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wingodex · 3 years

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The Old Guard Speech Patterns Analysis

I made a post on the speech patterns of the main characters in The Old Guard, and a lot of people seemed interested in it, so I’ve cleaned up and clarified the rest of my notes. What I’ve looked at specifically here is mostly related to syntax, so grammar and sentence structure. I’ve vaguely looked at pragmatics, which has to do with how context contributes to meaning, and semantics, which deals with the meaning of words, phrases and sentences. I’ve also looked at sociolinguistics, which has to do with the effect of society on language, but I want to be upfront in saying that it’s not my personal area of interest so my knowledge is lacking there. On that same point, I have no formal linguistics training, I’m just into conlanging and everything I know about linguistics is self taught. For each of the characters I’ve talked about contraction usage, colloquialisms, phrases, verb and verb tense usage, ellipses, sentence composition, adjective and adverb frequency, discourse markers and fillers, profanity, vocabulary(ish), and questions.

You can also find all of this on ao3.

Couple of disclaimers to start: while this is obviously a great tool for fic writing, and can help you get a feel for the way that the characters speak in the movie, I’m asking non-Black writers to be very careful about the way you use some of this information when it comes to Nile. When Nile speaks, she uses a lot of colloquial/vernacular language, and while she doesn’t speak AAVE in the movie, her syntax does contain vernacular features. The history of transcribing colloquial language and vernacular dialects—African American/Black English in particular—is racist, classist and ableist. Your decision to write in colloquial language or to incorporate elements of Black English, rather than using Standard English, into Nile’s dialogue can potentially continue a tradition of racial othering if you’re not wary and conscious. Colloquial language in written form is often used to imply a lack of intelligence, a lack of education or a lower class. Be especially considerate of transcribing colloquial reductions like “wanna,” “gotta,” etc. Avoid eye-dialect at all cost, please, I am begging you. In general, the best way to transcribe dialects is through rhythm of prose, syntax, idioms/figures of speech and vocabulary. Even if you rely on those techniques for Nile, I’m still advising the utmost caution due to the complexity of syntax of AAVE and other dialects. For those unfamiliar with AAVE, I go into more detail about it here. If you do decide to use vernacular language for Nile, I’m going to insist you look into copula deletion/zero copula in AAVE outside of this post. It’s usage is very complex and specific. If you decide to use colloquial language for her to really take advantage of the intelligent way that she uses style-shifting in the movie then, at the very least, remember that the other characters (with the exception of Nicky) also use colloquial language frequently in the movie as well. If Nile is the only one in your fic using colloquial language, that’s a problem.

Most of the contextual analysis as it relates to sociolinguistics is based on my own speculation and interpretation of all the data I’ve collected. They contain my own personal biases and are influenced by my own experiences. If you have another interpretation of any of this, I’m absolutely interested in hearing it. Also, there is simply not enough data for any of my observations to be definitive, especially for Joe and Nicky. The two of them combined say around the same number of sentences as Booker, and he only says half as many sentences as Andy. There are literally verb tenses/aspects that not a single person uses in the whole movie. It’s also important to note that I am fallible, and while I do think most of this is accurate, I probably fucked up and missed something or miscounted! More than once! In some cases, I was only able to find one example of something and while I’ve included those observations, they are in no way indicative of a pattern, so don’t view them as strict rules.

I threw around a lot of jargon in this, and there wasn't really an easy way to avoid doing that while talking about most of this stuff. Descriptions are provided throughout the post. I've done my best to define all the more complex and lesser-known concepts, and to provide specific examples from the movie but feel free to reach out if you're unsure about any of it. Basic English grammar things that will be helpful to know to understand all of this post: parts of speech (nouns, verbs, adjectives, adverbs, prepositions, conjunctions, determiners, interjections), clauses (subject + predicate), tense–aspect–mood for verb conjugation (in English we have: past and non-past; perfective, imperfective, and progressive; and indicative, imperative, and subjunctive), phrase structure, auxiliary verbs, phrasal verbs, wh-movement (who, what, when, where, why, how) and sentence sequencing (in English it’s SVO, or subject-verb-object).

