranger. That’s not a very good thing. It’s not bad per se, but it’s not good. [...] That’s because people who can expose their emotions for the sake of someone else are the same people who blame things on others when something goes wrong. I despise people like you.

It had to be the first time in quite a while that someone had spoken that harshly right to my face. Slowly, she brought her glaring gaze to meet my eyes.

“You just let yourself get carried along by other people. You’re the type wo ignores traffic lights just because everyone else is doing it. You’re an abomidable excuse for a human being. They often say ‘Harmonize without agreeing’ but in your case, young man, it’s like you’re agreeing without harmonizing. I won’t say that’s bad. I won’t say anything as to that. One’s identity and worth are not always connnected. A train that runs along a track is better than a train that doesn’t. So I won’t say anything as to that. But I hate people like you. I despise them. People like you always blame things on others, never acknowledging their own responsibility.”

Ii-chan as a character who is introduced as harmless, and passive, never making any choices until we are shown explicitly in the second book that he is not. It’s with his choices in the second book that his true character is revealed.

2. Subverts Expectations

Though for Ii-chan it should really be “avoids any and all expectations.” The Zaregoto is a series that continually asks if the actions of its protagonist are meaningless or not. If any action that Iichan takes effects the outcome of the story in any way.

In Strangulation Romanticist, Ii-chan gets involved with a group of friends who all end up dead or in prison by the end of the story. The central question is what role did Iichan play. Here are some things Ii-chan does in the book, meet with a serial killer and then lie to cover up a police investigation and a private investigator tracking him down giving him time to kill more people, destroys police evidence of another investigation, taunts one girl who murdered another girl into killing herself to atone, knew another murder that was going to take place and did nothing, and then taunts a second girl who wanted to kill herself into killing herself who only survived because the police talked her off a ledge.

“Charges? What charges?” “Falsifying information in regards to the Emoto case, encouraging Aoii’s suicide, not to mention concealment of evidence, plus withholding information and having that little rendezvous with Atemiya. Normally they’d have your ass for that, which I’m sure you’re well aware of, but I’ll take care of it for you. Althought, I suppose even if I didn’t Kunagisa probably would...” (Zaregoto Volume 2)

Therefore, Iichan is someone who acts but doesn’t really face any real consequences for his actions, and that’s because he’s a master of avoidance.

In psychology, avoidance/avoidant coping or escape coping is a maladaptive coping mechanism characterized by the effort to avoid dealing with a stressor. Coping refers to behaviors that attempt to protect oneself from psychological damage.

Iichan is subverting a lot of expectations. He is the protagonist, but the story is not about him. He goes through all of these stories, but he doesn’t ever seem to grow or change from them. He’s a detective, but he never really solves the case or even cares that much about reaching the real truth. He’s written to be a subversion of everything the main character of a detective novel should be.

However, Iichan is also very aware of how a detective should act and deliberately playing with and subverting those tropes. Not only does he subvert the expectations of the reader, but also of the characters around him. He is avoidant, in that way it means he avoids any kind of contfrontation.

I didn’t hate losing. I hated compettition. I was thoroughly put off by the idea of vying for others over something. I hated fighting as well and thus never made friends.

This is a line that gets reused for Kumagawa as well.

Which helps to illustrate the difference between them. Let’s say there is a problem, Kumagawa will charge head first at the problem and it will explode in his face, and Iichan will do everything in his capacity to never confront the problem or deal with it in any way possible.

Iichan is deliberately aware and sensitive to the expectations of the other people around him, and he feels like he will always be too inferior to fulfill them so he doesn’t even bother to try.

“I have been doing so.” I said. “But you know I have limits, too. It seems like everyone and anyone harbors some sort of expectations from me, and of course I would love to meet their expectations, too, but I cannot meet the expectations if I lack the capability. So to have someone say you failed my expectations is nothing but bothersome.”

Zaregoto Volume 4.

The way he avoids the expectations of others is rendering himself as ambiguous as possible, which is where we get to the next part.

3. Lying, Liar who Lies

Iichan is an unreliable narrator who never tells the truth in a straightforward manner, and even lies for half of the second volume. However, there’s more than that, there’s a deliberate trick to the lies he tells.

Iichan is someone who defines himself as ambiguously as possible. He acts like someone who others cannot possibly understand. Despite narrating from the first person, Iichan is only comfortable when he is not known by anyone. Iichan acts like someone who is barely present in his own story.

Answers have no real point. They’re vague and ambiguos and unsound, and things that are fine that way. In fact, they’re better. Causing real change is a role that should be left up to the true “chosen ones” outstanding individuals like that scarlet Mankind’s Greatest, and the Blue Savant, it was never my responsibility. It was no job for a common loser. For the comic sidekick.

Zaregoto volume 2.

Once again we see the contrast between Kumagawa and Iichan, if Kumagawa is a character who shows how strong and capable one loser can be, then Iichan often waxes poetically in his narrative about how weak and incapable he is. If Kumagawa is a good loser, than Iichan is a sore one.

Iichan defines himself as ambiguous on purpose to avoid responsibility for his actions. In less fancy words, if nobody can understand Iichan than nobody can call him on his shit. That’s his goal, essentially. He doesn’t want to work hard to change, or be confronted about any of his actions, because for him merely the act of living takes all of his effort to tread water without making any progress.

Avoidance is a trauma response, Iichan spends all of his time distancing himself from his own actions rather than confronting any of it. However, Iichan is more complicated than that because Iichan’s ambiguity has another side effect making him out to be something that he is not.

“Just by being there, you startle others, just by being there, you make people lose their grip on themselves.. ther’re a bunch of people like that. You can’t relax when you’re with them, it annoys you, things don’t go as planned, people like that, you know, they’re even scientifically explainable. In other words the missing part. Because the missing part for the observer ends up looking the same, it feels like the person is having their ineptitude pointed out at them, and it startles them [...] You’re just like everyone, and that picks at people’s subonscious, that’s why you’re aimless. And yet you still manage to come out on top. [...]”

Zaregoto Volume 3

All of these things Jun points out in this scene are Jungian ideas of the trickster. Iichan is an inferior person who seems to exist to point out the inferiorities in other people, and use it to play tricks on them. While viewing him as this role of the trickster, Aikawa is not really treating him like a person. (Aikawa’s very dramatic).

Which is where Iichan finally gets his trick. It’s a trick in two parts. He constantly underplays his own agency, while at the same time overplaying his suffering.

In other words, while insisting that he is the least improtant person on earth, Iichan at the same time hems and haws like the main character of a tragedy. IIichan wants people to empathize with his suffering, and he wants to be important, but he doesn’t want any of the responsibility of being important. He doesn’t want to take any degree of control of himself or others, so he tries to balance himself between these two conflicting ideas.

1) He is not a protagonist, and therefore the events in the story have nothing to do with him. 2) He is the main character of a tragedy. The world is centered around him, he is someone special and important, and that makes him suffer, but he takes no agency in the role.

Doing this he gets the best of both worlds. He gets to always be involved and important to others, while at the same time uninvolved and is never held accountable for his actions. He’s never challenged or forced to grow or change in any way.

These are the two lies that Iichan tells, and those lies form a narrative. Iichan is lying to give a narrative to his own trauma, and therefore try to extract some kind of meaning from it.

4. Inherent Themes of Nihilism

We once again return to the sacred image.

