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dramaticviolincrescendo · 3 years

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Rewatching Shameless and i just watched 6x1 jail scene. Can I request a meta if its not too much trouble? I feel like reading a really good meta about that scene and you're one of the best we've got so.....

It’s never any trouble at all! That’s so sweet to say—thank you so much! <3 Kind of coming to terms with the idea that anyone cares about my opinion over here. You guys are too much!

This scene is actually extremely important to me because it and the response to it were what made me start writing Shameless fanfiction, specifically when I saw that my views regarding Ian’s behavior and how Mickey received it were so vastly different from what I initially read. (Insert shameless plug for “That Milkovich Reputation” here.) Now, I know you’ve told me not to do this before, but based on the controversial position in which this scene resides, I feel the need to present a couple of disclaimers for our audience at large.

I first fell in love with Shameless last March, a couple weeks before quarantine began. I didn’t know what it was prior to that and therefore was not present when Noel left the show, so I didn’t experience the disappointment of a beloved character leaving in a potentially permanent way and didn’t engage in the fandom or see how deeply upset people were by that until after I finished the series. I also don’t subscribe to the theory that there was something going on behind the scenes or any animosity between Noel and the creators, as I have not seen any relevant evidence from reliable sources to support that what happened was anything other than decisions made in pursuit of career goals on both sides. As such, my analysis of this scene has only ever taken the content and context of the story and characters into account. I have no interest in speculating on the motives of people I do not know in writing it or portraying it this way, and even if I did, this scene made perfect sense to me as it was written and performed.

I understand and appreciate that this is not a popular position to take and urge everyone to pass this post by if my position on that matter is offensive or upsetting to you. I do not mean to tell anyone what to think or believe, only to explain how I view this scene and the context in which I do so.

That said, let’s begin.

When Last Seen: Mickey

As in all things, context is important. Prior to the prison scene, the last time we saw Mickey was when Ian broke up with him and Sammi interrupted their heartfelt moment, which basically sums up her character in a nutshell. That was a rough couple of days for Mickey. He saw how devastated Ian was to hear his family talk about him as though he were just like Monica; was distressed in his own right to return for him and discover that he’d left the base with Monica; buried his frustration and sadness by sleeping around with other people, which seemed to exacerbate those emotions because those people weren’t Ian, nor had he and Ian broken up when he did it; and came running when Ian called him, only for Ian to end their relationship.

Mickey is a very sharp man—we know this. He can read people like books and manipulate or intimidate them accordingly. He knew Ian had feelings for him in s1 when he showed up on his doorstep seeking comfort rather than going to any number of other people he trusted. He was well aware that Ian loved him in s3, and that made what he felt he had no choice in doing that much more painful. He heard what Ian said and knew what he was doing in 5x12. Of that, I have never had any doubt. It wasn’t like Ian tried to hide that he didn’t want to break up but thought that that was what would be best. In fact, the way he initially framed it always made me think that one of his highest priorities was not dragging Mickey down with him, especially in the aftermath of being called “destructive” and similar to someone who “put them through hell.” That’s why Mickey’s response wasn’t to call him an asshole or get angry or beg. It was to reassure Ian that he was there for the long haul, that he loved him and wanted to take care of him no matter what that meant—and that they could make that work. All the sentiments Ian had tried to communicate before he got married, Mickey was reciprocating in his own way. Had they not needed to temporarily write Mickey out of the story and Sammi hadn’t shown up right that second, I believe that he wouldn’t have given up so easily. We do have confirmation of that being the case in the prison scene, but we’ll get to that shortly.

When Last Seen: Ian

Ian isn’t a selfish character. We know this, too. However, Ian needed to be selfish by the end of s5. What he had to come to terms with wasn’t something that anyone could fully help him with, much as Mickey desperately wanted to. To Ian, the enemy was within. It was inside him, in his brain, telling him what to do even if that destroyed himself and everything he loved. It’s terrifying. I’m not bipolar, nor do I suffer from any other diagnosed mental illnesses, but I admire and respect everyone who wakes up every morning and tackles these things. They’re heroes every single day. But by the end of s5, Ian doesn’t feel much like a hero. Instead, he feels like the villain, and he’s lost touch with who he even is anymore.

That’s not a healthy mindset to have in a relationship. Relationships require a level of give and take, and that used to be something that Ian and Mickey already struggled with. Ian gave more in s1-3 because he was able to, while Mickey had a limit on what he could openly give because of the environment in which he lived and the manner in which he was raised. In s4-5, those roles were reversed: Mickey was able to give so much more, but Ian was gradually falling apart. Neither of them are at fault for any of those situations. It is what it is, and they have a stronger relationship for it. Ian is a giver, though. He’s always been a giver. To be in a position where he doesn’t feel like he can give anything to Mickey because he doesn’t even know who he is was truly heartbreaking for him, and objectively, he needed to take a step back so that he could focus on himself. He knew it. Based on Mickey’s understanding of Ian’s reasons after watching him deny that he had a problem for so long, I think Mickey knew it too. This hurt both of them—Ian to say it and Mickey to hear it—but they’re not fools and they’re not naïve. In some ways, they know each other better than anyone.

Jimmy said that when you’re on a plane, they tell you to put on your mask before you help anyone else with theirs. Ian needed to put on his mask. His heart can’t keep beating if his lungs don’t work.

Starting Season 6: Mickey

Unsurprisingly, Mickey has settled into prison life just fine. We’ll focus on his interactions with Ian in a bit as that’s the meat of the scene, but there are major implications inherent in his discussion with Svetlana beforehand.

1. Mickey has accepted that this will be his reality for the foreseeable future. What else is he supposed to do? Besides, he’s known for a long time that the likelihood of ending up in prison was pretty high for him, as he alluded to in s2. He was a street thug. He stole from local stores, sold drugs, ran guns, operated a rub ‘n’ tug, created scam companies, and was a generally violent presence in the neighborhood for years. He was in juvie twice during the show, perhaps more beforehand. The unfortunate fact of the matter is that it would have been more surprising if Mickey didn’t get locked up at some point than that he did.

2. Ian has visited Mickey before. We won’t get too deeply into this yet, but he thanks Ian for “coming back.” The other times, he wasn’t even paid to do it. So, as far as Mickey can tell, nothing has changed. Ian is focusing on himself right now, but his love for Mickey hasn’t dulled at all. That’s an encouraging thought, and it certainly puts a smile on Mickey’s face.

3. Ever the opportunist and entrepreneur, Mickey really is doing just fine in prison. He runs a business, if you will, that appears to be quite lucrative already. This isn’t surprising either. Sadly, it’s a bad move. He’s already going to be in prison for somewhere around a decade, give or take a couple of years depending on his behavior. But his behavior isn’t good. He’s hurting people for money, and if he gets caught and brought up on more charges, not only will he serve the full fifteen years, but he could get more time added onto that.

4. Ian is aware of this arrangement. He has to be if he’s been going there with Svetlana, and they weren’t exactly hiding what they were talking about. Ian has been very consistent throughout the series: he’s not as concerned with the moral implications of Mickey’s behavior, just how it could potentially impact their ability to be together. He still cares about Mickey at the start of s6, and Mickey can see it on his face when he won’t say it out loud. (More on that shortly.) Once he’s in a better spot mentally, maybe they would have gotten back together had Mickey been on the outside. I’m of the opinion that they would have based on the context of the situation. It isn’t an option, however. This is Mickey’s reality, and he’s not doing everything he can to get out earlier. If anything, he’s tempting fate on not being released at all. (This, in hindsight, sounds rather similar to the issues they’re dealing with right now in s11.)

So, this is where Mickey stands at the start of the season: a prison hitman who is quite pleased that the man he loves has come to see him again, even if the latter is visibly not in a very healthy mental state.

Starting Season 6: Ian

Ian isn’t in most of 6x01. What we do see of him is typically sad or colored by his frustration, outside Carl’s welcome home party at the end of the episode. Even then, there’s an aura of discomfort that accompanies the family’s knowledge that things have changed. Carl came out of juvie a different person—they’re all different people after s5, and they’re not sure how to handle walking on eggshells around each other.

From the very start of the episode, we see that Ian is still struggling even though he’s had enough time to at least partially adjust to his medication, especially if he’s been on and off of it. It’s so sweet how Fiona gently wakes him up—it’s also a bit different. What happened to banging on the bunk bed and yelling for them to come down for breakfast? After behaving pretty normally with Debbie at the bathroom door, she’s almost handling him with kid gloves, and the punches keep coming when she reminds him that he (1) has to get up for work at a place he despises and (2) needs to remember to take his meds.

The kitchen scene is extremely telling of where Ian is at this point, and it partially shows why he’s somewhat standoffish by the time we reach the prison scene. Most of the family is gone or different. Fiona is repeatedly on him about meds and getting to work on time—Ian, Mister Responsible himself who was out of the house before anybody woke up to get to work on time as a kid. Lip is at college. Debbie is absorbed in her unconfirmed but likely pregnancy. Carl is in juvie, and Liam is playing with the switchblade he found under Carl’s pillow before they take him to pre-K. His entire support system is either gone or treating him like he’s broken. All he has is Fiona “going Fiona” on everyone. It’s clear that this is impacting him because he actually derails the conversation to say that they should go visit Carl the following weekend, which was the position Debbie used to be in when Fiona was in jail. Just like Lip shut her down, Debbie shuts Ian down, and he doesn’t say another word as he drinks his coffee—which he can’t finish because Fiona is once again on him about work, so he trudges out the door to another day of being a busboy with no dreams instead of a soldier who has a future.

Work isn’t much better. Svetlana wants him to go see Mickey when he’s determined to stay away. (We don’t have confirmation, but I don’t think it’s unreasonable to assume that he wants to distance himself if Mickey is doing something that will potentially get him into even more trouble, especially given some of his reactions at the prison.) Sean is sending Fiona to nag him about not moving fast enough when the diner isn’t even busy. When Otis is chased down by the cops and slammed against the front window, Sean rather condescendingly tells him to, “take your rag and wipe the blood and snot off the window.” Ian—West Point-aspiring, ambitious, courageous, caring, intelligent, hardworking Ian has been reduced to wiping up someone’s snot by a boss who’s living in his house with a sister that’s treating him like he’s shattered glass and a family that is growing further and further apart these days.

That is the day Ian has had before he even arrives at the prison. Odds are that that is how most of his days have gone for quite some time, minus the blood and snot. …Maybe.

The Prison Scene

Now we come to it: what you actually asked about! It’s taken this long to get here because we can’t possibly interpret this scene effectively without incorporating all of what came before it. Mickey’s position is regrettable, but he knows that Ian still loves him and is at least handling his situation with all the grace and competence that we can expect from him. Ian is a bit of a mess who’s had a bad day and is now faced with the man he loves, who he is telling himself he can’t be with, sitting behind glass—where he’ll be for a good long while.

I’m going to divide this analysis into two sections. For a scene that many prefer to forget, to me, it’s a masterpiece of storytelling.

Physicality

The body language in this scene is remarkable—phenomenally blocked, phenomenally directed, and phenomenally portrayed.

When Mickey first appears, he’s visibly chomping at the bit to get to the visitation area. He’s peering out there while he’s still behind a locked door, and he only diverts his gaze to the guard because he’s waiting for him to unlock it. He’s cool about the whole thing—he’s very cool—but he’s obviously also here for one reason and one reason only. That reason is where his eyes go the moment he sits down at his stall and spots Ian’s coat where the latter is pacing behind Svetlana. Throughout their entire conversation, we see his eyes darting to Ian as he attempts to get the business out of the way so that he can indulge purely in the pleasure. It doesn’t matter to him that Ian is visibly tired and reluctant to be there or that he plays with Yevgeny instead of actively joining their conversation. It’s Ian, and all Mickey has to look at in here is a bunch of fellow thugs he hasn’t loved since he was too young to know what that meant. Damn right, he’s going to shamelessly watch him.

In Ian’s pacing, where we can’t see his face, I find it interesting that he keeps himself angled away from the glass. We see more of his back even though he’s moving side to side rather than away. He doesn’t want to see this. He doesn’t want to be there. In s7, he told Mickey how hard it was to see him behind glass—that wasn’t an excuse. He wasn’t falsely trying to make it sound like he was suffering at their separation just as much as Mickey was. We can see that that’s the case right here in 6x01. Ian has never had a problem sitting still through difficult moments, not even when a potential court martial that would further ruin his life was on the table. But this? He can’t sit down. He can’t face that.