On ellipsis: for Andy, Nile and Booker (and Joe, a little bit), the types of ellipses I focused on were mostly the types that you only see in spoken colloquial English. For Nicky, I talked a lot more about further classification of ellipses that do sometimes apply to the other four, but aren’t as noticeable.

For phrases, I mostly included idioms and expressions to avoid listing every single phrase in the movie. I generally avoided noun phrases (with a few exceptions), and I don't think I mention any adverb phrases.

For my own purposes, I’ve decided to define fillers as discourse markers without lexical content that are used to indicate that the pause while speaking is only temporary. The rest of the discourse markers use standard classification.

Thank you to both @disregardandfelicity and @youknowthegirls for looking over this post for me!

Andy

Andy uses every contraction for auxiliary verbs and personal pronouns (e.g. I’m, you’ve, it’s, etc). I mean, she actually doesn't in the movie, but she comes so close that I feel confident in saying she would use all the others. The Wikipedia page for English Auxiliary Verbs has a great chart for contractions. Of the characters, she's literally the only one who does this with this level of consistency.

Her contraction usage isn't limited to personal pronouns. She uses contractions with demonstrative, interrogative, relative and indefinite pronouns. She also uses contractions with "there" and "where", and presumably with “when” and “how” although there are no examples of that in the movie. She uses contractions with negative modal verbs.

Andy uses both the simple future and the more colloquial going-to future construction at various points in the movie. She seems to have a preference for going-to future, and the only time she uses the simple future is in her dramatic opening monologue and when she’s trying to reassure Nile. Otherwise, she sticks to going-to construction.

Simple future: “Will this time be the one?”, “Me and those three men in there will keep you safe.”

Going-to future: “And you’re going to help us.”

Andy also typically uses the colloquialism “gonna” when using going-to future construction. When she uses “going to” instead, it’s during moments of sincerity. As mentioned, she also iconically uses them both in the same sentence.

"I knew this was gonna happen", "You think knowing is gonna make you sleep better at night?"

“You’re not a Marine anymore. They’re going to lock you up.”, “When we leave a footprint in the sand, in the snow, in the ether, you’re going to sweep it.”

“You’re going to protect us from those who want to put us in cages, and you’re gonna help us find those jobs that are best suited to us.”

Andy uses the verb “have” and the phrasal verb “have got” interchangeably, and with no real pattern. Important note: I am only referring to the verb “to have” in the present tense, not when "have" is used as an auxiliary. She doesn’t seem to use “have got” in the negative (i.e. “haven’t got” vs “don’t have”).

“We have to find Copley.”, “I have the new one.”

“You’ve got blood in your hair.” “He’s got Joe and Nicky.”

“We don’t have all the answers, but we do have purpose.”

Andy also uses the colloquialism “gotta” in sentences where she uses “have got” with the infinitive “to”. When she does this, she usually uses contracted have/has. Occasionally she drops the auxiliary.

"You’ve gotta feel it, Nile.” "There's gotta be a price."

Andy drops the auxiliary when she says, "We gotta go" instead of “We’ve gotta go” and “Sometimes you gotta work with people you don’t wanna eat with” instead of “Sometimes you’ve gotta..”

Andy uses the colloquialism “wanna” in the place of “want to”.

“Well, sometimes you gotta work with people you don’t wanna eat with.” “You really wanna do this, kid?”

Andy incorrectly uses the object pronoun “me” like a true native English speaker

“Me and those three men in there will keep you safe.”

Andy seems to generally say “Yeah” but she says “Yes” when she really means it. She also says “Mm hmm.”