Iichan is a moral nihilist. He’s on the elft side of that image.

Moral nihilism (also known as ethical nihilism) is the meta-ethical view that nothing is morally right or wrong. It is built on three principles.

1. There are no moral features in this world; nothing is right or wrong. 2. Therefore, no moral judgments are true; however, 3. Our sincere moral judgments try, but always fail, to describe the moral features of things.

Iichan’s view is basically that of, if there is no meaning to this world then any attempt to define meaning is pointless. He (let’s say it again class) usually uses this as an attempt to evade any and all responsibility for his actions.

Iichan doesn't want other people to look at him, he doesn't want to be at fault when things go wrong, but he also wants to be important. So he's continually on a tight rope walk with those two very conflicting desires.

So basically Iichan sees no value in his own actions. He sees no value in the world. He doesn't really have any set of morals, except that he thinks murder is bad. Except sometimes he doesn't really care if certain people are murderers. Zerozaki is a murderer and Iichan hates him but doesn’t actually make any sincere attempts to stop him. Kunagisa commits murder in volume 4/5 and Iichan goes out of his way to cover it up. He apparently doesn’t consider goading a girl into suicide to be a form of murder. But at the same time he's so desperately searching for meaning, because he wants to feel fulfilled.

Iichan thinks that talent and genius are perhaps one thing that could give the world meaning. His best friend is a super genius, and he kind of clings to her and is jealous of her because she's someone special. See he thinks there are people whose lives have meaning despite being a pretty blanket nihilist, but because he's not talented he's not one of those people. Talent is something that could possibly give life meaning but being outside of the talented people it makes no difference to him he can only gaze at it from afar

Iichan is someone who is constantly downplaying his own meaning, while at the same time trying to find some meaning vicariously through others, like Aikawa and Kunagisa who he considers to be the real heroes of the world. Despite Iichan insisting there’s no meaning, he also has an attraction to narrative view of the world. Which is something that you know... has meaning, because stories are written with intent and purpose by an author.

In the sixth volume there’s a concept called “The Story” which one character belives that everything is pre-destined, like it’s all some pre-written story. Therefore while you can make small changes in your own actions it never effects the big picture in any way.

This is once again a very convenient idea for Iichan, who avoids responsibility to believe in. He’s very attracted by this idea because it takes control out of his hands and means his own actions aren’t really his fault.

To be honest, this must be one of the most boring conversations to be listening in on. It had gone so far into the conceptual, that even for myself, participating in the conversation, the words of the man with the fox mask seemed as hazy and illusory as a dream. You could say I do not understand what he is saying. However, then why. Then why does what this person says strike so deep? Why does it resonate? [...] Then, no. I do not want any part of such importance. I do not want anything to do with the core of the story.

Here we go with Iichan’s double negative, he denies having any role or agency in the story and yet at the same time believes that such a thing as the story exists because it means to some extent his actions are out of his control because he can’t accept that they are.

Is Iichan’s role in the story ultimately meaningless? No. There are always clear and distinct consequences for his actions. In the same volume (6 - cannibal magical) where the concept of the story are first introduced that everything is predetermined and you can’t change the big picture, the events of the story disprove that assertion.

Iichan is given like, a million warnings not to go to a lab. Aikawa tells him not to go to a lab because she has a bad feeling about it. The literal assassin sent to that lab talks to Iichan and says “Yeah, I was sent here to kill people.” Another person who was in the same situation just walks away from the problem. Iichan sees the assassin going out to kill people in the middle of the night and just chooses to... go to sleep.

Then he wakes up to everyone dead in the morning. The point being Iichan had a million chances to avoid this situation, takes absolutely none of them, and then acts like this was a completely unavoidable fate. He hems and haws about having no choices, but he’s clearly given choices, he just doesn’t take them, or makes exclusively bad ones.

Iichan wants to avoid consequences by not choosing, however the choice to not choose is still a choice in itself. Everything is a choice. Even avoidance is a choice. Which is why Iichan’s actions do actually have meaning, just not in the way he wants them to. He’s not a special person, and he’s not anyone extraordinary, but he is someone who has to face the consequences of his actions no matter how many narrative tricks he pulls to avoid them.

The actual trick of Iichan’s story is that he really is the protagonist, he just doesn’t want to be.

#zaregoto #zaregoto meta #nisio meta #nisioisin #iichan #boku (ii)

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alectology-archive · 4 years

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SJ/M’s plagiarism from fiction/media

I’m hoping to make a comprehensive list of all the sources SJ/M has outright ripped off from in the past. Feel free to comment down below or send an ask if you can think of anything.

SJ/M has very clearly ripped off of GRRM and JRR Tolkien’s works. Same goes for a lot of Anne Bishop’s works, too, and a lot of her favourite authors - so if anyone’s read books SJ/M has stated that she likes please let me know.

Note that this post will keep getting updated as I discover more evidences of plagiarism. Also note that there is every possibility that some resemblances are purely accidental and/or unintentional. So take it with a grain of salt.

(?) indicates a questionable addition to the post.

T/HRONE OF GLASS

- “The Queen Who Was Promised” comes from GRRM’s “The Prince who was Promised” prophecy in ASOIAF, who also goes by Azor Ahai, who wields Lightbringer, and is also known as the Son of Fire.

- “Aelin” is probably derived from “Aelin-uial” in the Silmarillion by JRR Tolkien. Additionally, it may have been derived from Aerin Dragon-Killer/Aerin Firehair from Robin McKinley's The Hero and the Crown, as SJ/M stated it was one of her favourite novels.

- “Fireheart” is the name of Corlath’s horse in The Blue Sword by Robin McKinley, an author SJ/M admires.

- Empire of Storms, 2016, contains the infamous line ‘velvet-wrapped steel.’ And… so does Fifty Shades of Grey, in 2011: ‘Steel encased in velvet.’

- “Valg” comes from Terry Brooke’s The Sword of Shannara, another author SJ/M admires.

- “Hope. You cannot steal it, and you cannot break it." is awfully similar to the line from The Princess Bride about love "you cannot track that, not with a thousand bloodhounds, and you cannot break it, not with a thousand swords". SJ/M has said that she loved the movie.

- The infamous “You could rattle the stars” is a ripoff of Treasure Planet’s “You’re gonna rattle the stars.”

- “To Whatever End” comes from The Two Towers where King Theoden says it just before the battle of Helm’s deep begins.

- “You bow to no one” is said by Aragorn at the end of the Return of the King after his coronation.

- Orynth has white walls and is surrounded by snow capped peaks. It has large white walls and bears an unusually striking resemblance to Minas Tirith in The Lord of the Rings.

- Aelin’s journey mirrors that of Aragorn. The lost heir to a powerful throne, spends years in the wilderness denying their claim, joins forces with the elf/faes to reclaim it and has an immortal elf/fae as consort.

- Nehemia names Aelin ‘Elentiya’, saying, “I give you this name to use with honour, to use when other names grow too heavy. I name you Elentiya, ‘Spirit That Could Not Be Broken’.” It sounds similar in tone and cadence to the way Galadriel describes the light of Earendil to Frodo. The name Elentiya even sounds Elvish, and sits discordant with the other naming conventions in Eyllwe.

- Manon gathers the witches to go to war by starting a series of beacons, lit all across Erilea, from snow-capped mountains to the woodlands - directly from the Return of the King when Pippin helps Gondor call for aid.