The first time he turns directly towards Mickey’s location is so that Svetlana can hand Yevgeny off to him, and Mickey is visibly loving the view. His expression gets a bit softer, and he ducks his head a little so that he can catch a glimpse of Ian’s face. He follows Ian with his eyes even though Svetlana tries to get his attention. What a blast from the past, right? Ian there with his son, taking care of him while he and Svetlana figure out their business? And just like before, he offers Svetlana all of the attention and input that he deems her worth—next to nothing. Ian’s over there. Ian’s keeping the kid entertained, playing with him and rocking a bit in their seat and leaning over his little shoulder to make sure he’s doing okay—but forget that, Mickey’s eyes are examining him from red hair to beat-up shoes. He only glances back to Svetlana because he has to in order to get the information for their next paycheck. Even then, he’s still back and forth, up and down.

And Ian? He can’t keep pacing. He can’t stay turned away, but he won’t look. He occupies himself more than Yevgeny because now he’s low enough that he won’t just see an orange jumpsuit—he’ll see Mickey, and he’s had a bad enough day with his family making him feel more alone than ever without adding that pain on top of it. (This is the third time Mickey’s been locked up for something directly or indirectly related to Ian. I’m sure it’s not unreasonable to suspect that he also feels somewhat guilty about that, especially when it happened right after he broke it off.)

When Mickey asks if Ian is going to sit back there the whole time and not interact with him, Svetlana turns around and presumably says something to get his attention. Their eyes meet, and Mickey gives him a look that clearly says, “What the fuck, man?” This isn’t the behavior of a man who is heartbroken at their relationship ending or questioning Ian’s love for him. This is the behavior of a man who wants the love of his life to get his shit together enough to come say hi to him—or at least look at him—because he can’t pretend that he doesn’t want to see Mickey as much as Mickey wants to see him. It’s impossible to hide that when Ian has let Mickey see so much of his heart over the years.

Ian’s response is so fascinating because he does meet Mickey’s eyes, and he holds that connection for a moment. Then, reading what Mickey is trying to tell him, he actually turns further away again so that Mickey gets his shoulder. This sets the stage for the rest of Ian’s development from now through s9. He’s doing what Ian does: he’s compartmentalizing. He’s taking the emotions he can’t deal with right now, wrapping them in tissue paper, and neatly stacking them in a box that he’ll put up in the attic where he can pretend they don’t exist. But they do. They really do.

If they didn’t, he wouldn’t have spent their entire conversation trying so hard to focus on literally anything but Mickey, because as we saw in the Hall of Shame flashbacks and as has been obvious since their first fight-turned-fuck, once they look, the battle is lost.

Dialogue

I’m going to be real with you guys: I adore this scene. I’ve watched it more times than I can count even though I haven’t rewatched much of the season in its entirety. There was so much said with so few words, and while I was sad at the end, I was also hopeful. This was an impossible position to be put in on both sides, and I truly believe that this was the best resolution they could get at the time. And yes, it hurt. It was painful. But why was it painful?

Because they’re so visibly, obviously, irrevocably in love.

Mickey’s tone when he tells Svetlana to leave because he wants to talk to Ian isn’t as harsh as it’s been for the rest of their visit. There’s such a disconnect between his words and tone: roughly telling her to scram while actually sounding a bit younger at the idea of speaking directly with Ian. Svetlana could tell. It’s so clear, and her smirk is super knowing. In that moment, we’re seeing the woman who stood in the doorway of what was supposed to be her bedroom and watched him make eyes at this unconscious boy she didn’t really even remember. Not in the tears and realizing she was in big, big trouble if he left her, but in the understanding that his heart isn’t in the body on the other side of the glass—it’s sitting behind her. There are a lot of things I don’t like about Svetlana as a person (as a character, she’s amazing), but since they reached their agreement in s4, she’s never had a derogatory thing to say about the love those two share, and I respect that. It’s actually a bit cute how she takes her time and is almost teasing in giving him what he wants. A bit.

As I have this scene running on repeat so that I don’t miss anything in writing this, I paused to type and ended up on such a meaningful glance at Ian’s face. Svetlana just took Yevgeny from him, and he hasn’t gotten up yet. He’s staring straight at Mickey, and he looks hesitant. Scared, almost. Then he looks up at Svetlana, nods a bit, and reluctantly moves into her spot.

Is it overkill to take this one exchange at a time? Probably. Am I going to do it anyway? Hell to the yes.

1. “Thanks for coming back.”/”Yeah… Svetlana paid me.” – I know that people hate this line and think this is painful. I know that it objectively is painful. I still laugh every time. Not because Ian agreed to come if he was paid. (He’s got medication to afford and no insurance. I can’t begrudge him wanting to make a few extra bucks any way he can.) Not because of the words, but because of what accompanies them. Ian will not look at Mickey—he’s lost so many battles lately, and he can’t lose this one too. Not when he started this one himself. He’s hemming and hawing, not looking up from the countertop and then twisting around to see if Svetlana is still there or anyone else is listening. It’s so stupid, because literally no one cares, but it gives you this sensation that Ian sees himself as being under a microscope the whole time. That’s his life anymore, at home and at work and now here. And Mickey? He doesn’t look terribly broken up about Ian accepting payment in exchange for coming. He gets this expression that I interpreted as, “Seriously? You’re playing it like that?” Then it settles into disappointment that Ian won’t open up or look at him like he normally would—that the glass interferes with the magnetic pull between them. But don’t worry, children. Uncle Mickey has just the thing to fix that: himself.

2. “You look good.”/*awkward silence* – I mean…what do you say to that? I actually felt so bad for Ian there because what must he have looked like these last visits if Mickey is telling him that he looks good now? What kind of mess was he then when he’s still sort of a mess today? And he can’t even return the sentiment because how can he? Mickey is in prison. He’s in a jumpsuit looking at being here so long that he’ll probably have a few grey hairs starting to grow in when he gets out. I don’t know how to respond when people tell me I look good on an average day, so I can only imagine how that must have felt in his position. And still, he won’t do more than glance in Mickey’s direction. Well, if that didn’t work…

3. Mickey chuckles and says he got a new tattoo. Ian’s eyes immediately shoot upwards, and Mickey slouches a little so that he’s in their direct line of sight—to hold them there, because once they look, the battle is lost. And Ian does lose. For a while there, he can’t look away again. First, because Mickey is courting some pretty nasty illnesses with his improper use of needles. Seriously, Mickey, a beautiful gesture but holy crap. Second, Mickey has his name (or a very close approximation to it) tattooed forever right over his heart. Ian had asked if Mickey was going to marry him, and Mickey told him to fuck off, but everything he’s doing points in the opposite direction. He promised sickness and health; now he’s made a permanent mark on his body for everyone to see. Mickey, who wouldn’t be seen in public with him once upon a time, has plastered Ian’s name onto his body. Ian tries so hard not to let that impact him, but it’s over. He’s lost the battle already, and he falls further and further. He’s smiling when he tells Mickey it looks infected, he teases him about the misspelling (which I think says more about how much that tattoo must have hurt than any inability to spell on Mickey’s part—I’d have a typo too), and he laughs at Mickey’s irritation that he messed it up. And it’s this sweet little laugh, not cruel or hurtful or mean. The wonderful thing about humor is that it can be used to cope with difficult emotions. We’ve seen a lot of people on the show start laughing when they’re in a bad place. Ian has been trying so hard to accept his life as it is even during the shitty day he was having. He tried so hard not to let himself fall into the trap of letting his love for Mickey rule his actions in the scene so far. That’s a lot. That’s denying himself to the point where I’m sure it hurts. And so he laughs, because Mickey did this crazy, absurd thing for him and yeah, it came out wrong, but he did it. This was all Ian wanted once upon a time (minus the felony), and now he has it—but he can’t have it. So he laughs. He immediately moves to hide it, but he laughs. He smiles more and has to bend away to pretend that he’s not—and Mickey lights up like a goddamn Christmas tree. This is the moment that keeps me from seeing this scene or Ian’s actions as being cruel. They’re both hurting, and this is an awful position to be in. But Ian loves him so much, and Mickey was doing everything he could to make him show it. Not exactly how he saw that going, I’m sure, but he’ll take it.

4. “Been thinking about you.” – Knowing that he lost that one, Ian looks away again. While the end of this scene will hurt for both of them, especially Mickey, think about the pain he must be feeling in that moment simply because he’s not. He’s not hurting. For the first time that day, he feels good. This can’t last. Mickey isn’t coming home with him when time is up. This wonderful emotion that filled him up enough for him to laugh and smile after such a bad day will be gone the second he hangs up that phone. Then he’s going to go home and have Fiona breathing down his neck with nobody else for support. And Mickey will be here—behind glass. He can’t handle that, and he pulls that box out again and starts tearing off the tissue paper. He has to get rid of this feeling. He has to be the one to put it away before it kicks him to the curb. He’s stubborn, and Mickey can see him shutting down but also knows that he’s knocked enough bricks out of Ian’s walls to say something softer, something emotional and closer to the heart. Something he is willing to say where the other inmates can hear, which I don’t think is lost on Ian since he immediately looks up again. He doesn’t look away either, not even when Mickey asks if Ian thinks about him. He glances to the side and opens his mouth a bit, but nothing comes out. Mickey knows the answer.

5. “Gonna wait for me?”/”You’re here for fifteen years.” – There’s this thing Mickey does after he first says that. He chuckles, because he knows that that’s pretty unreasonable to ask and has already predicted Ian’s response. His comment about being out in eight is lighthearted, a serious matter spoken as a joke because…this isn’t juvie anymore. They’re not going to see each other in a few months. This is Mickey’s version of what Ian was just doing, only where Ian tried to withdraw and escape within himself, Mickey is making it more humorous. He’s always done that, make light of pretty serious things to avoid looking at just how messed up it is. But I didn’t get the feeling he was really asking for Ian to wait that long. Instead, I got the feeling that he was testing the waters, seeing if Ian would shut him down—which he didn’t. He offered the bullshit excuse that Mickey tried to kill a member of his family, and Mickey saw through that immediately. I think he knows that he can’t ask Ian to seriously wait and never be with anyone else for fifteen years, or even for eight. I think he knows what he’s saying is a touch absurd. He also knows that Ian’s excuse is extremely absurd, and he doesn’t buy it for a second. It gives him a little courage to do something…well, a bit absurd.

6. “Will you? Wait? Fucking lie if you have to, man. Eight years is a long time.” – I think the important part of this isn’t that Ian says he’ll wait when he doesn’t mean it, which is the popular take. For one thing, I don’t think we can ascribe that level of calculated behavior to Ian in this instance. There are a few things about this part of the scene that mean a lot to me: (1) Ian doesn’t get up and go. He doesn’t even move in that direction. He sits there with the phone after the buzzer sounds and before Mickey tells him to lie. His mouth opens and closes like he’s not sure what to say. Because what can he say? If Mickey serves the maximum, Ian will be in his mid-thirties by the time they can be together. At that point, he was either nearing eighteen or just turned. I still can’t fathom what I’ll be doing in my mid-thirties, and I’m a whole lot older than that. Ian looks just a little terrified here, and that’s because he knows he loves Mickey but has no clue what he’s supposed to do with that in the impossible circumstances they’re operating under. (2) Ian can’t even see himself moving on yet. He’s still trying to figure himself out, not think about a relationship. He has a job he hates, and his family is a different brand of chaos these days. He feels alone, yes, but not in a way that has him openly desperate for a relationship. Based on what he says to Mandy about Caleb, I think it’s pretty safe to assume that he doesn’t think he’ll ever be in a serious relationship at this point or even in a position for more than casual sex anytime in the near future. How can he say that he’ll wait when he doesn’t know where he’ll be whenever Mickey does get out? Maybe he’ll feel better. Maybe he’ll be out of his mind, roaming all over the place like Monica. Maybe he won’t just be standing on that bridge. It’s a huge question, one that has a lot of ramifications no matter what his answer is, and Ian clearly has none. He’s blindsided by that, which Mickey sees. That’s when he gets serious about those eight years, about how absurd their situation really is. That’s perhaps the first and only time in this scene where we can see that, for as successful as he is at navigating prison, his freedom means something to him. His freedom means he wouldn’t have to coax a glance out of Ian—he could kiss his dumb ass and make him stop being stubborn about how much he loves Mickey. But he can’t. He won’t be able to for a long time. And I think that is what really breaks his heart in this scene, not…

7. “Yeah. Yeah, Mick, I’ll wait.” – Did anyone else notice how Ian swallowed hard before he answered? How his voice gets hoarse when he first speaks? I paused again to type, and the video is sitting on his face staring at the counter before the second part of what he says. He looks like he might cry. He looks like his heart is breaking just as much as Mickey’s is, because he can do what he’s asking this time—reassure him with a lie. Not because he doesn’t intend to wait, but because he is buried so far under what life has piled on top of him that he can’t see the light these days, and he doesn’t see waiting or moving on. He just sees the daily struggle of being this shell of a person. Of being without Mickey even if they’re not technically together. (Admittedly, I think he knew they would be if Mickey weren’t in prison at that moment. Ian has no real self-control where he’s concerned. Lip told him as much, and he’s self-aware enough to realize it, hence his behavior in this whole scene.)