Andy uses several discourse markers throughout the movie. Discourse markers are words that are used to connect, organize and manage sentences while speaking. Andy uses discourse markers to start sentences, as responses, as interjections, etc. The discourse markers that Andy uses are:

Sentence openers: actually, so, come on, here, look, listen, now, oh, well, you know,

Sentence closers: I guess, maybe, right,

Responses: yeah

Interjections: hey

Connection: to be honest

Andy doesn’t use any fillers. Instead, she pauses and repeats herself as needed.

“Remember what it... what it was like to feel unbreakable.”

Of all the characters, Andy uses the imperative mood the most (throughout the movie Andy tells someone to do something 35 times using this mood)

When Andy repeats herself for emphasis, she usually does it in pairs. The only exception is when she says “why?” three times to Booker in the scene with Copley

Andy uses ellipses, which is when words are omitted from a sentence and the sentence can still be understood. This isn’t particularly noteworthy in what it says about her speech patterns, as everyone uses elliptical construction. It’s just part of how speech works, how dialogue works and how writing works. It’s a feature of English, spoken and written, rather than an anomaly. I do feel it’s worth mentioning though, because I’m going to talk a lot about some specific kinds of ellipses (null subject, null auxiliary and zero copula) that are only found in colloquial and spoken language. For more about elliptical construction, see the Nicky section.

Andy uses noun and verb ellipses when she says, “I’ve been here before... over and over again, and each time the same question.”

Andy uses answer ellipsis. That means that when she answers questions, she often speaks in sentence fragments rather than full sentences.

[Who’s gonna fly the plane?] “We don’t need a pilot” instead of “[Nobody is going to fly the plane.] We don’t need a pilot.”

Andy occasionally uses sentences with a truncated null subject (i.e. she doesn’t use subject pronouns), but not as frequently as the other characters.

“Can’t wait” instead of “I can’t wait.”

Andy frequently uses null auxiliary construction and zero copula when asking questions that normally use subject-auxiliary inversion. This means that she will drop the leading auxiliary verb. For more information about zero copula, see Nile.

Andy uses “You found Copley?” instead of “Have you found Copley?” and “Everyone still with me?” instead of “Is everyone still with me?”

When asking questions, Andy typically uses either the method described above or intonation if she can get away with it. However, she does still ask yes-no questions without dropping the auxiliary. Andy is also one of the only characters to use a disjunctive question. In contrast to the disjunctive (which is often condescending), Andy is also one of the only characters polite enough to use an indirect question.

Intonation: “Joe and Nicky?”

Disjunctive: “You don’t speak Russian, do you?”

Indirect: “Would you like me to take one for you?”

Andy doesn’t use the subordinating conjunction “that” at any point in the movie.

“Last time I checked, you had to be American to be in the CIA” instead of “Last time that I checked...”

Andy says “What the...” when she’s confused.

Andy makes a humming sound when she’s pleased that’s transcribed as “Mmm!”. Interesting to note that every time she makes this sound, it’s in response to Nicky.

Profanity used by Andy: asshole, fuck, goddamn, motherfucker, shit, shitty

Phrases, idioms and expressions used by Andy: bend it to [your] will, broke [a promise], changes nothing, come on, do the same, enough of this, for all I care, get some sleep, go big or go home, going out for a bit, gotta go, last time I checked, let’s, next time, now and always, on board, play dead, set up, straight to [something], tie off, to be honest, welcome back, what [he] said, whatever it takes, work out

Unrelated to word count or time spent speaking, Andy says more sentences than any other character. She says more than twice as many sentences as Booker and four times as many sentences as Joe and Nicky. Nile says a little less than 2/3 as many sentences as Andy.

Sentence composition**: 57% of Andy’s sentences are simple sentences, 31% are sentence fragments, 5% are compound sentences, 6% are complex sentences, and 1% are compound-complex sentences.

Languages spoken on-screen: English

Adjectives and adjective phrases appear in 13% of Andy’s sentences. Adverbs and adverb phrases appear in 9% of Andy’s sentences.

