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been thinking about fantasy/scifi rule systems and free will

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You have just been magically transported into a random ao3 fic!

Spin the wheel of ao3 tags three times to find out what your fic is about. Put in the tags what your fic tags are!

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Private Concerts 💙

Redraw of an older piece

Took inspiration from JC Leyendecker’s painting style

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Griddlehark thinks they’re the best at sex but actually they’re both terrible, it’s just that both of them don’t know any better and they’re crying the whole time anyway

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You can replace [ACTIVITY YOU ENJOY] with [SCROLLING] but watch out. This sucks bad 👍

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Kiriona my beloved

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the arm scene but it’s gideon’s heart

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Demolition lovers as a J. C. Leyendecker painting

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Stampede Plant Talk

#if you want to add the rest of your points please do!

Do you realise what you've unleashed.

Not to ruin the magic, but when I write my analyses it's often inspired by visuals. So I figured the best place to start would be with this visual. Like... that's simple, isn't it?

I thought, obviously blue is Knives's colour while Vash's is red. Healthy Plants glow blue, dying ones dim to red. It would seem blue is for Plants and red is for humans. And so clearly Knives is aligned with the Plants, and embracing his Plantness, while Vash is more human and thus aligned with humanity… right?

Yeah, no.

Truthfully if there's a definitive visual motif for the twins, it's not expressed in terms of something that dualistic. But that's a little outside the scope of this post.

A dependent, Vash says, needs a human to take care of it, or the Plant just uses its energy up all at once and dies. I'm guessing that means: what a Plant will produce, when and in what quantity is in the hands of the technician programming it. Being Independent means a Plant has all that under personal control. They all produce different kinds of energy and matter (which are, in a complicated scientific way, the same thing in different states). They are essentially living generators - machines.

They're still made out of meat, though. For some reason. (They do look like sea creatures, and the higher plane is very oceanic in appearance.)

Having the Plant produce more than its Gate can withstand producing means it's left only with the energy reserves of its body to sustain it. The Last Run harvests that energy. Resembles very very rapidly developing dehydration - eyes bulging, skin blackening, skin tightening. It's a very ugly way to die. Their bulbs go red, and then go dark, because the fluid they're in is clouded with blood. The same is true of when they're cut off from the higher plane because they're been overworked.

Dr. Conrad said to Knives that these Plants couldn't be healed in the way Knives demanded of him, and I think he's being truthful. Because Vash also didn't heal the Plant at Jeneora Rock.

In the pictures above, they're at the "terminal stage"; using them any more would push it into a Last Run. Note the colour. Red as blood.

These are the ones Vash does heal. More pink than red, lighter - brighter.

Vash isn't donating energy to a Plant when he heals it; the ones aboard Ship 3 weren't dying because they were overworked or injured. The SEEDS fleet didn't make use of the Last Run, nor did they have to rely on a dwindling number of Plants to survive. They were in deep space on a journey taking hundreds of years, with all those people whose cryosleep had to be maintained. They weren't in crisis. They were planning for a long journey to build a better world at their destination, not a crash. Plants that glow blue/white are healthy. It was paradise; no one had to struggle to survive.

Luida says the problem with these Plants is that they aren't compatible with the environment they're in, and she is a geo-Plant specialist. I believe her.

Vash's super special healing power? The job only he can do? Vash is not being made to act like a battery, giving up his lifeforce to keep everyone else alive. He's not sacrificing himself. That's what Knives assumed, because that's all he sees humans do. (A whole one time before he started killing people.)

Plants do communicate with sound, but not in a frequency humans seem capable of hearing and I suspect it's because they use their Gates. Dependent Plants - and Knives - can only produce a sound. Their Gates are one-way.

Vash's Gate is two-way. He can both produce and receive. He can exchange.

He can have a dialogue.

He's hearing the Plants when they cry out for help then just... going to talk with them. Understanding them. Helping them feel more comfortable. Keeping them company. When Luida asked him so kindly to be a counsellor for the Plants, she said what she meant and she meant what she said.

Vash is a Plant therapist. And he's a good one! He travelled everywhere accompanied by his stepdad just… being kind to humans and Plants, looking after them, teaching them how to take care of each other. And he loves doing it. It's the happiest he looks after the Fall. Brad even tells him, in a very Brad kind of way, that he's done a great job; travelling with this brat beats what it was like just after the crash. And then he gives Vash water and Vash tells him he's a nice guy (and Brad gets offended lmao).

The one who assumes the humans were hurting or using him was as per fucking usual Millions Knives! Because that gives him an excuse to take bloody revenge! And everybody fell for his bullshit! Man, I'm beginning to think when Studio Orange directed Austin Tindle to make Knives sound villainous, they made the right decision.