When Ian hangs up the phone, he doesn’t get up immediately. He looks at Mickey—really looks at him—and each of them watches the other’s heart shatter. I don’t see it the way a lot of people do, though. On Mickey’s side, I don’t see it as being because Ian lied. I think it’s so much bigger than that.

Ian looks at him when they can’t hear each other anymore, and if he didn’t seem ready to cry before, he looks it now. Why? Because there’s nothing he can do for Mickey besides that. Ian, ever the giver, can’t give him anything. At that point, he couldn’t even help himself. He can’t be what Mickey needs in that moment, just like he couldn’t be what Mickey needed while he was sick, and it kills him. It kills him to know that by the time Mickey does get out, he’ll be older than he can fathom being and has no idea if he’ll even be around that long. It kills him to feel like even if he is, he’ll still have nothing to offer because, in his own words, this is where he lands. And it kills him to have to walk away and leave what he loves most behind glass.

Mickey is watching this. He knows Ian, and as painful as it was to get exactly what he asked for, it’s even more painful for him to see what him being here does to Ian. Where Ian is a giver, Mickey is a fixer. He makes things better. When stuff is broken, he puts it back together. When there’s a problem, he resolves it. Ian was going to leave because he couldn’t be an unacknowledged number three in Mickey’s life anymore? He jumped to solve the problem by coming out. Ian was acting strangely and wouldn’t get out of bed for so long that Mickey realized something was wrong? He immediately went to hunt down Lip, who he knows is closer to Ian than anyone else in his family. Fiona tells him that Ian is sick and needs to be cared for? He jumps in to do it, even to the point where it did more harm than good. Sammi caused a problem that Mickey couldn’t solve? He fixed the problem of her being there at all. But here he sits, behind glass, watching Ian that whole time and knowing that he was trying to maintain some emotional distance—and, because it’s Mickey, knowing why. There’s nothing he can do about this. He can’t fix it. For the first time since s3, Mickey is absolutely helpless to fix a problem. He takes a breath as Ian walks away as though he’s about to say something, but what can he say? What can he do? Nothing. He can do nothing but hang up the phone and weather the storm.

In the end, the heartbreak in this scene isn’t about them hurting each other, from my perspective. It’s not about Ian being callous and cruel or purposely trying to hurt Mickey. They know each other too well for that. They’ve been through too much. To me, this is about two people who love each other more than anything not being able to be what the other needed when they needed them—and that’s a whole lot more painful.

#shameless meta #ian gallagher #mickey milkovich

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achorusofnonsense · 3 years

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sure, fine, my entry into the what-if fantasy high junior year wishing pool:

we're not going to get ordinary uncomplicated high school life ever again. the pandora's box of the wider world was opened in sophomore year, and life doesn't get less complicated with each passing year. also just in terms of basic narrative structure, they're adventurers and need to go on an adventure, which means bad things are going to happen to them and they're going to have to be in danger of dying. a junior year in which everyone just goes to therapy and deals with their issues sounds noble and satisfying in theory, but it would be repetitive and tedious in practice.

now that a second party of pc adventurers has been established in the world of spyre, i want to see the bad kids interact with the buccaneer buddies in some way, whether it means splitting the parties so that brennan only ever has to dm six people at a time, or expanding the dome to fit twelve pcs at a table and combat taking literally forever to get through.

i've talked about this before but since we dug deep into fabian's and adaine's ancestral homelands in sophomore year i want to see orc and goblin societies too. what are the mountains of chaos like, brennan? i bet they're pretty cool! and if they're not why the hell aren't they, brennan?

from the boys' night one-shot we know that the seven maidens (with adaine, fig, kristen and ayda) were in throshkk defeating a medusa. the seven maidens feel like they would be natural antagonists in a junior year; not necessarily because they turn evil or anything, but because they will naturally end up having different priorities from the bad kids (in like a captain america: civil war type of way), and of course brennan knows how to use his npcs for juicy drama that will hurt so good.

dangling plot threads that will be obvious pick-up points from the end of sophomore year: tracker in fallinel (ragh was a little bit cagey about how she was doing in boys' night), the night yorb (joke that should be dealt with quickly), and of course chungledown bim (very real, very powerful, very terrifying). if they wanted to lean into fandom interest, the baronies would be an obvious place to start (not that baron would be at all representative... or would they?), and of course there's still the idea of extraplanar college percolating in the background. i wouldn't be surprised if major chunks of junior and senior year take place entirely off the material plane, now that the nine hells and elysium have been visited.

i guess it turns out i don't have a lot of "what i want to happen" so much as "what i think would make for a good story," because like murph says in short rests sometimes i'm kind of a story robot: of course i want to be invested, but that doesn't mean i'm protective. more than anything i want to see brennan hit them hard and them come back at him swinging even harder. the thing about d20 is that it's both a narrative show in which characters grow and develop and it's also a sporting event in which you're rooting for a team and cheer when they succeed wildly. i don't want the story without the game, and i don't want the game without the story.

#dimension 20 #fantasy high #pirates of leviathan

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carol-effing-danvers · 3 years

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Steve Rogers is a Monster

Yeah, that’s a hell of a title, isn’t it? Strap in, it only gets worse from here.

(click here if you’d prefer to read this on AO3)

Forewarning, if you enjoyed the epilogue for Endgame, this particular essay is not for you - and no, I am not bashing the Steve/Peggy shippers, you are beautiful human beings who make the fandom brighter and I’m happy that at least someone in this fandom got the ending they wanted.

Additional warning: if you expect this to be another Civil War debate, you will also be disappointed. There has never been a measurement invented that can adequately describe how much I loathe the verbal dick measuring contest that seems to pass for human interaction between Tony Stark and Steve Rogers in this franchise. It’s not funny or entertaining - it’s exhausting, uncomfortable, and frankly it’s rather lazy writing.

This is about the very specific way that the epilogue in Endgame completely changed the way the character of Steve Rogers can be interpreted, and I don’t just mean the very illogical and contradictory way that time travel is explained, both in the movie itself and the fact that the writers and directors have two completely different views on how that worked out.

I mean that the choice made by Steve Rogers in the very last minutes of that movie alters the way I view each and every one of his actions starting from The First Avenger and that alteration is exactly what I want to talk about, because whether you view it as deserving or not, what Steve does at the conclusion of Endgame was the most selfish thing humanly possible. Time is a thief, but somehow Steve managed to steal even more than Time.

Side note here: I understand that I am a completely biased Stucky shipper, a friend to Barnes and Noble, a Starbucks aficionado - sorry. Anyway, I’ve always believed that Steve and Bucky were destined blah blah blah, but I was never expecting a Stucky ending. Disney wasn’t going to do that, and I knew that, I wasn’t bothered that Steve and Bucky weren’t doing the smoochies by the end. But Bucky’s facial expression during those last minutes was gut-wrenching. Like...I have no idea what kind of cues the script and directors gave him, but in the future, please don’t ask Sebastian Stan to look sad unless you want soul-crushing devastation. It’s not Seb’s fault, his features are just arranged that way - but the fact that the editing staff allowed Sam to be sad though elated to be entrusted with the Shield and Bucky looked like his soul was being physically torn out of his body was an… interesting choice.

Other side note: if you’re writing about time travel, I’m begging y’all to get your facts straight. Or just don’t write about time travel. It almost always sounds better on paper than it does on screen and it means that you’ve opened doors to more questions than you’ve probably got the answers for. I know this was about trying to set up the idea of the multiverse, I get that, but there were better and less messy ways to do that, and I know that because I’ve done it before. @Marvel: Let me write you a six-way orgy you fucking cowards~

By going back in time, Steve robbed Peggy of the future that would have been hers - not only that, he’s robbed her of even the chance of making the choice between those futures, because you honestly could not tell me with a straight face that Steve told her the complete truth of what he had done and she would be okay with him alternating the very course of the future. It doesn’t help his case that he has a history of not disclosing truths that he knows will be painful or inconvenient for other people in his life.

He robbed his loved ones - Sam, Bucky, Wanda - of the years they would have spent with him. Sure, he ‘came back’ after Peggy passed away, but they are adults in the prime of youth who knew him sixty years ago in his own time and he is an old, old man who has lived an entire life completely separated from them. He is practically a stranger with a name they know, but a history that no longer belongs to any of them - not even his oldest friend. They have him back, but judging from his age, they’ll be lucky to get even ten more years with him. Assuming of course, that any of them can stand to speak to him - I certainly couldn’t blame them if they tell him to go to hell and take his dad jokes with him.

Steve has stolen away their friend and dropped off an elderly and dying near-stranger in his place, and this is treated by the writing (and the majority of the acting) as a wild and unexpected but not tragic event.

Is it really that unexpected, though?

I recall seeing a Game of Thrones essay on Daenerys across my dash (I’m sorry, love, I don’t recall who you are since it’s not a fandom I’m in, but if someone knows who wrote that, please post the link!) which detailed how her ending in the series was foreshadowed many times by her penchant for bloody killings and her habit of surrounding herself with her own fawning friends.

Months after reading that, I had the thought: though Steve is never really shown thinking about Peggy after Civil War, except in a few scattered scenes in Endgame, was this foreshadowed? Whether you believe that his actions are justified or not, what Steve does is still, in the end, selfish at its very heart, and Steve Rogers is not a selfish person.

Oh no, my dear friends and readers. Because taking this action has solidified and clarified Steve Rogers as the biggest and most selfish asshole in this whole universe.

Steve does not do the right thing, Steve does the thing that will most make him feel better. The fact that this often happens to be the right thing in the end is more the result of happy coincidence than any special sort of moral authority that the man holds.

Rescuing Bucky Barnes and his fellow captives in a prisoner of war camp from being experimented on by an insane Nazi eugenicist? That was not a moral stand, that was endangering himself, Peggy Carter, and Howard Stark because he couldn’t handle the reality of his best friend being killed in war.

Sacrificing himself by putting the Valkyrie down in the Arctic Circle? That was not about sparing human lives, that was about Steve seeing his friend die right in front of him and not being able to deal with the grief. There were ways he could’ve prevented the plane from killing people without killing himself.

Trying to make Bucky remember who he was? And later on, saving him from the government agencies who wanted to hunt him down? Although, arguably, that last one is also just good common sense - Steve was already shown that government agencies could and were corrupted by HYDRA and he’d also seen how dangerous the Winter Soldier could be when unleashed.

Steve did, I think, truly believe that this was the right thing to do, but it was also about keeping his connection - his very last, since Peggy had descended into dementia caused by Alzheimer’s before she ultimately died - to a past that for him, was only months or years ago, rather than decades. In some ways, this is completely understandable - Bucky might be the very last person left alive who truly knows who the real Steve Rogers is, because the rest of these people only know Captain America and we are consistently shown through multiple movies how uncomfortable this makes him.

This gets...considerably less and less understandable as we are shown Steve’s growing relationships with Natasha, Sam, Wanda - even Sharon, though she barely gets any screen time and they share the most awkward kiss I’ve ever seen - and indeed, what might be the most uncomfortable kiss in cinema history.