- The wall defences of Orynth are completely sound, except there’s one more way in, through a grate in the water canal - another striking resemblance to a place in Lord of the Rings known as Helm’s Deep. There is even a scene where someone asks if there’s a secret passage the women and children can escape through.

- In EoS and ToD, Chaol is referred to as “Hand of the King”. In GoT the “Hand of the King” is a title given to the King’s advisor.

- The speech that Haldir gave when he arrived in Helm’s Deep, uniting the elven and human forces, is paraphrased at least three times in this book. Most notably when Manon brings the Crochan witches to fight alongside the humans. She actually says “Long ago, Crochans and humans fought side by side…”

- Kingsflame blossoms bloom only when a kingdom is at peace and the rightful monarch is on the throne. Also a very similar plot point to the White Tree of Gondor in The Lord of the Rings.

- The dam breaking in Anielle and flooding is based on the Isengard dam breaking in The Two Towers.

- Chaol crosses the Narrow Sea to get to the southern continent. In GoT the Narrow Sea is the body of water between Westeros and Essos.

- The “Wyrdkeys” are the Silmarils. There are 3 Wyrdkeys and 3 Silmarils. They’re ancient and powerful stones forged by a being of great power (Feanor, who made the Silmarils, was the most powerful elf of all time). Everyone is fighting over them. And just like one Wyrdkey eventually ends up in the Terrasen Amulet, one of the Silmarils ends up in a necklace called the Nauglamir. They’re also all destroyed/lost at the end.

- Kingdom of Ash, page 543: “It was not arrows alone that had been fired, and now peppered the snow.But heads. Human heads, many still in their helmets.” In Return of the King, the orcs catapult severed heads (still in their helmets) over the walls of Minas Tirith.

- “What say you, Queen of Witches?”…….“I shall answer Terrasen’s call.” is a blatant rip-off of the scene where Aragorn approaches Theoden after the beacons are lit in the Return of the King.

- Rowan is referred to as, “My friend through many dangers.” which is exactly what Gandalf says about Shadowfax, his horse, in Lord of the Rings.

- The Land before Time, 1988: ‘Some things you see with your eyes. Other things you see with your heart.’

Crown of Midnight, SJM, 2011: ‘Some things you hear with your eyes. Other things you hear with your heart.’

- ‘Spirit that could not be broken’ is seen in Spirit: Stallion of the Cimarron (2002) and Throne of Glass (2011).

- It’s possible that SJ/M may have plagiarised Maria V Snyder’s Poison Study(?) (published 2005). Both books begin with the heroine being released from prison and being offered the choice to be freed by working for the very rulers who’d imprisoned them. Also, Valek - Yelena’s love interest - is the greatest and most feared assassin in the country and also acts as a mentor to Yelena much like Rowan does in Heir of Fire. However, I think this is a questionable addition despite similarities because SJ/M began writing Queen of Glass in 2003 and all the aforementioned aspects that are similar were already present in the version she published online.

- S/JM has saved a pin of Connor Kenway from the Assassin's Creed series (AC3) as Rowan and Lorcan on Pinterest. Towards the end of the series they started using hatchets as weapons, which is Connor's choice of weapon, outside of swords, and is used heavily in art which features him. Aelin's assassin suit from the earlier books also had a blade built into it, which was very similar to the hidden blade the assassins in Assassin's Creed use.

Further reading: Why not everyone liked Connor’s characteristic traits being ripped off: https://dragonidk.tumblr.com/post/614614548495859712/i-went-through-sjms-tog-pinterest-board-the-other

Further reading: An article comparing EoS’s ending to Harry Potter and the Deathly Hallows: https://thebookfinch.wordpress.com/2016/09/08/review-empire-of-storms-by-sarah-j-maas-in-which-we-discuss-plagiarism/

A/COTAR

- “Prythian”, the A/COTAR world, is taken directly from Anne Bishop’s Daughter of the Blood.

- The Archeron sisters could be based off the painting “The Acheson Sisters” by John Singer Sargent which features three women.

- The Illyrians could have been based off of the Eyriens from Anne’s Bishop’s Black Jewels series. Both are warrior races with bat wings that use a war blade to fight with. They also both completely refuse their women any right to fight and consider losing their wings to be the absolute worst thing that could happen to them.

- Feyre tells Tamlin, “The sun was shining when I left you.” which is basically Paris saying, “The sun was shining when your wife left you.” in the movie Troy (2004)

- Rhys proclaims, “Light can be found even in the darkest of hells,” Which is really close to Dumbledore saying (in Harry Potter and the Prisoner of Azkaban), “Happiness can be found, even in the darkest of times, if one only remembers to turn on the light.”

- Daenerys: “We’re going to leave the world better than we found it.”

ACOWAR: “Leave this world… a better place than how you found it.”

- “Pity those who don’t feel anything at all.” is a variation of “Pity the living and above all, those who live without love,” said by Dumbledore in the Deathly Hallows.

- A Dance of Dragons, George R.R. Martin, 2011: ‘He is fire made flesh, she thought, and so am I.’

ACOMAF, 2016: ‘Fire - he reminded her of fire made flesh.’

- SJ/M may have also plagiarised The Chronicles of Prydain for ACOTAR wherein Prythian is altered to Prydain and The Cauldron is derived from The Black Cauldron. This may be especially true considering the fact that SJ/M has expressed her love for the books and stated it on Twitter. She also went on to mention that she got the name for Prythian from those books. Similarities to the cauldron can also be seen in the fact that SJ/M’s Cauldron can transform humans into fae while Alexander's Black Cauldron is able to resurrect the dead.

!!!! Further Reading: Noticeable similarities between ACOTAR and The Chronicles of Prydain series: https://en.wikipedia.org/wiki/The_Chronicles_of_Prydain

- Possible plagiarism(?) of Titanic: Rose is Feyre, Cal is Tamlin, Jack is Rhys. The story is similar - the girl is involved with a guy who seems nice enough, but turns out to be abusive etc. There are similar incidents of the table being chucked across the room/and the study being destroyed. Then you also have the girl being told the other guy isn't nice and she should stay away from him, but then it ends up being the other way round. The guy bosses her about, making her decisions for her and ends up dying for her later on.

- Rhapsody by Laura Thalassa and A/COTAR have awfully similar tropes. Both involve faeries, in both the main female lead leaves her barbaric boyfriend to go with the dark, elegant Fae boyfriend who came to collect a debt.

Further reading: A conversation in comparing The Vampire Diaries(?) to ACOTAR: https://crescentcitysux.tumblr.com/post/618622356795064320/iolanthepeverells-pokeyfaes

Further reading: Similarities between Shatter Me and the ACOTAR trilogy: https://discountalien-pancake.tumblr.com/post/174823303683/dont-take-this-as-an-attack-im-just

C/RESCENT CITY

- Similarities between the plot of Darkfever by Karen Marie Morning (an author S/JM likes) and Crescent City’s plot: https://polysorscha.tumblr.com/post/183661492639/funny-thing-i-came-across-the-crescent-city

- The Princes of Hel might be from the Seven Princes of Hell demonology (some ancient writings trying to classify demons in christianity). [MINOR INFRACTION]

Sources:

- @sjm-exposed

- @soartfullydone

- @falstaffing for “My friend through many dangers.”