Andy is very consistent in her speech. She doesn’t style-shift much and almost exclusively speaks in a colloquial style of Standard American English. There are two exceptions to this: when she was talking to the tourists in Marrakesh, she was overly polite; and when she was dealing with Copley, she enunciated herself far more and was less likely to use contractions. When I say that Andy speaks Standard English, what I mean is that she speaks the dialect of English which has undergone the most regularization and standardization. It’s the one associated with public communication, the one that's used in commerce and government, and the one that has the most institutional support and sanction. Andy is very familiar and comfortable in this dialect, to the point where she even uses common grammar mistakes that native speakers do. Her speech is very casual. I would say that Andy has spent a significant amount of time recently in the United States or Canada, and I also suspect that English is the modern language that she is most comfortable in. I think that Andy has likely spent a lot of time speaking casually with other English native speakers and that her grasp of the language was formed without any kind of formal language training. Andy doesn’t use much descriptive language, and her sentences are typically short and clear. While I think Andy does read a little bit, it’s had very little impact on her speech patterns. I doubt she reads any kind of serious formal writing, or academic works.

Nile

Nile uses every contraction for auxiliary verbs and personal pronouns (e.g. I’m, you’re, it’s, etc). She also uses them with other nouns and names. Nile is very deliberate about contraction usage. For the most part, in casual speech, she uses contractions, although she does use a lack of contractions to express disbelief or for emphasis. Nile also uses a lack of contractions to show condescension or disapproval. When she’s trying to be authoritative, she’s less likely to use contractions. When she wants to make sure she’s understood, she also doesn’t use contractions.

“I am not jumping from a plane!” “You do not listen to her, you listen to me.”

“We are looking for this man. He has killed many of our people and many of yours.”

Nile uses contractions with demonstrative, interrogative, relative and indefinite pronouns. She also uses contractions with "there", "where", “why” and “how.” She uses contractions with negative modal verbs.

Nile doesn’t use the contraction “y’all” in the movie. In fact, she specifically doesn’t use it.

“How are you all in my dreams?”

Nile uses both the simple future and the colloquial going-to future construction at various points in the movie. Like with contractions, Nile is less likely to use colloquialisms when she’s serious or trying to be authoritative. I think it’s especially poignant when she uses it to express bravery (with Booker). Nile always uses the colloquialism “gonna” when using going-to future construction.

Simple future: “I’m the one who will walk out of there, one way or another.”

Going-to future: “People that are gonna worry.”

Nile uses the verb “have” and the phrasal verb “have got” interchangeably, however she has a very strong preference for “have got”

“You have my phone?”

“I got people that love me,” “You got a satellite link?”

Nile also uses the colloquialism “gotta” in sentences where she uses “have got” with the infinitive “to”. When she does this, she always uses null auxiliary construction (see below for more details).

“We gotta get out of here!”

Nile uses the colloquialism “wanna” in the place of “want to”.

“I just really wanna hear my mom’s voice one more time.”

Nile truncates “trying to” as “tryna”.

“I’m tryna save you, man!”

Nile truncates “out of” as “outta”

Nile uses a lot of discourse markers. She uses more discourse markers than any of the other characters, although Booker comes very close. Discourse markers are words that are used to connect, organise and manage sentences while speaking. Nile uses discourse markers to start sentences, as responses, as interjections, etc. The discourse markers that Nile uses are:

Sentence openers: so, well, wait, here, yeah, now

Sentence closers: or something, maybe, you know, okay, man

Interjections: come on, what, no way

Responses: yeah

Nile uses some fillers when speaking, however she doesn’t use them often. The fillers she uses are: uh, yeah

While Nile does occasionally use the imperative mood, she’s far more likely to give commands based on intonation alone, rather than syntax.

Intonation: “You do not listen to her, you listen to me,” “We gotta get out of here!”

Imperative: “Land this plane.”

Nile uses elliptical construction when speaking, which means that when words are omitted from a sentence, the sentence can still be understood. Again, this in and of itself is not very noteworthy, see Nicky for more details.