Now, if you want to be sad?

Vash is doing so much good. He loves doing it. He's the only one who can.

But Rem wanted to see Plants and humans understand each other and she's gone. Vash is fulfilling her dream, but he's doing it alone.

Now compare the colour of his coat to the colour of the Plants. Which matches more closely? The ones who are forced to work beyond their capacity, their bodies gruesomely and horribly used without their consent for the benefit of humans?

Or the ones in emotional distress?

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This is probably one of the clearest examples of red-blue contrast that we get throughout Stampede, and one directly tied to divine/angel connotations. You have Knives in light, almost white blue, literally 'above' Vash and then Vash in pinkish red, specifically the color of a distressed plant, but also deeply linked to humanity. Knives is obscured, too holy for human eyes, Vash is not.

One thing that Trigun has always questioned is whether divinity, specifically in the Christian sense, automatically equals 'better' or 'good'. The Dependent plants are divine, but they rely on humans to survive. Humans are shown to do some pretty awful stuff, but are also shown as capable of incredible compassion and change. Wolfwood's arc specifically questions how to juggle the hypocrisy present in human flaws, because doing bad things is so often dependent on the environment a person finds themself in.

And of course with Knives and Vash, one who poses as a god, yet unfathomably cruel, the other stooping to the level of humanity, yet infinitely kind. Knives wants to 'purify' Vash, to rid him of his sin of love, and yet in doing so, subjects him to an experience heavily analogous to rape. He holds Vash's self in a thread in his hands, and toys with it like it's nothing.

Is perfection really worth it then, if this is what it means?

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I support the "fiction isn't real so nothing matters" mindset but tbf at a certain point it can tip over into "the curtains are just blue" territory

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Like, beyond the fact that suggesting all homophobic men are secretly gay and in denial is still treating calling a dude gay as a way to "own" him, it's constructing a scenario in which gay people are the principal enactors of homophobic violence. Think carefully about who benefits from this framing.

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*through gritted teeth* every day i choose to be kind *barely restraining myself from violence* i choose to have compassion *tamping down the vicious bloodlust inside me* i choose to care and to be kind and to love

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The sentences "Asexuals can still have sex" and "Aromantics can still date" need to go up on the high shelf for everyone except aces and aros talking about their own experiences. From now on, everyone else has to use the revolutionary new phrase "Asexuals and aromantics can do whatever the fuck they want forever."

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Spoilers for 28 years later

Something I really was not expecting from 28 years later was the commentary on zombies and how we have come to perceive them (culturally speaking) as completely deshumanized bodies that we can kill gleefully.

28 years later is constantly reminding you that its zombies are infected people, not mythical creatures completly removed from us. That doesn't make them less dangerous, or killing them in self defense (or even mercy-killing them) wrong. But it does give a sinister spin on the "zombies killer" warrior figure that a lot of zombie media come to present as a given.

The movie does that through two main narative devices. Humanizing the infected and deconstructing the ideology behind the zombies killer figure.

It humanizes the infected notably by:

Introducing the Alphas. They are an extra threats sure, but they are also capable of reasons.

The entire plot with the pregnant infected woman.

The fact the everyone in Great-Britain is treated the same by the outisde world, infected or not.

Isla's disease. Isla is sick from a mystery illness that impairs her mental capacities. Isla is not infected, but she is often confused and sometimes even physically lashes out in way that are violent (when she wakes up and break everything on her nightstand, in the same scene she also turns against Jamie). I don't think it is a coincidence that Isla is the only character in the entire movie that kills an infected with her bare hands, and then has trouble remembering it. It is also not a coincidence that she is the first one showing compassion on screen to an infected.

The fact that Dr Kelson treats infected and non-infected in the exact same way in death and does not immediately turns to killing the infected to defend himself from them.

It deconstructs the figure of the zombie killer by:

Having Jamie being a troubling figure and an even more troubling father figure. He insists on taking his son on his first killing trip three years before it is common to do so (something the movie points out explicitly twice). He says he likes the smell of rotting carcasses. He lies to make his son appear more heroic (I am not saying that Spike was cowardly or anything, but still Jamie does embelish how this first hunt went).

The community that sanctions this kind of attitude is very much coded as conservative in an uncomfortable way. It is for example, routinely visually compared with English history (through the display of medieval battles and images of the boers war). However everytime it is compared to the medieval era (the mythical chivalric) the images shown are very clearly extracted from movies and artistic depictions rather than rigourous reconstruction. The only real images shown are from most recent colonial wars in which England commited war crimes.

It is nice to see a zombie film not taking the zombies as acceptable killable meatsack as a given.