- https://readatmidnight.com/2018/10/27/book-rant-kingdom-of-ash/

- strangestoryteller.com

- https://camryndaytona.com/2019/08/sarah-j-maas-and-jrr-tolkien

- @rougeam for “fire made flesh”

- @sylphene for Aerin firehair

- @sylphene and @paperbacktrash for The Chronicles of Prydain.

- An anon for the Laura Thalassa comparison

- @hireath24 for the Crown of Midnight quote and “spirit that could not be broken.”

- @pokeyfaes and @iolanthepeverells for The Vampire Diaries comparison

- A reddit thread for the Titanic comparison

- An anon for the Eyrians

- An anon and @dragonidk for the Assassin’s Creed addition

- @longsightmyth for Fireheart

#anti sjm #anti tog #anti acotar #anti ccity

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itsclydebitches · 4 years

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RWBY Recaps: “Gravity”

Good lord, folks. Buckle your seat-belts because we’ve got a lot to get through this episode. I think this is my longest recap to date, so settle in.

Episode Eleven’s “Gravity” starts out simple enough, focusing on the two fights we’d set up during “Out in the Open.” First up, Ironwood vs. Watts. Overall this fight does a really excellent job of showcasing their different fighting styles. Right from the start Watts is pointing his gun forward to take a clear shot at Ironwood, whereas Ironwood points his backwards to use as a surge of momentum.

He’s going to do this frequently throughout the battle, constantly using his gun to maneuver in the air, slow falls, regain his balance, and change directions, a much more complicated series of choices than the one-off shots we see Ruby use with her sniper rifle. This is partly because Ironwood seems to have a much larger supply of bullets---some sort of energy/dust ammo---than Watts does. His steampunk-esque gun holds only nineteen bullets, requiring him to keep track throughout the fight. Which is always a fun trope but sorry, Watts, you can’t compare to the king.

Thus, with limited weaponry available to him, Watts is forced to get creative with the arena itself. We see him manipulating gravity, shooting up columns of water and fire, and making use of his own pathways between platforms, all in an effort to throw Ironwood off and catch up unawares. However, Ironwood is, frankly, the much better fighter. He was right last week to assume he could handle Watts even though he sent three off to tackle Tyrian. He’s able to recover much more quickly and learns from any mistakes, as evidenced by his ability to hit Watts dead on while in the air the second time he takes out the gravity. When they come together in hand-to-hand Ironwood easily dominates, no doubt thanks not just to his military training and huntsmen lifestyle, but also in large part to his prosthetics which I would assume grant him more speed and power. Throughout the course of the fight we see Watts consistently take more damage to his aura and he’s unable to sense when Ironwood is sneaking up on him. After that little maneuver, Watts (presumably) grows reckless and lets off his last three or four shots in a random barrage. All of them miss.

This emphasis on emotion continues when they land back onto the main stage with Watts shouting, “You never appreciated my genius, James! You just stood atop it and called yourself a giant.” Oh, did Ironwood actually do something horrendous in the past? Is there something juicy that would explain---though not excuse---Watts’ turn towards villainy? Nah. He quickly follows that up with, “You chose that fat imbecile over me!” referring to Pietro. So... nice one, Watts. Crazy arrogance, willful ignorance of Pietro’s own, clear genius (anyone who can create Penny is no slouch), as well as a bit of fat-shamming on top of it all. No sympathy from me.

This moment emphasizes how unhinged Watts is becoming though as the fight turns against him. Even when he manages to setup a head shot Ironwood reveals, “You’re smart, but you’re not the only one who can count,” referencing that Watt’s emotions got the better of him, leading to him wasting his last bullet before it could be of real use.

...except not. I’ve got to admit, I was very pleased when all of this---or at least this particular moment---was merely a plan to get Ironwood to let his guard down. Watts is way too smart a character to be done in by the “You got too emotional and that made you sloppy” trope. So kudos there (even if it remains to be seen whether that Pietro comment was really his motivation, or just another part of the plan). Instead, he uses Ironwood’s confidence in his victory to trap him with the rings that control the arena, essentially pinning Ironwood’s non-prosthetic arm through the energy shields he’s been using. We can immediately see that the parts that have touched Ironwood already have horribly burned the skin.

And that ends up being Watt’s downfall. Not stupidity on his own part, but his lack of understanding of Ironwood himself. He assumes that this truly is a trap for him, rather than another sacrifice. After all, what fool would ruin their one remaining arm to stop him? Watts himself wouldn’t. Don’t pull, he cautions Ironwood, not “unless you’re hoping to add more metal to that body of yours.” Watts goes so far as to turn his back on Ironwood who then makes the sacrifice we all knew he would. One burned, useless arm later and he’s free.

I would like everyone to keep this moment in mind. Namely the utter devastation of it. I’d go so far as to say it’s as bad at Yang losing her arm in Volume 3. Despite seeing it bandaged later, Watts at least thinks it will be a complete loss if Ironwood sacrifices it. He’ll need to “add more metal,” AKA replace his arm, so though he obviously still has it in the following scenes, we don’t know if it will ever be functional again. Just as important, Ironwood had to choose to do that to himself. That wasn’t a horrific, but ultimately clean cut done in a moment of surprise. That was a conscious decision, a slow pull through all that pain, and then having to finish your fight immediately afterward. It’s a very different kind of psychological trauma, no better or worse than having someone take your arm from you by force. Throughout this volume I’ve seen a lot of fans being critical not only of Ironwood’s main decisions, but just his overall attitude as well. Too strict, too stern, doesn’t smile enough, yells sometimes, etc. basically associating someone who isn’t all sunshine and smiles with someone who is “bad.” Ignoring for the moment that we can say the same thing about many of our group---notably Yang---I have little doubt that I’ll see similar posts after this episode. Writings in the vein of, “Ironwood is unhinged! I can’t believe he yelled and hit his desk like that!” So everyone just keep this moment in mind and ask yourself how calm you’d be if you’d sacrificed your arm like that all of half an hour ago. And then found Salem’s calling card on your desk. And then came to the realization that the allies you trusted have been lying to you from the start. And then Salem herself appears to mock you. And then your city is about to be overrun. Basic summary of the rest of the episode: holy shit. So yeah. If Yang is allowed to be angry and upset after losing her arm, or just angry in general like she is in the later half of “Gravity,” I think we owe it to Ironwood to let him be angry too. I have a lot of feelings about the utter insanity he’s been forced through with little to no support and if he wants to take all that out by hitting his desk once, by god I’d say that’s a good coping strategy given the circumstances. Both the writing and the fans tend to erase trauma once you’ve passed age 25. The girls have every right to be upset, to break, to not trust people because they’ve been through a few months of hardship, but Ozpin isn’t allowed the same after a couple thousand years of that. We’re going to see the same hypocrisy later in this episode---the group can be upset about lies but Ironwood is not---and I’m hoping (against hope) that the fandom doesn’t make that worse by sweeping this injury under the rug. It’s horrific and absolutely has a bearing on his inability to keep his cool with the group immediately afterwards. We’ve long passed Ironwood owing them endless reassurances and calm responses.

Anyway, Ironwood still manages to finish the fight because his remaining arm is his robotic one, giving him the strength to easily drag and raise Watts into the air one-handed. He dangles him over the edge of the arena, announcing that he will “sacrifice whatever it takes to stop [Salem].” A clear bit of foreshadowing for his decision at the end of the episode. Watts responds that he hopes he does.