“South side of Chicago, a million different ways we could’ve went left.”

She also uses answer ellipsis, meaning that when answering questions, she speaks in sentence fragments.

Answer ellipsis: [You have someone?] “Just my family” instead of “[I have] just my family.”

Nile frequently uses null subject elliptical construction. When using null subject construction, she drops personal pronouns.

“Talked to Copley. Said he could fix it.” instead of “I talked to Copley. He said he could fix it.”

Nile’s use of ellipsis is mostly characterized by her usage of null auxiliary, which is when she drops auxiliary verbs from sentences. The way she does this is very distinct and she’s the only character who speaks like this. While the other characters who use null auxiliary construction do so in the specific context of asking questions, Nile’s usage is more complicated.

Like the others, Nile frequently uses null auxiliary construction and zero copula when asking questions that normally use subject-auxiliary inversion, but unlike the others, she also sometimes drops the auxiliary in wh- questions. For more on zero copula, see below.

"You gonna be okay?" "So, you good guys or bad guys?"

“Where you taking me?”

Outside of asking questions, Nile also occasionally uses both null auxiliary construction and the zero copula. She is the only character who does this (Andy does this, but only with one specific word/phrase. Nile's usage is less restrictive). Zero copula is a linguistic phenomena where the subject is joined to the predicate without marking that relationship (i.e. there’s no verb). In English, the main copula is the verb “to be”, so zero copula in English describes situations where inflections of “to be” are omitted. When the characters use null auxiliary construction to omit the inflected forms of “to be” while asking questions, they are using the copula deletion.

In the above example questions, all of them are examples of copula deletion as they are omitting inflections of the verb "to be"

When Nile says “I got people that love me”, she uses null auxiliary construction to omit the auxiliary “have”. Nile always drops the auxiliary “have” when using the “have got” form.

When Nile says “This the shit you into?” she’s actually using the zero copula twice. You’ll notice that she’s missing the leading “is” and in the dependent clause, she’s missing the “are (“Is this the shit you’re into?” in Standard English).

At one point in the movie, Nile includes a further truncated null subject, where she doesn’t use both the subject and the auxiliary verb. Joe does something similar in the present tense.

Nile says “Killed in action when I was eleven” instead of “He was killed in action when I was eleven.”

When asking questions, outside of wh- questions, Nile usually relies on intonation or dropping the auxiliary from subject-auxiliary inversion questions as described above. She does occasionally use inversion for yes/no questions without dropping the auxiliary.

Intonation: “You have my phone?”

Indirect: “So... you’re even older than him.”

As the audience surrogate, Nile asks the most questions in the movie (she asks 69 questions LMAO)

Another way that Nile formalizes her speech is by inserting the subordinating conjunction “that” into sentences where they would normally be omitted.

“And that was a blank that you shot me with.” “But... you said that we were immortal.”

Nile says “Uh uh” to mean “no” or “don’t even think about it”

Phrases, idioms and expressions used by Nile: a little help, backed down, brains of [the] outfit, come on, follow the money, gave [them] up, honest-to-God, how the hell, what kind of [noun], killed in action, let’s go, move on, never hurts to, no way, one more time, one way or another, roger that, sit your ass down, some bullshit, son of a bitch, stay tight, steal away, went left, what’s up (greeting),

Profanity used by Nile: ass, bitch, bullshit, damn, fuck, hell, shit

Sentence composition**: 60% of Nile’s sentences are simple sentences, 30% are sentence fragments, 3% are compound sentences, 6% are complex sentences and 1% are compound-complex sentences.

Adjectives and adjective phrases appear in 18% of Nile’s sentences. Adverbs appear in 4% of her sentences. Nile doesn’t use any adverb phrases.