Side Note 3: This is made even more awkward by the director’s choice to have two of Steve’s friends watching them the whole time - seriously, who even does that? Why would you make them do that? Only sociopaths make out with their friends staring at them like that. It’s so fucking creepy - and don’t even get me fucking started on the fact that she’s also apparently his own niece. AHHHHH!

But we are shown, over and over again, that Steve is capable of building close meaningful relationships with people in the present. They don’t know his whole history, but they do know Steve Rogers rather than Captain America and they care about him deeply.

Side Note 4: Notice that I don’t count Tony Stark among those people - despite this strangely persistent narrative that the various writers and directors tried to sell to the audience, Tony and Steve were not friends. They were never friends. They were colleagues at best, but these were two men who neither liked nor understood each other very well, but had to work together. And sometimes that’s okay, too. (Oh dear, I just gave the Stony fans a fit too, didn’t I? Sorry, guys. Enemies to Lovers is a great trope, I support you!)

But let’s set aside Steve’s gross betrayal of the people who loved him. We’ll also ignore the question of whether the motive for these good actions has tainted the actions themselves. Because even without questioning these, the conclusion of this story arc still transforms Steve into the biggest monster this franchise has.

The very fundamental way that the writers and directors can’t agree on how the time travel mechanics in their own story work mean that Steve has just done one of two things and they range from shady and very questionable to absolutely fucking horrific.

The first, that he’s created his own alternate universe to exist in, is morally dubious at best. Even the people who support this theory and liked the ending seem to feel that it wasn’t necessarily a ten out of ten on the moral goodness spectrum. They’ll say things like ‘he deserved to have his happy ending’. Even that phrasing seems to acknowledge that doing this was the opposite of the right thing. It just considers doing the wrong thing as being justified rather than horrifying.

But let’s examine this first idea for a minute - even this, the more innocent of the two implications, means that rather than really processing his grief or dealing with the repeated tragedies and losses that have occured in his life, even as he was running group therapy sessions and grief counseling, Steve Rogers chose to escape his current life by creating an alternate universe that specifically allows he himself to live out his own fucking fantasies of the way his life should have turned out.

That, in case you are not aware, is wildly fucked up. I thought I was playing pretty fast and loose with Steve’s characterization when I turned him into an extremely polite serial killer but as it turns out, I clearly just wasn’t setting the bar high enough, because that’s somehow even more fucked up than being an undercover child soldier with a small sadistic streak.

Hm, and now I feel I should have been more creative there...

The second, and even more horrifying option, is that this older Steve Rogers has been in this world the whole time, watching as things unfolded just as we’ve seen over the past decade, taking ‘the slow way’ through time.

Side Note 5: I do kind of understand why you would do it this way, because that’s really cool and shocking when you say that! Until you think about it for longer than three seconds and suddenly you realize…

Everything that has happened here, every tragedy and downfall these people experienced, happened because Steve Rogers lived his happily ever after with his beautiful wife and did absolutely nothing to stop it. He got to fuck Peggy Carter and watched as his wife built an empire of intelligence networks, knowing that her efforts were completely in vain because her agency was rotten to the core and he never told her.

Every horrifying act committed by HYDRA under the guise of SHIELD was permitted through Steve Rogers’ negligence. And that’s just the wider big-picture worldview, large and shocking, but not personal.

What about the people that Steve claims to actually care about?

This means that Steve lived his whole life in contentment with his wife and children while his best friend was physically and psychologically tortured for over seventy years and just...let that go.

He allowed one friend to murder another in the nineties, when the Winter Soldier was sent after Howard and Maria Stark. Then their child was being advised by a greedy self-interested warmonger who paid terrorists to drag him off to be tortured and slaughtered, and Steve did nothing about that, either.

Bruce Banner was exploited, experimented on, and made into a monster against his will in the failed pursuit of recreating what was done to Steve, resulting in billions of dollars in damage and dozens or even hundreds of lives lost, and Steve allowed that to happen, too.

Like Bucky Barnes, Natasha Romanov was physically and psychologically tortured for others to use her as a living weapon - except that this was probably happening to her since early childhood, and a man her future self loved and trusted implicitly did nothing to save her from this upbringing.

The Maximoff twins are shown to have not wealthy but loving parents who are murdered in front of them and they both endure days of laying in the rubble of their ruined apartment, wondering if the bomb in their living room would go off and kill them. Later, they are taken in by HYDRA, experimented on, and recruited as child soldiers to the cause when they show signs of having supernatural powers. They start a series of events that result in the destruction of a major city and the loss of what is probably thousands of lives. Pietro is murdered while trying to help the Avengers to stop this, and Wanda suffers the loss of the very last living person she loved. None of these things seem to have bothered Future Steve.

Steve “I can’t sit on the sidelines when I see a situation go sideways” Rogers, planted himself on that fucking sideline and observed for nearly eighty years as friends, colleagues, and his own wife were lied to, brainwashed, tortured, vilified, and hunted down like animals.

And then there Steve Rogers himself - not the Endgame Steve Rogers, the Steve Rogers who brought down a Nazi plane and will lie beneath the ice for seventy years while everything he knows disappear (mostly) innocent of these horrors, the life he would’ve lived stolen from him by a stranger with his name and his face from another universe.

What I’m saying here is that if you consider this idea for any amount of time, it took Steve Rogers less than ten minutes to become the most evil and disturbing figure in the entire MCU, only (not really tho) contested by Thanos himself.

Gross and poorly reasoned libertarian ethics aside, Thanos genuinely believes that he did what he did for the sake of the entire population. It’s made fairly explicitly clear that Steve didn’t do this for anyone but himself.

Call me crazy, but if everyone you know needs to suffer and multiple planet-wide devestations have to happen in order for you to get your happy ending, you might be the bad guy.

Maybe I’m just old-fashioned?

#forever bitter about what they did to steve #steve rogers #captain america #the avengers #marvel

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rocket-bear · 3 years

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shinsena ghost fic outline

SO. on my last list of shinsena fic ideas I had written "shinsena ghost AU (yes, like the patrick swayze movie) but with an actually happy ending". I have decided that I'm not actually going to write this fic because 1) it would take forever and I have other ones that are bigger priorities for me and 2) the inspiration for it was really the MOUNTAIN of IT fix-it fics I was reading in early 2020 because I was Going Through It where I then shunted that inspiration over into a fandom I was actually comfortable writing for, and at this point I have moved past that stage and no longer need the catharsis,

BUT! I do really like the bits that I did already write for it, and I still love the idea, so I'm just going to go ahead and post the WIP bits that I did get finished, and then flesh out what the rest of my plan was after!

The fic takes place in Sena's second year of college! It's a ghostfic so, y'know, warning for major character death and copious discussion of grief, haha, but it gets better!!! Also, in addition to ShinSena there's BG mentions of HiruMamo in both the fic excerpts and bulletpoints for the rest of the planned plot. Text below the cut is about 6k words!

---------

"Aw, beans," is the first thing Sena hears after he dies.

He doesn't really process it in the moment, too busy blinking up at the bright, unclouded sun and distantly noticing that it doesn't hurt his eyes. He sits up, running through the last few moments in his mind-- a bouncy ball dotted with pink flowers, skipping merrily over the sidewalk into the street, a girl in her school smock tottering on chubby legs after it, a car unavoidably close, his view of everything blurring as he throws himself forward without even thinking about it--

Oh.

"EHHHH," he shrieks, and scrambles away from his body, and it doesn't come with him.

"I'm going to be in ;so much trouble," that voice says again, and Sena whips around because it's the only thing he can actually hear clearly, even though he's pretty sure he should be able to hear-- the other people around him, looking at his body without looking at him, everyone unharmed but most of them in tears, and he doesn't want to think about that.

So he looks, and sees-- something. It almost looks like an afterimage, at first, the kind of light-dark luminescent spots your eyes put up when you look away from a light you've been staring at too long, but it stays put as Sena stares at it, a kind of void of shifting light just stamped in the way of his view of the bushes lining the sidewalk.

"Um," he says, and the Thing kind of goes more dark-light than light-dark for a moment as it… sighs?

"Yeah, sorry, you're not getting me at my best, this wasn't supposed to happen," it says, and Sena feels like he would be hyperventilating if he had lungs, but he doesn't anymore.

"No, listen," the Thing says, and it starts to get bigger, which Sena belatedly realizes is because it's moved closer to him. With the way it doesn't actually seem to take up space, it's hard to tell. "Let's move away from here, okay? It's going to be hard for you to listen with all this going on."

And, well-- Sena casts a glance back behind him, to the people with their hands over their mouths and tears in their eyes and the pointless things they're doing to his body to try to bring him back to it, and he scrambles up to his feet and follows the thing.

"Okay, here goes," the Thing says as they move further away from the-- the scene, and then its voice changes. "Fear not, mortal, for your time on this plane has elapsed, and you have accomplished all that you were intended for. Your current form--"

"Wait," Sena says, fighting against the mesmerizing effect of the Thing's shifting lights in combination with its new, multilayered voice, high and low at once but somehow soothing. "I thought you said this wasn't supposed to happen??"

"Well, okay, yeah," the Thing says, its voice reedy and thin once more. "Your time actually isn't supposed to be up, but-- okay, did you know you're like, really fast? Like crazy fast. I was just supposed to nudge the driver once they stopped the car in time, you know, typical near-death experience stuff, but you jumped right through me before I was in place."

"You kill people by touching them?!" Sena skitters away from the Thing, and gets the distinct impression that the silvery flush it pulses in response is decidedly unimpressed.

"I can't kill you again," it says. "And we don't kill things, anyway. We just… mark them as finished. I got you out of the oven too soon, that's all."

That sounds a lot like it was only different from killing things in terms of word choice to Sena, but he doesn't say so.

"C-can-- can we fix it?" He asks instead, the first shards of ice-cold realization sinking in at last. He's dead. He's dead?

The Thing flares sigh-dark, and says, "You know this kind of thing has only happened like, four times before? Ever! Since the dawn of humanity! It's been like 20,000 years since the last time! I don't know off the top of my head, kid, I'm gonna have to look it up."

"Then-- there's a chance? How long will that take? What if-- I mean-- they're gonna take me to the hospital--"

The ice shards sink further into his body, but the Thing's voice is dismissive.

"If there's a way, that's not the body you're going to be coming back to; there's no way we're gonna be able to do this without rolling back the clock. So don't worry about the morgue, okay?"

Which-- was a relief, but Sena feels an empty sensation at the word "morgue" that he's pretty sure would have been nausea if he had a working stomach left to experience it.

Some of that must show on his face because the Thing comes to an abrupt stop, and its voice is more gentle as it says, "Okay, gameplan. If there's a way to get you back, it's gonna have something to do with the energy left over from your presence among the living. So go see your friends and family and see what you can figure out. Right now, you're a ghost, so there's got to be some way to tap into that energy."

Sena nods a little numbly at first, working on auto-pilot, and then nods more firmly as he actually processes the Thing's words. A plan! That means-- there's something he can actually do, while the Thing goes to-- "look it up." That's good! A plan!

And then, the Thing goes yellowish, and its tone turns apologetic.

"And… Speaking of ghost stuff, I didn't get to finish this part before. Your current form will let you move around this plane to visit your loved ones and grant yourself any closure you desire, but you won't be able to interact with the living world, and if we're not able to fix this in time-- when the time comes, you'll have to make a choice. Move on completely to the next plane, or stay here with your loved ones until there are none left who remember you."

Sena blinks, going still, and the Thing glows even more yellow.

"So we've got about [a month] to figure this thing out. I'll do what I can, kid. You hang tight."

And then it's gone, and Sena is left alone on the sidewalk.

He does all that he can do, and goes to find Mamori.

------

He doesn't think through the consequences of that until he gets to her apartment and finds her in tears and Hiruma on the phone, calling them an escort to the hospital. Every awful minute of that first day feels like nothing more than a smear in Sena's memory by the time his funeral comes around. He spends the time in-between trying his best to do something, anything, that will let his friends and parents know that he's still there. He does his absolute best to go full Hollywood Haunting on everyone he knows, trying to knock over pictures or rattle windows or flick lights on and off, but nothing works. Every once in a while, when he's flopped beside Mamori on the floor as she goes through photo albums, he almost thinks she hears him as he talks about the photos she's flipping through-- but it always just ends up being a fresh round of quiet tears that brings Hiruma over to her side.