We then move to the Tyrian fight which, on the whole, I don’t think was done quite as well. Granted, there are a lot of enjoyable and badass moments. I like that Clover’s first act is to announce that Tyrian is under arrest, maintaining the law that Atlas (and Ironwood) works to uphold. It doesn’t matter that Tyrian is a crazy serial killer in league with an immortal sorceress hell-bent on destroying the world. Even crazy serial killers have rights and are given the option of surrendering, even when everyone present knows there’s exactly zero chance of that happening. It’s the principal of the thing and the ability to say, “We gave him a chance.” In a world overrun with inequality, this is a small but important attempt to level the field. If you do something wrong you face legal action and those rights are announced to you. Same for Tyrian. Same for Team RWBY. But we’ll get to that.

For now, we see Qrow attack first and like back in Volume Four he and Tyrian are pretty evenly matched. The tide doesn’t turn until Robyn and Clover come into play. Throughout this exchange we see a lot of cool combos among the three of them. Tyrian will block an incoming arrow with his tail only for Clover to snag it with his hook. Robyn can get another arrow to perfectly bounce off the walls and then Qrow’s scythe, hitting Tyrian dead on. Clover can dive between Tyrian’s legs, giving Qrow the opening he needs to attack. It is, as said, pretty badass... almost a little too badass. Personally, I would have appreciated them messing up once or twice. They’re all professionals, yes, but Qrow and Clover have only had one fight together. Robyn, meanwhile, wasn’t even allied with them until an hour ago. This is a situation where skills shouldn’t really trump, “We’re three very distinct people who don’t know each other’s fighting styles well, trying to attack one guy in very close quarters.” There should have been some screw-ups. Especially when we take semblances into account. What, are we supposed to assume here that Clover’s semblance just conveniently overrides Qrow’s? That no mistakes---let alone anything bad---will happen in this fight despite the fact that it’s an extreme parallel to Volume Four? That whole battle emphasized, “Don’t come closer!” because when people fight near Qrow bad shit happens. Now, he fights with two other people in a narrow alleyway and there’s not a single repercussion. Based on their travels looking for the geist, I don’t buy that Qrow’s semblance is just conveniently inactive while near Clover. Even if I did... that’s not a very good writing decision. To me, it’s just more evidence that Rooster Teeth doesn’t understand its own rules/doesn’t know what to do with an ability like Qrow’s. It causes problems only when they explicitly want it to. Then, miraculously, it’s no longer in effect.

Still, we’ll acknowledge that RWBY had a lot else it wanted to accomplish in this episode, so the need to power through this fight is somewhat justified. I personally would have had the entirety of this episode be the two battles---I was shocked when both ended just eight minutes in---but I’m obviously not the one writing the show. Thus, instead of an episode devoted to both the action and the emotion of confronting our two main villains this volume, Tyrian loses his cool after getting punched in the gut, manages to catch Robyn’s arrow in his teeth...

But it’s a bomb.

Down he goes. Fight’s done.

Which leads us into the second half of the episode. I want to preface this with a short acknowledgment before we go any further.

Did these last ten minutes give me what I’ve been looking for since the beginning of Volume Six? No. It’s easy to assume it did because all the pieces are there. Ironwood is finally angry about the secret keeping. The Ace Ops are criticizing the group left and right. Surely this is the “The group is capable of making mistakes and they should be called out for it!” that I wanted, right? Not really. For the simple reason that there is a massive difference between:

A story that acknowledges mistakes as mistakes. The characters either grow from this lesson or dig in their heels and are painted as being in the wrong for that decision.

and

A story that takes what the audience (me) perceives as mistakes and frames them as justified choices. The characters do not grow because they’re 100% sure they’re in the right and those who would criticize them are painted as in the wrong.

“Gravity” is so far into that second option I don’t think the series can come back from it. Does the group face criticism? Yes, but every single time the writing insists that it’s undeserved criticism. It paints the group as the underdogs facing unfair odds, rather than equals---with all the responsibility that comes with that---facing criticism that they need to own up to. Absolutely nothing in this second half implies that the group is going to learn from their mistakes because they, and the writing, still insists that they weren’t mistakes. Which is precisely what we’ve gotten before. Cordovin might criticism them, but Cordovin is in the wrong. Winter might criticism them, but Winter is in the wrong. Every time a character goes, “Hey, you shouldn’t have done this” the group responds with, “Yes we should have!” and the story backs them up. Yes, you should have attacked Argus. Yes, you should have stolen an airship. Yes, you should have lied to Ironwood and spilled the secret to Robyn. Yes, yes, yes. That’s the takeaway every single time. The group is never in the wrong. Others just think they are and those others are painted as cruel, militaristic, unhinged characters.

It’s not at all what I was looking for. Just more of the same.

So that’s the preface. In terms of what we actually get, Ironwood returns to his office with his arm bandaged and in a sling, carrying Watts’ bag, only to drop it when he sees the queen piece on his desk. He calls Winter asking, “Was anyone caught entering the school grounds while I was away?” and when she says no Ironwood has her race off to the Winter Maiden, unknowingly leading Cinder there in the process. “Now show me where you’ve been hiding her.”

We then cut to the group where the trouble begins. They’re not just curious about why Ironwood is recalling them with Mantle still in need of evacuation, they’re actively questioning it. This is the attitude I simply don’t understand. The group acts as if Ironwood is deliberately screwing everyone over when they know better. This is no longer the beginning of the volume where they thought he was some horrific dictator hell bent on destroying his own Kingdom. This is just an hour or so after, “We should tell Ironwood!” and the happy-go-lucky ‘We trust him now’ moment. Even less time after Ruby stared up at him in awe with, “He’s doing it.” They had reason to trust him before they even made it to Atlas. They were given even more reasons in the form of Ironwood sharing his secrets, early licenses, and being allowed to work on the tower. They then still waited until Ironwood was doing everything they wanted before giving him some of that trust back... but the moment he stops doing precisely what they want---we want to keep evacuating Mantle---he’s deemed suspicious again.

I mean seriously, is the group that dense? Are they incapable of thinking to themselves, “Wow, something must have happened if Ironwood is recalling us before evacuations are complete,” which is precisely the case. The scene tries to frame it as “Group Good” and “Ace Ops Blinding Obeying Orders Bad” but that aspect doesn’t even come into play. There’s nothing blind about it. It simply takes two seconds of critical thinking skills to realize that something really awful must have happened back at the Academy that trumps what you’re doing in Mantle. This is what I mean by the writing being biased. Before we even reach the fight in Ironwood’s office it’s trying to paint him as potentially cruel, potentially suspicious, potentially abandoning his people, look how worried our heroes are about this secret decision he’s made... when all that requires ignoring some really basic deduction in order to reach those assumptions. Remember that intelligence is a plot device in RWBY. If they want Ironwood forced to spill his secrets, he’ll randomly start talking about them in front of his enemies. If they want Ironwood painted as the villain, the group will randomly be incapable of realizing that maybe, just maybe, something went wrong on the home front and you’re needed there.