Languages spoken on-screen: English, Pashto

Of all the characters, Nile’s use of English is the most deliberate. While the others are obviously fluent and capable in English, Nile’s use of style-shifting throughout the movie demonstrates a mastery of the language that the other characters simply don’t have. The way that she shifts between formal and colloquial language for emphasis, for clarity, to express disbelief or disapproval, to act authoritatively, to appear casual and friendly, and to invite others to engage with her, speaks to what she is capable of by her word and syntax choices. All of this is obviously enhanced by her tone, her cadence, her pitch, her volume and her speaking speed.

When Nile speaks, she doesn’t speak in AAVE. That being said, her speech does contain vernacular features. The two elements of Nile’s syntax that are most noticeable are her use of the zero copula and her deletion of “have” in situations where it can be contracted (to clarify: using copula deletion is not necessarily an indicator of AAVE. When the other characters use the zero copula, they are not speaking AAVE. The subtle differences in the context of their usage of copula deletion is what makes Nile’s speech distinctly Black). Some of Nile’s word choices and noun phrases are also reflective of the typical speech of Black people, as pointed out to me by this anon. It’s very likely that Nile can speak AAVE, but doesn’t in the movie. She was raised by two Black parents in a very residentially segregated city, and while Nile didn’t specify the neighborhood she grew up in (you can make some guesses to the general area based on how she talks about it, but that’s not quite the same), Chicago’s South Side is predominantly Black, so the people she was around, the place she attended school and the church she went to were all likely predominantly Black as well. Due to the fact that Standard English is the language taught in public schools in the United States, Nile has obviously also developed a fluency in that dialect as well and can probably code switch between the two dialects. The fact that she doesn’t speak AAVE in the movie isn’t particularly unusual. Society is largely hostile towards Black people speaking AAVE, so language self-policing becomes a survival tool. Nile had also just spent an indefinite amount of time in the US military, which has its own style which has its own style of speaking as well which she would have been using. And then she basically got kidnapped by mostly white people, some of whom have noticeable accents, so having her speak AAVE would’ve been an odd character choice, but not totally implausible.

The way that Nile switches between formal and colloquial English is a type of code switching that I would honestly refer to more as style-shifting. Because she isn’t actually speaking AAVE, I can’t say how the dialect factors into her speech patterns. I think it’s possible that Nile’s ability to style-shift between formal and informal language could have been an ability that she developed as a result of needing to code switch between AAVE and Standard English in an educational environment. I do want to make it very clear however, that when I’m talking about Nile style-shifting, it has very little bearing on the vernacular features of her speech, but rather the colloquial features like contractions, verb choice, ellipsis and her use of phrasal verbs. It’s possible that she uses code switching in the same way, however we don’t have evidence of that in the movie.

Booker

Booker uses most contractions, but not all, and with much less consistency than Andy or deliberate purpose like Nile. He uses contractions for auxiliaries and their inflected forms for personal pronouns. When speaking casually, he uses contractions, but when he’s upset, he uses them far less consistently. He doesn’t use contractions with the past tense inflected form of have (i.e. “had”).

Booker uses contractions with demonstrative, interrogative, relative and indefinite pronouns. He also uses contractions with "there", "where" and “how. He uses contractions with negative modal verbs.

Booker uses both the simple future and the going-to future construction at various points in the movie. He doesn’t seem to have a preference either way.

Simple future: “They will get to learn your secret.”

Going-to future: “It’s gonna take time.”

Booker always uses the colloquialism “gonna” when using going-to future construction.

Booker doesn’t seem to use the phrasal verb “have got” but I could only find one instance of him using the verb “to have” in the present tense, so this isn’t definitive either way. If I had to take a guess, I’d say that, like Andy, he uses “to have” and “have got” interchangeably.

Even though Booker speaks less than Nile and Andy, he uses close to the same amount of discourse markers as them, meaning that they appear far more regularly in his speech. Discourse markers are words that are used to connect, organize and manage sentences while speaking. Booker uses discourse markers to start sentences, as responses, as interjections, etc. The discourse markers he uses are:

Sentence openers: come on, hey, oh, well, listen, I mean, ooh (expressing pleasure), yeah

Sentence closers: right, of course

Responses: yeah, alright

Interjections: hey, ow! (expressing victory)

Connections: by the way, tell you what

Of all the characters, Booker uses the most fillers when speaking. The fillers that he uses are: oh, uh, um, yeah

Booker pauses and repeats himself as needed. He only does this when he’s upset. Otherwise, he seems to use fillers instead.