The funeral seems to be no different. He'd hoped, somehow, that maybe having so many loved ones gathered in one place to think about him would somehow give him the energy to make himself solid-- and there are so many people there, not just Sena's family and closest friends, but people from nearly every team in the Tokyo American football community, some of them who he only ever remembered seeing across the field.

All of the original Devil Bats are there, of course. Kurita sobs his way through the service. The Ha-Ha Brothers stand stony-faced, and Juumonji scrubs a rough hand across his eyes, but Sena never sees any tears. Suzuna clings to Monta's arm as they both cry openly with Riku in the row behind Sena's parents, Mamori, and Hiruma.

His parents cry. Mamori seems too exhausted to, just sitting quietly and taking in the service with bruised red eyes. Hiruma puts his arm around her shoulder at one point, and Sena finds himself surprised by how much tenderness he's seen between them in the last few days. Hiruma had handled almost all of the arrangements, actually-- Mamori and Sena's parents making the decisions, and Hiruma diligently rising from each discussion to make the appropriate phone calls.

In the middle rows, Sena finds himself looking at Shin and Sakuraba. He shouldn't have been surprised to see them-- and he really wasn't, not really, he knew he would be devastated and would definitely show up if the situation was reversed-- but something on Shin's face startles him into looking again.

He looks tired. Sena doesn't think he's ever seen Shin tired, before, not even after playing full-out through an entire game, not even after the most intensive of training. But Shin's face is undeniably drawn, and the skin underneath his eyes is bruise-dark.

Sakuraba tears up, and Shin doesn't, but it's Sakuraba who lays a comforting hand on Shin's shoulder. [UNFINISHED SCENE-- also I had intended to go back and make this scene more accurately reflect Japanese (vs Western) funeral traditions but have not done that since, I'm not finishing the fic]

----------

He finds himself seeking out one of his and Shin's old training routes from high school, when they lived close enough that it made sense to share. It's been years since he ran this route, but it makes sense, he figures, that he would be revisiting old memories like this. It was a good route, anyway-- at one point it ran alongside the river, and Sena remembers reaching it on hot summer days, and noticing that even Shin tipped his face into the breeze when the sun was really beating down.

He walks along the path at first, but before long finds himself jogging, the force of memory and habit alike drawing him into those quick strides. It doesn't feel the same without the sensation of the wind on his face, or the heat of the sun on his body, or even the sweat beading up stickily between his skin and his clothes, but it's something.

Without fatigue or fear of obstacles to keep him vigilant, Sena finds himself startled before too long by the sound of steady footfalls coming up behind him. He automatically shifts his path to make way-- though it doesn't matter much now, he thinks with a frown-- and looks up as the lone jogger makes to pass him.

It's Shin.

Sena's not-heart squeezes painfully at seeing him unexpectedly, and Sena gapes.

"Shin-san--" He gasps, and of course Shin doesn't respond or look his way. Sena swallows the painful reminder and adjusts his pace to match Shin's.

They run together, and of course it's quiet, because Shin doesn't know that he has company. Not that companionable silence was atypical for their runs together before-- running was for focusing on technique, including breathing, so they would save the chatting for before and after.

Sena wonders if Shin had kept to running this path all along-- he was so sure that they'd both abandoned it when they'd made their way to university. Or at least, Shin had apologetically told him so, when he'd moved on to Oujou University and Sena was still in his third year at Deimon.

Maybe Shin's feeling nostalgic too, Sena thinks, and then shakes his head. He doesn't want to be sad, and it's nice to have Shin at his side, even if Shin doesn't know he's there.

He tries to sink into the feeling of running. It's still hard-- he can't feel much of anything, after all-- but with Shin there, it's a little easier to fall into old memories and let those guide him. He can pretend-- to feel the gentle breeze off the river cooling the sweat on his face, to feel the push of the sidewalk under his feet launching him into his next step, to feel how the sun is hotter on his back and shoulders than anywhere else as it crawls its way up the sky.

It almost feels like normal, finding that rhythm alongside Shin that has their steps striking the pavement in tandem, Sena's extra stride to make up for their heights a little accented half-note; that peaceful, focused haze that has them inhaling and exhaling in synch. It's so perfectly familiar that Sena can almost imagine a lump rising in his throat and the sting of tears in his eyes, nearly overcome with the twin sensations of having and loss--

--when Shin startles hard beside him and skids to a stop, with a gasp that has Sena's blood running cold before he even looks back for him, the image of the oncoming truck flashing through his mind.

But there's no truck here, of course. They're on a running trail, on a totally separate level than the road, but it's obvious enough what drew that terrifying, uncharacteristic noise from Shin's lungs when Sena looks back, and his eyes meet Shin's.

Shin sees him.

[UNFINISHED SCENE, this is the last of the actual fic that I wrote!]

---------

FROM THERE here was the plan:

- Shin being able to see him only lasts a split second. Shin's super shaken and keeps looking around and rubbing his eyes for a couple moments, and then he turns around and walks back to the train, and Sena-- thinking, like, "holy shit, Shin never skips training"-- follows him back, because even though it's super heart-breaking seeing Shin so shaken up it's also the closest he's gotten to making any progress the whole time

- Shin gets back to his dorm and just like. sits down at his table with his head in his hands. Sena's motivation to keep trying to get his attention kind of dries up so he pokes around Shin's dorm room instead and notices, like. a bunch of half-eaten meals/snacks in the trash, "Practice" scratched out on his calendar for the next few weeks, unmade bed, evidence that Shin's only really gotten dressed to go out jogging over the last few days and is only wearing his pajamas otherwise-- he's just not doing good.

- Just as Sena's like, really starting to grasp this, Sakuraba shows up at the door-- Shin gets up to answer the door with his back to Sena and like, whatever Sakuraba sees on Shin's face just stops him in his tracks and he immediately pulls Shin into a hug, which Sena is kind of shocked to see that Shin totally sinks into

- Sakuraba sits down with Shin at the table and they talk. Shin admits that he thought he saw Sena while he was jogging, and both of them are just brushing it off as like, a grief-induced sensory memory, stuff like that happens, etc. Sakuraba comforts him and encourages Shin to take it easy, it's okay to take time off of even his own personal training, it's okay if he needs more time, and also like fusses about Shin not getting enough to eat especially if he IS going to keep training

- Sena meanwhile is like, feeling awful with guilt but also just kind of overwhelmed with the realization of how important he was to Shin, and this is where I would've like, laid the groundwork for how they'd gotten closer during the rest of high school/early college but Sena still never rrreally understood how much Shin cared about him because 1) he's got self-esteem issues baybee, and 2) Shin is not exactly, like, super forthright about his feelings,

- but, while Sena DOES feel awful about how much Shin was shaken up about seeing him, it's the only thread he can think of to pull on to try and bring himself back, and he ALSO feels guilty about having to watch everyone grieve for him, so, well,

- he starts haunting Shin!! Shin does not listen to his good and helpful friend Sakuraba and goes jogging again the next day, but it's obvious that he's still feeling Off and he's having a hard time getting into a rhythm, and Sena isn't able to tap into ~whatever it was~ that made him visible the previous time and is feeling super defeated about it, UNTIL,

- Shin takes a break at the midpoint of his normal route, which is a thing Sena knows he does not generally do from their own training together, and is basically just slumped over on a bench with his head in his hands again and Sena's also feeling awful and helpless and does the same thing,

- and then Shin tenses up beside him, his breath getting shallow, and Sena notices and tentatively calls out to him. Shin slowly, slowly looks up, and they make eye contact for just a second again, before Sena can tell he's not visible anymore because Shin's eyes kind of unfocus and he looks away, and just gets up and goes home.

- This kind of refreshes Sena's determination, and over the next few days (IT WAS GONNA DEPEND ON HOW LONG I WANTED TO TORTURE SHIN) they repeat the same pattern, with Sena going on Shin's jogs with him and occasionally achieving small flashes of visibility(/audibility, though Sena isn't ever able to get out anything helpful before the universe mutes him again) which Shin seems to be determined to just brush off as grief illusions even as he gets more and more tense each time

- Until finally as they're jogging, Shin sort of tersely asks "Are you there?" and instead of saying anything Sena just tries to barrel into him for a hug because clearly auditory-visual haunting only isn't WORKING and we've gotta get some TACTILE FEEDBACK in here,

- and it works. He knocks Shin off of his stride, and Shin grabs for him in turn, and there's a moment where they both stare at each other in total shock and relief before Sena starts trying to frantically tell Shin the whole story and disappears out of his arms like, three words in.

- Shin has a little tiny mental breakdown in the middle of the sidewalk where he cycles from devastation at Sena disappearing again to trying to pull himself together like, "okay if this is real then this isn't my last chance because it's happened a lot over the past few days" to a kind of giddy catharsis because it's real Sena's really here to kind of shutting down over the idea that maybe it's STILL not real and he's just going REALLY crazy to actually pulling himself back together and going to find a bench to sit down on, and just like,

- talking things out, out loud, in hopes that Sena can hear him. He can only see Sena when they're running, which is something they used to do together, so maybe recreating old memories is what triggers it. He's noticed that even when running, he usually sees Sena in moments when he's feeling least conflicted/emotionally complex-- either pure grief or pure nostalgia or pure just-zoning-out-running, not as much when he's really struggling to process and has a lot going on internally at once. Maybe the stability of the emotion is part of it.

- Sena meanwhile is having his own meltdown from sheer overwhelming relief over FINALLY FINALLY making contact and Shin FINALLY FINALLY believing he's there and also just like making hearteyes at Shin for immediately going into full methodical Ghost Scientist mode after getting his own meltdown over and done with

- speaking of going full Ghost Scientist, Shin announces his intention to do exactly that by saying he's heading back to his and Sena's old running trail to test out the "recreating memories" theory right that second, and they head over.

- They jog, and Shin talks out some of his memories with Sena from his own perspective, which is a surprise for Sena because he doesn't even remember some of the things that Shin does and also it lets him actually understand what Shin was thinking in those moments.

- And most importantly: it works. It's not constant, but the longer they practice, the longer they're able to keep Sena in view for longer stretches of time, more of an unsteady flicker than the total off-or-on that it was before. They stay out for a long time (and in the process discover that other people still can't see Sena when Shin can as he continually gets weird looks for talking to thin air) and Shin actually eats a real meal when he finally goes home.

- Sena and Shin keep practicing over the next few days, which makes Sakuraba SUPER concerned because Shin spending hours and hours jogging every day looks like Shin further depression-spiralling from his perspective, but he's somewhat mollified by the fact that Shin's actually getting back to eating and getting dressed etc. normally, even though he's still not going to practice.

- During this time, Sena and Shin bond when they're actually able to communicate. Sena notices that Shin's parents haven't checked in on him even once despite the fact that he just lost a friend, and Shin confirms in one conversation that he basically doesn't have a relationship or emotional connection with his parents at all. (But watch, hang in there, I'm gonna fix it,)

- In the meantime, Shinigami-san tracks Sena back down and they both share what they've learned. Shinigami-san says that Sena has to gather energy from as many of the people he's formed bonds with as possible to chain himself more strongly to life, and gives him a pendant to wear around his neck that will store the energy. When Sena talks about his and Shin's experiments, It says that it makes sense that being emotionally and physically in-sync would help bolster the connection between them to the point where other people would be able to see him, and that if they practice enough they might even be able to just use one or the other (emotional sync or physical sync) without needing both.

- After Sena laboriously relays this to him through flickers, Shin gets a metronome and they both practice tapping their fingers to the rhythm, and they're finally able to see each other at Shin's dorm room vs having to be on a run and actively reminiscing together. They develop a system where when Shin wants/needs to see him, he'll tap his finger against the side of his leg and Sena will do the same thing so they can actually talk.

(- There is at least one moment in the development of this that, when Sena successfully appears in front of him, Shin smiles fondly and very softly says, "There you are," and Sena immediately disappears again because he's so shaken to his disaster bisexual core that he can't even handle it.)