Things just get so much worse from then on. The group splits with JNR going off to find Oscar and, admittedly, I was shocked we got that at all. I mean yeah, it’s setup for the final reveal at the end of the episode, but the fact that anyone remembered Oscar was missing---let alone happily went off to find him---was still a surprise. So only Team RWBY heads back to Ironwood’s office where they find him (rightfully) panicking over the queen on his desk. Weiss tries to baby him, acting like he’s freaking out over nothing, when all these characters should recall precisely what Ironwood himself points out: the last time we saw this symbol it was a message that Beacon had fallen. He’s not paranoid here. He’s entirely justified in his panic. Ironwood likewise points out that they may have been duped into bringing thousands of people into Atlas as easy targets and Vine agrees, setting up that the Ace Ops are on Team Ironwood throughout the course of this conversation. Not out of blind loyalty, but because he’s right. That is a concern. That may be the plan. We do need to try and do something about that. Team RWBY, however, isn’t convinced.

That is, until Ruby realizes that the chess piece is made of black glass. Which means Cinder left it. Normally I’d congratulate her on that deduction---it is the one smart move we see Ruby pull this whole episode---but I just hate what follows. Namely that Ruby and Ruby alone controls her team’s opinions on a situation. Again. We saw it back in the snow, then again when Blake announced in the elevator that they’d do whatever she wanted. Team RWBY is the one who blindly follows their leader, not the Ace Ops, the only exception being Blake and Yang going rogue in regards to Robyn, but we see that hive-mind mindset here again. Ironwood brings up a good point? Nothing. Ace Ops support that point with more logic? Nothing. Ruby supports it? Oh, suddenly Weiss and Blake are taking this seriously. Suddenly Yang is fired up and ready to do whatever is necessary. Ruby controls the room. It’s only when she’s on board that her teammates decide this is worth getting riled up about.

Which, as I’ve said before, is a horrible way to write a diverse group. Especially when the writing is trying to paint the Ace Ops as mindless soldiers. For all their claims that they just have to follow orders, they’re the only ones parsing through this situation and coming to their own conclusions. It’s just that their conclusions do end up aligning with Ironwood’s which is the “bad” take in this scene. Team RWBY, however, waits until their leader makes a decision and then simply rides her cloak tails. The day that Blake, Yang, or Weiss legitimately disagree with Ruby---not a token “Are you sure we should keep secrets from Ironwood? We’re not actually challenging this. Just checking in”---is the day the writing will disagree with her. AKA, no time soon.

Blake tries to give some bland reassurance about them all being with Ironwood to which he responds, “Are you with me? How did Robyn know about the global communications tower?” Thank you! Thank you for giving us Ironwood’s characterization back and acknowledging that he has no reason to buy their generic ‘Got your back’ statements when everything they’ve done this volume has proven otherwise. They don’t support Ironwood, only themselves and their own teams. The minute he does something they don’t like he’s chucked under the bus. Too bad the writing doesn’t acknowledge any of this and instead continually paints the group as being justified in their decisions. It’s that hypocrisy again. When the group yells at Ozpin for keeping secrets we’re supposed to be on their side. When the Ace Ops yell at the group for keeping secrets we’re... still supposed to be on their side.

Weiss tries to diffuse the situation with “None of this matters right now!” which is real rich when they were just complaining about Ironwood not telling them why they were called back. They get to worry over that, but Ironwood isn’t allowed to worry about them outright betraying him? “Loyalty always matters!” he shouts back and he’s right. Why should Ironwood trust them to have his back in this crucial moment when they’ve never had it before? I’m already seeing more of this hypocrisy among the fandom. When Ozpin kept secrets and told lies the group was given a whole volume to be pissed about that and fans still, to this very day, insist that it hasn’t been enough time for them to get over it, to regain even a portion of that trust. But now that Ironwood has been lied to and betrayed in the same manner? People are annoyed that he’s not just shrugging it off. How dare you not get over in thirty seconds what our heroes got weeks to work through. His inability to just suck it up, as it were, is used to make him seem irrational here. I don’t see anyone, characters or fans alike, acknowledging that his anger is as righteous as the group’s was out in the snow. That there is the disconnect.

Of course, something has to break the tension. Drawn by all the fury and fear, a grimm pops out of Watts’ bag. A fail-safe for if he was defeated and captured. Salem immediately takes control of the grimm and kills it, using its form to appear before them. She reveals that it doesn’t matter that her men were captured. They were just there to “set the stage,” which they’ve done. Still doesn’t explain the random Penny side plot to my mind (seriously, why did the story bother to resurrect her when she has done nothing plot-wise or emotionally?), but whatever. Much more importantly, the stage is set for Salem herself. She’s approaching with the grimm army we saw her amassing which is... iffy.

First off, why? Why after a thousand years has she suddenly changed her MO from keeping to the sidelines to a full-on attack? Again, what’s the catalyst for that massive change? We don’t know. Meanwhile, from a writing perspective, I’m hesitant about having our Big Bad thrown into the mix before the finale. We know there are plenty of volumes left in this series, which automatically undermines any battle they might have with Salem. Will they win?? Of course not! Because RWBY isn’t over yet. Granted, this could all just be a ruse of some sort. Maybe Salem just wants them to think she’s approaching with an army, which would be much more up her alley in terms of long-distance manipulation. But if not... seriously, what’s the point of that?

Here’s hoping it’s a bluff.

Speaking of manipulation, we get a fantastically creepy moment where Salem tells Ironwood to “simply accept the futility of your situation” while smiling like a kind mother. That’s the Salem who is truly dangerous. Ironwood reaffirms that he won’t give up the relics and Ruby pips up with, “We don’t have to kill you to stop you.”

Hey wait. I’m gonna give you all another graphic.

This is Ozpin’s stance! This is his plan! His version of hope! We spent all of Volume Six having the cast beat on him for, “Omg Salem is immortal?!” and with the exception of Nora’s comment, no discussion of this in Volume Seven... but now suddenly Ruby is making this announcement? The group came to this revelation sometime off screen which we a) don’t get to see and b) once again created no scenario in the form of, “Wow! Ozpin was right all along! Maybe we should go talk to him...”

I’m just... wow. The number of times the writing takes what the group and the adults do, the exact same perspectives and decisions, and twists it so that the group comes out looking like heroes and the adults look like misguided, unhinged fools who need to be put in their place... I’m really over it at this point. And by extension the group themselves. Their characterizations have been so badly mangled at this point I legitimately don’t like them as people. I don’t care if they say they want to protect Mantle, or if they say they’ll support Ironwood, or if they say they’re unsure about their choices. All their actions claim otherwise.

Rather than grappling with the huge revelation that the group is apparently no longer obsessed with Salem’s immortality (or rather that Ruby isn’t. The rest of the group doesn’t actually matter. As established, they sync up with her beliefs the second she announces them), we return to Summer Rose. Salem goes, “Your mother said those words to me” and Ruby... loses it? What? I would have been 100% on board with this if we’d gotten it last Volume because then we saw Ruby losing her cool periodically. The smashed alcohol bottles. Chucking her scroll. Screaming at Qrow. That was all building to something. But then we had a year and roughly twelve episodes of normality. Ruby jumps into her fight with Cordovin and has been fine ever since. Hell, she’s been bubbly and confident, goofing off with Penny in one episode, then giving strong orders to her team in another. The one time we see her falter was in her conversation with Qrow and he reassured her completely that she was both doing the right thing and in no way comparable to Ozpin. Now, suddenly, one line from Salem and Ruby collapses? Full on incapacitated? I could buy the crying while still standing strong, I could buy a collapse if we’d kept her characterization going from Volume Six, but this kind of reaction in this context just felt so extreme. Doesn’t help that I really wasn’t sold on the voice acting here. Those cries sound less like devastated sobs and more like weird hiccups. Not to rag on Lindsay. On the whole I think she does a really excellent job as Ruby, it’s just this particular moment didn’t read right to me. I didn’t feel Ruby’s supposed grief here.