- During this process they find out that Sena's pendant glows when Shin is reminiscing or otherwise talking about his feelings (but not the capital-L feeling) about Sena, which lets them know how to go about "gathering energy" from Sena's friends.

- With the clock counting down on Sena's deadline, Shin starts approaching Sena's friends to "check on them," or, to sit down with them and talk about Sena. It's a little awkwardly sweet on both sides, because no one expects Shin of all people to be making sympathy housecalls and Shin's not very good at talking about feelings, but the conversations are surprisingly genuine and cathartic for all parties (including Shin, who is still processing some weird sideways grief even with his new connection to ghostSena, and Sena, whose self-esteem issues have a hard time standing up under a deluge of people talking about how much they cared about and miss him), PARTICULARLY:

- Monta and Suzuna, where the reminiscing works a little too well and they actually see a flicker of Sena sitting at Shin's side during the conversation and freak out. Shin immediately changes tacks and tells them that Sena is there and that he's trying to bring Sena back and he needs their help, and at first this makes them freak out more because what the fuck but by virtue of Shin being… Seijuurou "Overly-Serious-Stoic-Never-Overreacted-In-His-Life" Shin, he convinces them to try the tapping technique to bring Sena back into view.

- Sena has Shin describe a memory involving the three of them while they tap along to Shin's rhythm, and the combination of reminiscing and tapping works well enough that they're able to get frequent enough flickers of Sena to believe Shin. Yes, they do get a least one good long group hug out of the flickers, I'm not a monster.

- Shin still has to do most of the communication for Sena because it would take a lot of practice for the Sena-Monta-Suzuna combo to get enough in-sync to be able to communicate effectively, but he explains the whole situation and all the information they've gotten from Shinigami-san. They decide that it still makes the most sense for Shin to field the energy-gathering housecalls for the same communication-based reasons-- Sena can guide Shin through the conversations by suggesting memories to bring up with his friends-- but all the same, Shin suddenly finds himself with two tiny new best friends who want to hang out with him all the time. (And not even just to talk to Sena! Suzuna and Monta become pretty attached to and curious about Shin after he shows them more of his vulnerable side in the conversation leading up to the point where they actually see Sena themselves.)

- I was going to go through little flashes of Shin's conversations with a lot of Sena's friends across the football world, but the other Big One was going to be Mamori, of course. (And a little bit of Hiruma, who refuses to sit down for an Emotional Conversation with fucking Shin, but will gladly peanut-gallery Mamori's out of his own repressed desire for catharsis and also to make sure with guns loaded that Shin doesn't fuck up the fragile acceptance Mamori's been building since Sena's death.)

- Having learned from the experience with Suzuna and Monta, Sena wisely sits out of view during the conversation because he actually doesn't want to put Mamori through the rollercoaster of seeing him again, especially if his and Shin's efforts fail.

- Shin does not fuck up his conversation with Mamori and so Hiruma doesn't have to murder him! It's actually the most honest-- and healing-- conversation he has with anyone. Mamori finds herself feeling very fond of Shin, who she didn't know was so close with Sena and could be so supportive and empathetic under all that stoic strength, and Shin finds himself immediately adopted by another one of Sena's loved ones.

(- In their conversation, Mamori also mentions that just after Sena passed she kept finding herself thinking she heard Sena's voice, because that seed in the actually-written bit above was in fact foreshadowing ohoho.)

- I was not going to Go Into It because not even I have the strength, but to continue the theme of Shin finding a new family via his bond with Sena, there was going to be a brief scene referencing that Shin's visit with Sena's parents went much the same, with the addition that Shin was surprised Sena's parents already knew so much about him (because as it turns out Sena talked about him FREQUENTLY.)

(- Also within the housecalls there's a comedy scene where Shin makes Sena solid just long enough for Sena to log Shin in on Skype so he can talk to Panther without sacrificing a computer, and they discover that international friendship energy gathering does in fact work.)

- AND THEN: SAKURABA. The fic would switch to Shin's POV from here! In Shin's energy-gathering conversation with Sakuraba, things are going well at first, with Sakuraba reminiscing about Sena and then turning the conversation toward Shin himself to talk about how he's noticed Shin's seeming a lot more steady and like he's been doing some real healing lately. Shin obviously does not explain the ghostSena situation, but does honestly say that his conversations with Sena's other friends have helped him process his feelings a lot. And Sakuraba, being a supportive friend, very gently says that he's proud of Shin for reaching out, and for doing so well when he's going through something so hard, because he can't imagine losing the person he was in love with.

- Shin freezes up, and Sakuraba tries to reassure him that it's okay, he's known for a long time, he's so sorry that Shin never got to actually process those feelings with Sena, and Shin doesn't have to talk about it but if he ever wants to Sakuraba's there for him-- and Shin very stiltedly deflects the whole conversation because he doesn't want to totally shut Sakuraba down when he's just trying to be supportive but also Sena is right there

- After finally, awkwardly shooing Sakuraba out the door, Shin sits back down and tries to Talk About It with Sena, but he's so emotionally frazzled that he's not able to get a stable connection. Since they can't have a two-way conversation, he just launches into apologizing-- he's sorry, he understands if it makes Sena uncomfortable, Sena doesn't need to feel obligated to respond to it and of course Shin is going to help him finish getting what he needs regardless--

- Sena's just RAPIDLY flickering in and out of view, with the time he's not visible getting longer and longer as Shin keeps talking because they are incredibly emotionally out-of-sync, and with Shin only able to tell that Sena looks upset whenever he's able to see him, he makes some Assumptions about Sena's feelings about his accidental confession.

- Things don't get better over the next day or two. They try to do their synchronizing exercises, but even reciting memories doesn't help because Shin is too anxious and ashamed (and sleep-deprived from stress) to connect to them emotionally, which is only compounded because he realizes that Sena's deadline is fast approaching and they won't be able to finish in time if he can't get his shit together but that anxiety Does Not Help with relaxing enough to synchronize when he's spiralling over the thought of losing Sena again because of something that he "did".

- Finally, Sena apparently gets desperate and snatches up the metronome during one of the moments when he's solid for just long enough to do it.

- Shin doesn't see him for a while after that, and assumes (correctly) that Sena has taken the metronome with him to try and sync with Monta and/or Suzuna instead, and also assumes (incorrectly) that this is because Sena is extremely disappointed with him at best and totally hates him at worst, and that either way Sena probably doesn't want much to do with him anymore even if he is able to be brought back.

- He spirals for like, A Day, after which he does in fact break and go to tear up very stoically on Sakuraba about how yes he was (is) in love with Sena and it hurts him that he'll never get to express that properly (now that Sena wants nothing to do with him) and how he feels like he let himself (and Sena) down by not being able to act on that earlier (when it wasn't a literal life-or-death situation) and how maybe he's just not cut out for emotions and connections with other people actually, just look at even his relationship with his parents???

- Sakuraba comforts him and very gently tells him he's being a catastrophizing dingus and shows him, like, a mountain of texts on his phone not ONLY from concerned fellow Oujous, but also from a bunch of the people that Shin's talked to about Sena over the last few weeks, all of them expressing the general sentiment of "wow I was super surprised when Shin came around to talk to me about Sena but I'm so glad he did, it looks like he's doing well, keep an eye on him for me" in varying levels of transparency because after all they are Manly Footballers, but regardless: look at that, Shin is actually perfectly capable of forming relationships with other people, and they like and care about him.

- This results in some decidedly less stoic tears, and Sakuraba and Shin successfully patch things up after their previous awkward discussion about Shin's feelings for Sena. When Shin leaves he immediately heads for Enma to try and find Monta, because even if Sena and his friends don't want to see him he absolutely can't just shrug and sit back and just wait to see if they manage to save him.

- When he's like halfway there, he comes across Monta and Suzuna heading in his direction, and they cut off his questions by just being like NOPE SHUT UP COME WITH US and dragging him over to like, a park gazebo for some semi-privacy.

- Suzuna gets the metronome out of her bag and sets it on the park table and turns it on. Monta pulls a piece of paper out of his pocket and starts reading.

- It turns out that after he left Shin's, Sena ghosted up into Monta's room and just plopped the suddenly-appearing metronome down on Monta's desk, scaring the shit out of him but also giving a very clear signal of WE NEED TO TALK. Monta called up Suzuna and the three of them had spent the last day and a half working on synchronizing non-stop, and while they still aren't nearly as good as Shin and Sena had gotten with weeks' worth of practice, they got far enough along that Sena was able to have them slowly write out some of his memories with Shin, this time from his perspective, through the unsteady connection.

- Suzuna and Monta take turns yanking the paper back and forth between them to read out the description of Sena and Shin's memories, and with Shin tapping along to the metronome, he's able to see Sena more and more clearly over time until he's solid more often than not.

- As it becomes increasingly clear, even to Shin, that these specific memories Sena has chosen to share are a record of him coming to realize his feelings for Shin, Sena is eventually able to take Shin's hands and hold them without disappearing, tapping not needed. He interrupts Suzuna and Monta to try to finish off the confession himself: Shin didn't need to be scared when Sena found out about his feelings, because--

- Absolutely overwhelmed by everything about the last 36 hours and having no ability to process any of it in words ANYMORE but moved by the SPIRIT OF COMMUNICATION regardless, Shin gambles on the pretty sure bet that he and Sena are in-sync about this, and kisses him.

- It connects. (And connects, and connects...) Sena's pendant starts to glow brighter and brighter until he's totally enveloped, and--

- Switch back to Sena's POV! He wakes up on the street in front of the truck again, scraped up but otherwise totally unharmed. So are the little girl, who he successfully pushed out of the way, and the driver of the car, who stopped in time regardless. Shinigami-san is also there, and Sena tells It to leave the driver alone because It owes him one, and Shinigami-san congratulates him and tells him that hey hey that was the plan along!! (The onlookers assume that he's confused from the near-accident when he starts talking to thin air.)

- Sena waves off all the concerned onlookers and runs off to find somewhere to sit where he's not going to be gawked at so he can text literally everyone he knows. By the time he finds a bench, he's already gotten HOLY SHIT WE JUST TIME-TRAVELED ARE YOU OKAY??? texts from Monta and Suzuna, which he responds to and incites a flood of emoji-based cheering. Everyone else he texts is politely puzzled by his "are you okay???" message, including Mamori and his parents to his intense relief, except--

- He gets a call from Sakuraba, who sounds very confused as he tells him that Shin wants to talk to him. Sena reassures Shin that he's okay, and tells him to meet him at the park that they left off at, and also that he loves him because he can't restrain himself after not getting to say it before. Shin says it back, and Sakuraba therefore sounds both confused AND delighted when he gets the phone back from Shin to say goodbye.

- Sena texts Suzuna and Monta to meet him at the same place, since it's about halfway between Enma and Oujou, and starts running.

- Shin and Sena, being… Shin and Sena, get there before the other two, and there's so many tears and so much hugging and so many I Love Yous and also some apologies. Monta and Suzuna eventually arrive and there's another round of tears and hugging and I Love Yous, and when everyone is less punchdrunk off of trauma and catharsis, they sit down and figure out that it's only the people that actually saw Sena as a ghost that remember the other timeline.

- With the group understandably not ready to be separated under the circumstances, but also with Sena desperately wanting to see his parents, Mamori and Riku, he comes up with a thin excuse for an impromptu dinner party at his parents' place later in the day (celebrating passing a tough test? beat the Cupids in a football game? national pancake day?? doesn't matter!!!), clears it with them, and invites Mamori+Hiruma and Riku over as well. (Shin lets Sena arrange takeout for everyone on his dime so that Sena's parents won't have to cook for an unplanned dinner party.)

- Fic ends with the group heading toward Sena's parents' house, Shin and Sena holding hands, with Sena feeling content and confident in his relationships as his phone continuously blows up with people responding to his check-in text, and Shin admitting that he's feeling pretty hopeful about the idea of getting to form connections with Sena's family all over again.

END. Thanks for indulging my "I'm too lazy to write this but NOT too lazy to bulletpoint each plot detail beat-by-beat" post, haha!

#shinsena #eyeshield 21 #my fic #kind of!!!

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missmaxime · 3 years

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Tag game #2

Was tagged by my fellow non-native English speaker @bourbon-ontherocks to fill out this little questionnaire. Tag game!Non-Native English speaker asks because I’m curious as to how your brains work when it comes to writing or interacting with the fandom.Tag other creators whose first language isn’t English! How many languages do you speak? Fluently two, a little more haphazardly another two, and a little Spanish. What’s your native language? Dutch. Incomprehensible to foreigners, so I’m told. And if you live in the Netherlands and want to learn it anyway, we’ll just talk to you in English because nobody has time or patience for your sincere effort of learning a foreign language. Which language you’re most comfortable with? Outside of my native language, most definitely English. I’ve been invested in really learning it since I was like eleven, and especially during high school I really made a conscious effort to at one point call it my second language. Where or how did you learn English? In the Netherlands English is a mandatory language during your 4, 5 or 6 years of high school - but sometimes it’s taught as early as primary school (but that depends on the school). So when you suck at it as a Dutch person, in general you can still hold up the most basic of conversation. And something else that @bourbon-ontherocks mentioned is that growing up in The Netherlands - as opposed to some other countries - we see a lot of media and content that’s English spoken (and subtitled). Even in the nineties and early 2000s, when I grew up, there were a lot of cartoons and live action kids series on TV that were either British, Australian (still get hyped by the begin tune of Ship to Shore) or American. As a teen I got really bored in high school so I made it some sort of personal mission to actively learn English, to a level exceeding the curriculum. So what I did was watch a DVD of English spoken series, first with the Dutch subtitles, followed by watching the same episodes with English subtitles. And around the same I time discovered fanfiction - so reading that with a dictionary (yes, like paper things, online dictionaries weren’t the best then) made me learn how to build sentences, understand expressions and jokes better. What also really helped me is that I was a part of this RPG Message Board with mostly English natives, and writing stories with them made me get to their level a lot faster. One thing I would love to learn to be better at is talking in English. In February I was in Liverpool for a convention and when you’re constantly surrounded by English natives it comes naturally more easily. But like day to day life if I converse in English it’s in emails (or here or in fic obviously), so I don’t really have opportunity to get more fluent at it. When outlining a fic, which language are you thinking in? Let’s define outline, haha? Outline is notes in my phone in bullet points. But to answer your question, I do that in English. When we’re talking like just thoughts, I could get an idea in Dutch, but when I write it down it’s always English. When planing a fic, which language are you thinking in? You’re making me think real hard about this, haha. I never consciously paid attention to this, but I think the vast majority is in English, if not all. I feel this weird disconnect to the source material if I write something down in Dutch about it? If it gets technical it could happen I do my research at least partly in Dutch. I did that to research how XTC is made, distributed and costs for Wild at Heart. Or what the technical terms are in the TV Industry in America vs Dutch (there’s a lot of similar words for different functions - it’s insanely annoying) for the Reality TV AU. But I end up converting that to English pretty fast. Is the first draft in your native language, or is it in English? Never in Dutch, always in English. I think my drafts are already so close to the finished work - I’d be shooting myself in the foot doing it in Dutch first, and it really sounds like double work. I also feel like in Dutch I write differently - it’s a bolder, chunkier, rougher language to work with. In my perception English is the other way around; it flows better, it’s a little softer, I find the bouquet of different words more interesting. As a writer you have opposing challenges with these two different languages in my experience. What do you [THINK?, red] of your English? I think it’s pretty good overall. I hadn’t written fanficiton in years before I started writing Good Girls fanfiction, so it’s been a lot of fun exploring the language again. When I look at my earlier work in this fandom I can definitely see I was rusty when I started, I think I’ve improved a lot over the past year. I don’t it will ever not be a challenge to really capture nuance, humor and tone - because it can be really delicate (even in my own language). But I’m pretty confident all together. I think a lot of non-native speakers were already tagged, but maybe: @delicatelingon

#ask meme #non native english ask meme

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thanksjro · 4 years

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Eugenesis, an Overview: Let Me Get Weirdly Serious About This Book For A Sec

HOLY SHIT WHAT A RIDE.

So, let’s recap what we’ve learned over the last 282 pages.

In 2001, James Roberts published nearly 300 pages of fictional prose, based in the established franchise of Transformers, specifically the Marvel UK comic continuity. This novel tells the story of the Transformers, in their dwindling numbers, being attacked, not by their opposing factions, but by an outside force hellbent on revenge. Those who are captured by this force- the Quintessons- are stripped of their very individuality, forced into servitude until the moment they die of exhaustion. Everyone is pushed to- and in some cases beyond- their limits, the horrors of a literal genocide beating down on them like a tidal wave. Only by casting aside their differences and banding together can they hope to survive the nightmare that is the Eugenesis Wars.

But people don’t really talk about all that, even though it’s a majority of what the book’s about. No, people only talk about what happens after the Quintessons are defeated. People only talk about the robots getting pregnant, because honestly it is the most bizarre thing.

Not because the idea itself is terribly odd- I mean, at least it’s in line with the lore the comics set up. It’s bizarre in how we get to that point. All the torture, all the suicide and death and depression and destruction of entire belief systems, leads up to these robots getting pregnant. Almost like that was the whole point. And considering that this story is presenting to us a bridge for the gap between the classic Transformers and the Beast-Era ones, it could have very well been.

I won’t say fetish, because that doesn’t feel quite right, but our dear author seems to have a sort of… obscene fascination with the concept of mechpreg. A fascination that will carry on well into his career as a professional comic scriptwriter, setting readers on edge for the duration of his run with IDW.

Comparing Eugenesis to More Than Meets The Eye and Lost Light, you get an interesting view of Roberts’ growth, as both a writer and a human being. Eugenesis is the work of what Billy Joel might call an "angry young man”, focusing on the despair of wartime and the futility of one’s struggle against the flow of time and mortality. The theme of time only being perceived as linear, and being in actuality an unending plane where all moments are equal and eternal might seem oddly specific, but it’s reflected upon by multiple characters within the story of Eugenesis. Perhaps this is why he has Brainstorm and Perceptor collectively and completely jack up time itself in the Elegant Chaos storyline.

Character moments sprinkled throughout the narrative give us a glimpse of the relationships that would be written later on- some of the most compelling scene writing happens between Quark and Rev-Tone, two original characters who have such a delightful dynamic between them, they very quickly became some of my favorites. You truly believe that they care so strongly for one another, they would do just about anything to keep the other safe. And they do, in a couple cases.

Then there’s all the death. There’s a lot of death in Eugenesis, and none of it is by way of natural causes- you’ve either got suicide, murder, or suicide-by-way-of-murder. You really see Roberts shine in these death scenes, both then and now, as he captures the utter, raw tranquility as one stares down their own demise, and on the other side of the coin, the complete annihilation of one’s very heart as someone they love is destroyed. It’s downright poetic how he handles these scenes.

Still, there is a difference in how the aftermath is handled. When someone dies in the MTMTE/LL run, there’s always meaning and purpose to it- nobody dies just to die, and those who are left behind are left at least something to comfort them.

A message of love.

The return of a friend.

A chance to keep living.

A chance to be a better person.

You don’t get that in Eugenesis. In most cases, there’s no salve for the wound, only more hurting. There’s no time to even mourn, as the fight rages on and on and on. Any happiness pulled from the narrative for the characters is laced with a bittersweet understanding that these folks probably aren’t going to make it, and they’re just as aware of that fact as the reader is.

And yet there’s something kind of beautiful about that, in a twisted sort of way.

Eugenesis is a sort of love letter to those dark thoughts hiding in our heads, those deeply scary intrusive visions of everything we care about being ripped away from us. It’s a book make up of catharsis, of hurting that begs for some sort of outlet. The characters in this story are lost, and scared, and hollowed out before the mass extinction even arrives, and are put through wringer after wringer, like some sort of distanced facsimile of self-harm.

Perhaps I’m reading a bit too into this, but with how intense things get, with self-insert characters no less, I can’t help but wonder if the James Roberts who was writing Eugenesis truly needed this outlet in more than just a creative sense.

Which isn’t to say that there aren’t issues with this novel just because it was a vessel for catharsis. Pacing can end up going so rapidly it feels as if you’re being pushed towards the edge of a cliff, then stutter to a halt to the point where continuing on feels like an absolute slog. But it always seems just as you’re about to put the thing down and give up, something completely thrilling, completely insane and powerful and profoundly attention-grabbing happens, pulling you right back in. If nothing else, this book demands one’s attention.

There are also some other, more interesting issues with Eugenesis. Issues I wasn’t really expecting to run into. To highlight one such issue, we’re going to play a game.

The game is called Guess That Character Design!

Hey Transformers fandom, got a new quandary for y’all to fight over. Forget the Frenzy/Rumble color debate, forget the Bombshell/Skywarp is Cyclonus debate, it’s time for the What The Actual Everloving Fuck Is Quark Supposed To Look Like debate! Do we follow the comic and its script, which show him as being either about on par with Rev-Tone and Mirage or taller, but fails to note any sort of color because it’s in black-and-white? Or do we follow the novel, which states he’s short exactly once, and crimson? And if he’s red, where did the blue paint chips come from in Part Five? They sure didn’t come from Rev-Tone, who I know is mostly red- not because the novel told me, but because I’ve seen art of him outside of this. Honestly, other than him having big honkin’ shoulders and a bust to match, nothing about Quark’s visual aesthetic is concrete.

Now, I could tell you all about his quirks and mannerisms, how he holds himself, how he talks, how he interacts with others, all sorts of stuff. Nothing wrong with the writing there, characterization’s great! I just couldn’t tell you for the life of me how his body is supposed to look. Rev-Tone’s in the same boat, except it’d be even worse without the helpful input of some friends. Did you know he has a visor? Because I sure as shit didn’t until someone showed me. It’s never mentioned in the book. You can barely see it in the prequel comic art if you’re looking for it, and the script is less than helpful to me because I’m not Matt friggin’ Dallas, nor have I had the pleasure of reading Transtrip. All the information presented in the novel about his looks involves his mouth.

Hell, some of the writing in Eugenesis seems to imply that he actually just has normal eyeballs.

What I’m getting at here is that Roberts leans a bit too much on the reader knowing exactly as much as he does about the characters, the plot points, the lore. And he knows A LOT about Transformers.

This book essentially requires the reader to have the wiki open with multiple tabs at all times. Roberts put his heart and soul into the prose, but the world-building had his nerdy little brains smeared all over it, because there are some obscure references in here, not to mention the sci-fi jargon. You basically NEED an internet connection to get through this- I’ve never read a novel that pretty much forbid an acoustic reading, but here it is, in all its glory.

Eugenesis is a dark, morbid, conflicted story with the oddest little bright spots in it. Within five pages, you’ll go from some of the most horridly bleak death scenes to someone accidentally burning a hole in their hand like a cartoon character. But never once, in nearly 300 pages, does it ever stop trying. It may not succeed in what it’s attempting 100% of the time, but goddamn does it go as hard as it can. This isn’t something that was done for money, or fame, or anything like that. Eugenesis is a passion project in the purest sense, and you can really feel it in the way it’s been crafted. For all the frustration it put me through, never once did I think “man, this guy just doesn’t care.” The ambition Roberts shows in the prose, in the world-building, in all the funny little moments that show just so much personality within the story, truly were harbingers for what was to come just a decade later.

Ambitious. Bleak. Brutal. Weird. Ultimately unforgettable. That’s James Roberts’ Eugenesis.

But let’s get to the heart of the matter, shall we? The one question that truly matters for any novel: is it worth reading?

Well, that depends.

If you had a hard time with the darker parts of MTMTE/LL, I really couldn’t recommend that you read Eugenesis. You will have an awful time, because most of it is Grindcore x100 levels of depressing and brutal. There were a couple points where I had to take a break because things got so intense- and I’m not exactly squeamish. Maybe stick to a breakdown- like this one!- or try a group read-along. Friends make everything better, after all.

If you like Roberts work and want to see where he came from, like I did, I highly recommend you find a copy- digital of course, there are only a few hundred physical copies in existence. I recommend you find the 2nd edition, which includes Telefunken and fixes some of the more glaring continuity mistakes and typos.

It’s a good read. Just... it’s a lot at times.

Like, a lot.

Up next-

Oh, what? You didn’t think that was it, did you? This url is way too sweet to just be done with so soon.