So that was... a lot for one line from Salem in a volume of otherwise confident and cool-headed Ruby. We also don’t see it amounting to anything, as per usual with RWBY’s writing. Ruby isn’t out of commission for the rest of the conversation or anything. She pops right back up after a second in Yang’s lap, just as confident and go-getting as before. There was no lead up to this and there are no consequences for the breakdown. Rooster Teeth honestly seems to think they can just chuck random things into the story---Ruby needs to show emotion at some point!---and then just leave it at that, entirely disconnected from everything else around it. Would we have known that Ruby just had her first breakdown of the series a minute later while once again betraying Ironwood? Nope.

Finally, this scene shows us again that the Argus battle was a bunch of nonsense. Ruby’s eyes nearly activate when she’s grieving for her mother, imagining---or perhaps seeing via Salem?---a sad Summer, not a smiling one. Just like her eyes activated while seeing Pyrrha die. Just like they activated when Blake was nearly killed by the Apathy. They activate now while thinking about her mother’s death. The montage of happy moments in lieu of the sad ones not working last volume was entirely out of place.

Salem finally leaves. Now everyone is panicking about this army. Elm points out that they’ll know if anything approaches. Vine checks and realizes that Watts took out their perimeter. Either that or Salem has already destroyed everyone and everything out there. It’s impossible to know. During all this Blake asks if the Amity tower is actually finished and we get more nonsense about how Ironwood is evil for telling a lie, but the group is always justified in telling theirs. The writing really tried to compare Ironwood telling Mantle---who I guarantee 100% does not care about whether a communications tower is finished while they’re getting attacked by grimm---a lie to lure out one of their biggest threats to Blake and Yang going behind Ironwood’s back to tell a potentially non-trustworthy outlaw about said tower, risking that the information would fall into the wrong hands and doom the project before it could be completed either way. Those are not in any way comparable situations, yet the writing really has Weiss going, “General Ironwood?” in a ‘How could you betray us like that?’ tone while Yang continues to look pissed.

And as if they didn’t know! How is this a personal betrayal? They were all helping to build that tower. Surely they’d know it it was that close to being done. Again, critical thinking skills, people. Anyone with two brain cells and their insider information should have looked at Ironwood’s announcement and gone, “Oh, that must be a bluff. Just a few days ago we were arguing about whether to continue taking resources from Mantle. No way is Amity ready. He’s going after Watts. Who is indeed the much bigger threat. Considering that he has control over the entirety of our technology and there’s literally no downside to telling Mantle about a finished tower when they’re getting devoured by grimm.” This is another, “But lying is wrong!” in the face of “But lying kept us alive...?”

Does everyone get what I’m saying here? How RWBY takes these situations and tries to paint them in an absolutely ridiculous light, expecting the audience to blindly accept this perspective despite everything else they’ve seen for themselves? Like, two episodes ago? I swear I’ve never encountered writing that treats its audience this badly. Scene after scene relies heavily on the viewer having no ability to think for themselves. Just accept that Ironwood is a horrible person for lying about the tower even though there are no repercussions for that and we JUST watched him defeating Watts as a result. Like, five minutes ago. That just happened. In this episode.

Ironwood then drops the bomb that Winter has gone off to claim the Maiden power. Interesting development. I wonder what that means exactly. Is she just going to lock herself away until the Maiden dies naturally? Do they have her on some sort of life support and is there an agreement to pull the plug if necessary? Are they going to use a machine similar to the one Pyrrha was in and try to force the change early? Or is this just a misleading comment and Winter is merely off to protect the Maiden, no intention of taking the power now? Who knows. We’ll have to wait until next episode to find out.

Ironwood likewise announces that the staff and the lamp need to be locked away now that they’re compromised, even though they’ve been compromised since they first saw Tyrian in Mantle. Insert another [this scenario is so stupid and contrived] explanation here. It’s made worse by Ruby’s childish “You said we could keep it.” Excuse me? What, did you think the lamp was your personal property now forever and always? Is Ruby really sitting there arguing that something Ironwood told her weeks ago trumps the obvious logic of putting the relic where it’s somewhere safe? That’s the characterization we’re going for, a leader who cares more about, ‘But you said we could have it!’ over the fate of the world? What even is this? The fact that Ironwood has to explain to them that the situation has changed just reinforces the group’s overall attitude. That is, one of arrogance and importance. They literally need to be told why putting the relic in a nearly impenetrable vault is better than letting them have it just because they want it. Plus, you know, they lied about the lamp from the start. So there’s that too.

Finally, Ironwood reveals that Amity was originally a plan of Ozpin’s but he didn’t push it far enough. Instead, he intends to use the staff to lift all of Atlas instead, hopefully taking two relics and a Maiden far out of Salem’s reach. Ruby wants to use the tower for its designed purpose instead, which is only a valid option in her mind because the writing was stupid last week. If there had actually been any logic there---if people had been allowed to react naturally and in a variety of ways to the Salem announcement, rather than a super convenient “Yeah! Let’s all work together!” across an entire, panicking city---she wouldn’t be quite so eager to tell the whole world. But we all know at this point that logic bends to the protagonists’ whims, so Ruby wants that same perfect ending across all of Remnant. She stands her ground, as does her team. Obviously.

Meanwhile, the Ace Ops aren’t just following Ironwood’s orders like the writing wants us to think via Harriet’s earlier comment. Rather, they’re each thinking through the situation for themselves and making very good points. If Salem has taken out our perimeter than we know our tech and people don’t stand a chance against this army. We just finished up the fight in Mantle and none of us are in a position to start another. Notably, Harriet brings this up, the one whose aura took a massive hit while nearly getting crushed underfoot. Vine points out that sometimes you have to lose a battle to win the war, but Team RWBY, to be blunt, simply doesn’t care.

I’ll be blunt myself here too: I don’t have an easy solution to this particular scenario. I don’t know what the “right” or the “wrong” choice is. Weighing starting a fight with VERY high stakes you’ll lose against abandoning the people of Mantle is just a straight up horrific decision. Like so much of what Ozpin faced, there is no clear-cut, good answer here. Do you stand by the people and risk the world, or work to save the world and doom the people? I don’t know and I do commend Rooster Teeth for writing a difficult choice... just not in giving each side the weight it deserves. Because as said, we’re meant to root for Team RWBY, always. Theirs is presented as the “right” choice every time, despite the fact that, as established, this is far from a black and white decision.

What frustrates me the most is when faced with all of these logical and very important considerations (we might not have backup, we’re in no position to fight, if Salem gets the relics and another Maiden the world is screwed) the group won’t even acknowledge these things. They’re so set in their own perspective they won’t even give these HUGE concerns the time of day. Rather, Yang shoots back, “You can’t just back down from a fight!”

That’s it. That’s the group’s problem in a single line.

This is what got Pyrrha killed.