Next, I’ll be taking a gander at Children of a Lesser Matrix, which is something that was never finished by Roberts, but is still floating around the internet because hey! It’s the internet.

If anyone has any other somewhat obscure writings from JRo, feel free to send them my way. Especially if you have any of the TMUK zines from back in the day. I wish to consume all the works.

#transformers #jro #eugenesis #recap #maccadam #Hannzreads #incoming analysis #overthinking about robots #text post #long post

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ashxketchum · 4 years

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I know as a society we all collectively got over the concept of night-blogging and I really shouldn’t be pulling this in 2020

BUT HEAR ME OUT DIGIMON FANDOM.

In Tri it’s explained that there are multiple planes of existence in the universe and the Digital World exists on one of those planes, which I assume is a bit different than the usual widely accepted 7 planes, so we’ll refer to it as the Digital plane.

Now talking about Adventure: or the reboot, firstly it has not yet been established whether the first Digimon movie where Taichi and Hikari meet Koromon as kids still holds true or not in this version so the question arises, how does Koromon call out to Taichi in the first episode? It could just be attributed to their bond as partners and Koromon just knows his name because that’s how it’s supposed to be, which I am cool with.

And yet in the second episode, Garurumon and Greymon interact with each other with a sense of familiarity that looks a bit out of place for the current setting. If Koromon just evolved into Agumon and then Greymon for the first time after meeting Taichi, then it should be Garurumon’s first meeting with this Greymon. But of course the objection here would be, that they probably hang out as Koromon and Tsunamon in the Digital World and seemed to recognise the essence of their friend in the evolved version. However, it’s been very clearly stated that Yamato has been in and out of the network before Taichi which means he’s obviously been spending time with Gabumon/Garurumon and that doesn’t really leave that many opportunities for Koromon, Tsunamon to chill out together.

Lastly, the quick evolution into Omegamon. From what we have been told through the previous series’ is that the partners need to be mentally aligned to get their Digimon to jogress evolve and considering the situation, it was easy for Taichi and Yamato to get on the same wavelength and contribute to the evolution. But what about the Digimon? Are they capable of jogress evolving with a fellow Digimon that they just met, only because their partners are aligned mentally? Wouldn’t the Digimon also require some level of alignment with the other party to pull this off so quickly? Of course it can be explained that the jogress was successful not just because of Taichi and Yamato, but through the support of esper siblings Hikari and Takeru and their partners from the background.

But here’s my theory.

The reboot is an alternate reality of the original Adventure-verse for just the children but not the Digimon. In other words, the Digimon are the same Digimon from the original timeline, retaining all the data and memories of that version.

This theory involves major Kizuna spoilers from this point onwards so please don’t read ahead if you do not wish to see them.

As per Kizuna, when you turn into an adult and you walk down a singular path, limiting your possibilities of the future, your bond with your Digimon partner weakens, gradually making the Digimon lose form. Taichi and Yamato end up losing Agumon and Gabumon at the end of the movie but the overarching vibe is that they’re hoping that if they continue to grow and work hard, they will eventually see their Digimon again as their bonds are eternal. If this trajectory is to be followed, eventually all the other Digidestined end up losing their Digmon once they settle in their lives.

Digimon, are in the end made up of data so even if their physical form were to disappear, I believe that the essence of their data will remain in the Digital plane of existence.

If we consider the possibility of parallel universes overlapping each other and look at the timeline of both the original Adventure series and Adventure: , it’s not a far reach to assume that it is an Earth 1/Earth 2 type of situation at play here. The functioning would be quite similar to what we see in DC comics, where each Earth is following a different kind of linear progression, and all infinite outcomes of a single course of action exist over different parallel worlds.

To equate this with Digimon, the original Adventure franchise follows a time line from 2000 to 2010, 2010 being the year when Taichi and Yamato lose their partners and subsequently the same happens with the other children, closing the curtain (for the audience) on the interaction between the Digital Plane and Earth 1.

But like they said, the Digimon and their Bonds with their partners are eternal.

So the curtain opens on Earth 2 in 2020, where both the the Real and the Digital world have developed and evolved rapidly, making it easier for them to interact. The essence/data of the Digimon has had enough time (it anyway moves differently in the Digital plane) since 2010 to re-birth themselves through Digi-eggs. The Digimon are now ready to once again, find their partners and continue their adventure. So here we have, Earth 2 Taichi running into Koromon and thus starting the cycle once again.

Now, Omegamon. I assume it would be easier for Agumon and Gabumon to digivolve into Omegamon at literally the drop of a hat, if they already had the data of that evolution stored into them from their Earth 1 memories.

Apart from the questions I posted in the first half, another reason I am putting all my faith in this theory is that they continue to give the same voices to the Digimon (albeit Tailmon but I feel like that’s a professional issue and not a production one). I know, it would have been immensely difficult to re-cast the voices and keep the fans happy at the same time, but think about the long-term scenario, if Toei plans to build the reboot up as another 20 year long franchise, wouldn’t it have been better to re-cast the Digimon as well, give them new quirks and personalities? Cultivate a new generation of fans of the new version of Agumon? But they chose to go with the original ones, and I think it’s because they’re literally the same Digimon, memory of past life intact and all. This isn’t as good a reason to buy into my theory, but still I’d like to put it out there.

It would be unfair for me to just base this all on Greymon and Garurumon’s interactions and I’d have to wait of course, for all the other Digimon partners to show up and observe the dynamics closely to see if this has any standing or not.

But I still think it will be a nice way to keep the franchise afloat for many years, if they just keep switching between the parallel worlds with new versions of the Children every once in a while.

#digimon #digimon adventure #digimon adventure:#digimon adventure last evolution kizuna #adventure: spoilers #kizuna spoilers #digimon meta #writealot #I'm not sure if I explained it well enough #but yeah

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the-creeping-shadow · 4 years

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Eli and the G-Man

Since my love for the Half-Life series is reignited right now, I am now going to do what I like doing in any fandom I am in, and that’s writing analyses and hypotheses picking random aspects of the franchise apart, specifically my favourite characters! Oh no!

Since my favourite character just so happens to be the G-Man, possibly one of the most mysterious and obscure characters in video games, anything that I come up with or mention is really nothing more than my personal perception and wild speculation. In fact, I am even hesitant to call anything a set headcanon because this mystery is, for me, one of the things I love about the character and anything that strives to paint a clear picture just does not feel right to me. But, just as most of the fandom, I still have my own ideas and a desire to share them. Here goes nothing! Major spoilers for HL:A ahoy!

One of the things I started wondering about, and something that I don’t see get that much notice, is the possible reason/motivation as to why the G-Man decided to convey the same ominous and extremely vague warning “Prepare for unforeseen consequences” to Eli twice, or rather in general, why he made his presence/involvement known to him when all it seems to do is unnerve and downright enrage Eli, coupled with him “using” and “abducting” his daughter at the end of Half-Life: Alyx, and Eli knowing of the G-Man’s involvement in providing the crystal sample that set off the Resonance Cascade (RC). Evidently, Eli distrusts the G-Man and goes so far as to vow to kill him for what he did to Alyx (and other things likely).

On the surface you might think that pitting an undoubtedly influential person (”entity”) against yourself and making things a little... personal appears disadvantageous as this “entity” is likely going to try to go after you. (Though perhaps the G-Man does not consider this a genuine threat at all, being as powerful as he is...) However, from what comparatively little we see of the G-Man, his modus operandi seems to be moving particular pieces in the setting where their actions - entirely based on what they consider right in whatever situation he puts them in, mind you - are going to benefit his own obscure plans. He seems to appear only to those he deems crucial to his own goals, given that some characters who technically could have seen him never mention him and his overall sporadic appearances, sometimes even outside of the confines of the 3D world. The only ones who are aware of his presence otherwise possess some form of psychic powers themselves (Vortigaunts, Nihilanth, likely Combine).

Now, despite him being some kind of Eldritch alien deity (as I perceive the G-Man anyway) and likely following much different moral standards and such, I highly doubt that he is oblivious to the effects his actions have on people on an emotional level. Especially with HL:A in mind, it’s easy to assume that he, overall, might have a good idea of where his own decisions lead. It can be assumed that he is fully aware of how his actions affect Eli, his perception of the G-Man, and ultimately the course of actions he might take based on it. With the point about his sporadic appearances above considered, the image I am getting is that his “warning” to Eli was entirely deliberate, thought-through, and like everything else he does, serves to “nudge” events in a particular direction, like the G-Man put it, just subtle enough to tick Eli off.

For all intents and purposes, the G-Man could have technically remained unknown to Eli by simply not saying a word - be it directly or indirectly - and his sole involvement could have been to bring a child Alyx to him during the Black Mesa incident without appearing in front of him. But this is not what he did in the end. Eli is now aware of the G-Man, knows about his influence in the RC, knows that he is the one who rescued Alyx and later took her “for his own damn reasons”, and has good reasons to assume that whenever the words about “unforeseen consequences” fall, something terrible is going to happen soon. The G-Man, being his obscure self, never quite divulges what that is of course, leaving people confused (Alyx) or angered/distrustful (Eli; perhaps the Vortigaunts as well?).

Subsequently, my hypothesis regarding why the G-Man now has Eli involved like this, aside from the more obvious “Eli is a key figure in the story’s conflict”, is that he actually WANTS him to shift his focus to the G-Man himself and attempt to take hostile action against him, possibly serving as a distraction from whatever his original aim was (my guess goes towards destroying the Borealis as this was what he wished before he died in the “first” version of the events).

A lot of people, at least judging from numerous Youtube comments on the HL:A ending, seem to speculate that the G-Man is now going to be the major antagonist in the next game with Eli and Gordon trying to free Alyx and even killing the G-Man. To be clear, I myself am vehemently opposed to the idea of the G-Man ever being becoming a clear-cut villain since it defies his original concept of being a neutral party, neither an ally nor an enemy, and could easily ruin the Eldritch mystery tones. I firmly hold on to the idea of him staying this “intangible” being that he appears to be (to me). At most one can either stall him, cross his plans, or “contain” him, but actually fighting him? Absolutely not. (You’d think the Combine, after trapping him in the Vault, could have attempted to do such, but it’s clear they “merely” beamed the apartment building up and encapsulated the room he was in in that icosahedron cell; which creates the impression that he would be extremely difficult to approach as a physical entity. And all that trouble with the Vault just to contain him!). Though, honestly, I still do trust Valve enough to come up with something great and reasonably-unpredictable, just like they always did with the games up-to-date. Only time can tell...

Anyway, still, I don’t think it would be far-fetched to assume that whatever Eli has planned might aim towards crossing the G-Man one way or another - something I now speculate is exactly what the G-Man WANTS him to do, as concluded in this post. Whether such an action will be beneficial to Eli’s goals on the long run or not is impossible to tell, just as the ultimate outcome of the G-Man’s plans is (I suppose this will depend on who you are asking obviously). Chances are, perhaps Alyx will be put back on the physical plane and actually meet Gordon during the course of the events before they can even properly attempt to free her, and Alyx might develop some different/new insights into the whole situation - whatever it may be - during the course of her own adventures. I think it would be cool to hear HER views on the G-Man, now that we have a hero who actually talks and directly interacted with the “sinister interdimensional bureaucrat”. Or maybe I am not too fond of the idea of Alyx being “reduced” to a damsel in distress as far as the plot is concerned... However, this is already straying into wild, (unfounded) speculation and something to be discussed more closely for another day.

To summarize, I speculate that the situation and relationship between the G-Man and Eli, and perhaps by extension Alyx and Gordon, is quite intricate and goes way beyond (or rather a different direction altogether) the G-Man becoming downright antagonistic. Eli might be hostile in his views of the G-Man - for understandable reasons - but any actions based on said hostility are being deliberately evoked in him to get him to take a certain path that is beneficial to the G-Man and his employers’ goals on the long run. Whether or not it is “good” or “bad” for our heroes still cannot be said, and I am personally hoping that the G-Man will very much stay his own “faction” that is neither allied nor hostile. As Mike Shapiro himself said in an interview, the G-Man has the “long game” in mind.

#Half Life #Half Life 2 #Half Life: Alyx #Half Life: Alyx spoiler #G-Man #Eli Vance #Alyx Vance #long post #speculation #the-creeping-shadow rambles #GMan

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