It’s something the group should remember. She also insisted on fighting when she should have retreated and, since this was back during the days when characters actually faced consequences for their actions, it cost Pyrrha her life. Granted, going after Cinder was a truly useless endeavor. Pyrrha achieved nothing with her sacrifice. Here, Team RWBY hopes to save the people of Mantle, adding a clear justification for their insistence on fighting... but this is nevertheless indicative of that larger “punch it until it stops moving” mindset. It’s not that they decide to fight instead of retreating that’s the problem, it’s that to their mind fighting is the only option. Ever. This is what led to them attacking Cordovin and destroying Argus’ mech, drawing a massive grimm in the process. When faced with the option of backing down, Team RWBY doesn’t consider that an option at all. Which is heroic when up against an actual enemy, far less so when you’re facing an ally and the choice to fight has serious repercussions attached to it. Hell, the group doesn’t even consider compromises. They could have easily acknowledged that collecting the relics, the Maiden, and getting the staff to work on Atlas will take time. You do that while we focus on evacuating the rest of Mantle to the city. But no, even the concept of a compromise simply isn’t possible. You just always fight. Straight up. Anyone who suggests anything less isn’t a true huntsmen. “We’re loyal to the people!” Ruby shouts, as if “the people” doesn’t also include the rest of the world that Ironwood is trying to save and that they’re endangering by keeping the relics and Maiden within Salem’s reach.

That is one messed up perspective to tout in a story infused with the complex and the morally gray.

The real kicker though? Ruby’s ‘My way or the highway’ attitude obliterates a solution that fell straight into her lap. Jaune calls and says straight out that they have another situation. If Ruby had listened to her teammate for just three seconds they all would have learned about Oscar, thereby undermining Ironwood’s plan. He can’t keep the lamp safe if he doesn’t know where it is. You look for it while, again, we evacuate Mantle. Then we take everything out of Salem’s reach. Win-win. Instead, Ruby blasts her way through the situation. Literally, dodging Ironwood and hiding behind his desk shouting a highly bias version of his plan in the hopes of getting everyone on her side. And it works.

Because those like Clover don’t get to hear any of that context. Like how the perimeter is gone, there’s an army potentially coming, no one is in a position to fight, we’ve already lost a relic... they just here a Ruby’s version of events that paints Ironwood as the callous man Robyn thought he was---oh my god he’s abandoning Mantle for no good reason!---and people will react accordingly. Ruby likewise doesn’t care that shouting such information over all channels does things like, say, clue Tyrian into their plan. She just wants to do things her way, right now. Pausing to think (because thinking isn’t fighting) simply doesn’t happen.

I used to adore Ruby as a hero. Someone who was intrinsically good, hopeful, and wickedly clever in her ability to come out on top. Now she’s stubborn, arrogant, at times cruel, and charges in headfirst like her sister, refusing to consider any perspective other than her own. And her team endlessly supports that. The writing endlessly supports that. This isn’t our hero working through her flaws, but rather a flawed character that the writing refuses to acknowledge is flawed. When Ruby flies behind Ironwood’s desk the music rises triumphantly, just like it did when she attacked Cordovin’s mech. When Ironwood announces that they’re under arrest, Ruby spits back, “We won’t just let you take us” and we’re supposed to cheer.

Which brings us back to the question of whether the group really faced consequences here. Let me give you all a random, non-RWBY example of two scenes. Scenario One:

Parent: You punched her?

Teen: She insulted me!

Parent: I understand that, but that doesn’t mean you were justified in attacking her.

Teen: Oh, I was.

Parent: Maybe you were, maybe you weren’t, but you can’t solve all your problems that way.

Teen: I... I know that, okay. Back off. I just get so angry...

Parent: I know. We’re going to work on that. You’re grounded this weekend. We can discuss this more then.

Teen: [sighs] Fine.

vs. Scenario Two:

Parent: You punched her?

Teen: She insulted me!

Parent: I understand that, but that doesn’t mean you were justified in attacking her.

Teen: Oh, I was.

Parent: Maybe you were, maybe you weren’t, but you can’t solve all your problems that way.

Teen: Screw you! It worked didn’t it? I think a good punch goes a long way.

Parent: That’s not... okay look. You’re grounded this weekend so---

Teen: Like hell I am. [Proceeds to run off]

Teen: [Later to friend] ---and then she tried to ground me? Can you believe that?

Friend: Holy shit what an asshole.

If we put aside my own iffy dialogue for the moment, Scenario One acknowledges the complexity of the situation while likewise pointing out that the teen didn’t handle herself well. RWBY has achieved that here: the ethics of this scenario are acknowledged as complicated, but the group did things they shouldn’t have, as evidence by Ironwood’s anger and the Ace Ops’ criticism. However, Scenario One goes on to let the teen acknowledge that mistake, thereby validating it in the first place. A consequence is set, grounding, and they accept that, thereby further validating that their behavior needs work. They accept the consequence because both they and the writing acknowledge that the consequence is deserved. It takes what was previously two subjective stances---they say I’m wrong, I say I’m right---and encourages the audience to find the middle ground. Neither was totally wrong or right. The teen might be justified in some respects, but still made mistakes in others. She needs to improve.

RWBY, however, steers firmly into Scenario Two wherein the teen (Team RWBY) insists points blank that they never made mistakes in the first place, thereby encouraging the audience to question whether Ironwood and the Ace Ops (the parent) is right to be calling them out at all. We see no humility or guilt, only confidence. Ruby shouting “No!” at Cordovin when she’s told to surrender. Yang keeping silent after admitting that she and Blake told Robyn, not bothering to apologize or admit that this might have been a breech of trust. They challenge the validity of the claim that mistakes were made and by virtue of being protagonists encourage the audience to challenge it too. Finally, we see them reject the consequence because they will not admit that it’s deserved. The teen will not accept a grounding. Ruby: “We won’t just let you take us.” We’re then told by others that this rejection was warranted. The friend reinforces the view that the teen was right to run because that punishment is undeserved. The message is, “You never did anything wrong in the first place.” The plot of RWBY likewise reinforces the view that resisting Cordovin’s arrest was right by having her randomly let the group go. The consequence is replaced with a reward and, presumably, we’ll have a similar situation wherein the group either defeats the Ace Ops or is released by them. The consequences never take hold because the writing doesn’t think there should be consequences in the first place. Team RWBY isn’t going to be arrested here. They’re certainly not acknowledging that on some level they deserve to be. We didn’t see that humility while they were cuffed on the airship---that most basic acknowledgement of, “Did we make some mistakes? Could we have done something better? Is Ironwood right to be this mad?”---and there’s none of it now here, either. The tone is pure, “How dare you try and arrest us? We’re the good guys here!”

This remains as pro-protagonist as it has been the last two volumes. There are no consequences, only another hurdle for the group to overcome, painted as heroes for doing so. It’s Team RWBY vs. The Ace Ops and there’s no confusion about who we’re supposed to be rooting for. The Ace Ops because the group should rightly be stopped from hindering Ironwood’s attempts to keep the relics and a Maiden out of Salem’s hands, for their own lies and secret keeping that endangered them all this volume? Nope. It’s Team RWBY as the presumed heroes, facing off against soldiers who (supposedly) prioritize orders over what’s “right.”

And yeah, Oscar is gone. There are a number of dismantled robots and blaster fire in the room where Neo presumably took him. So unless they do a flashback we don’t get to see if/how Ozpin reacted to this initial attack. I hope they do provide a flashback because otherwise that’s another crucial scene of Oscar’s that happened off screen...

Can’t wait to see what else we’ll end up with next week! Until then, 💜

#rwby #rwby volume 7 #rwby volume 7 spoilers #rwby recaps #mymetas

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