“Everyone you love is gonna... is gonna suffer and is gonna die."

When Booker repeats himself for emphasis, he always does it in pairs.

Booker often uses elliptical construction, and the most frequent type seems to be null auxiliary construction. He does use other types of ellipses though (For more about ellipsis, see Nicky).

“Just because we keep living doesn’t mean we stop hurting.”

Booker uses answer ellipsis, but almost to the point of incomprehensibility. Dude just gives the bare minimum. That means that when he answers questions, he speaks in sentence fragments rather than full sentences.

Answer ellipsis: [You found Copley?] “Nothing, but dead ends” instead of “[I found] nothing but dead ends.”

Booker frequently uses sentences with a truncated null subject (i.e. he doesn’t use subject pronouns).

“Lost the plot after that” instead of “I lost the plot after that”

Booker frequently uses null auxiliary construction and zero copula when asking questions that normally use subject-auxiliary inversion. For more information about zero copula, see Nile.

Booker says “You good?” instead of “Are you good?” and “You have someone?” instead of “Do you have someone?”

When asking questions, Booker almost always uses either the method described above, or intonation. The only time Booker asks a question without dropping the auxiliary is when he says “Are you all right, boss?” to Andy in the cave.

Intonation: “Oh, she gave it back?”

Booker doesn’t generally use the subordinating clause “that,” but he will sometimes.

“What I do know is she was alone for a long time before she found anyone like her.”

“And they will tell you... that you don’t love them.”

At two separate points in the movie, Booker references Elizabethan literature. “Misery loves company” is from Dr. Faustus by Marlowe and “That way madness lies” is from King Lear by Shakespeare

Phrases, expressions and idioms used by Booker: all in, by the way, calm down, change of clothes, come on, dead ends, give [her] time, give me your hand, how’s it going?, I’ll see you soon, in the open, leave no footprints, let’s go, lost the plot, moving out, misery loves company, reach out, stick to the plan, take time, tell you what, what’s going on, won’t hurt

Profanity used by Booker: shit, putain de merde

Sentence composition**: 59% of Booker’s sentences are simple sentences, 24% are sentence fragments, 3% are compound sentences, 9% are complex sentences, 1% are compound-complex sentences and 4% are not in English

Adjectives and adjective phrases appear in 16% of Booker’s sentences. Adverbs and adverb phrases appear in 8% of Booker’s sentences.

Languages spoken on-screen: English, French, Italian

We know from Booker’s backstory that he’s French and he’s from Marseilles, and other people have spoken about how Booker’s native language would likely have been Occitan, although he speaks French as well. Like Andy, Joe and Nicky, English is not Booker’s native language, although he does speak it with a high degree of fluency. While there are aspects of Booker’s speech that are more related to him being a non-native English speaker, I wanted to talk about French first. It’s worth noting that French is the only Romance language that isn't a null subject language (and as far as I can tell, Occitan isn’t either). This means that when Booker uses null subject construction, that’s either something he picked up from another language or from being around people speaking colloquial English. The thing that stands out to me the most about Booker’s speech though, is actually the way he uses intonation (and to a certain extent, null auxiliary construction as well) when asking questions. While French can use subject-auxiliary inversion, for the most part, you just ask questions by intonation. In the French dub of the movie when Booker asks “You travel?” he says “T’as voyagé?” which in English directly translates to “You travelled?” or “You’ve travelled?” While I could get into semantics about verb tenses, do-support and modality, what I’m getting at here is that both “You travel?” and “T’as voyagé?” mean the same thing and are expressed in a form that feels semantically similar to me even if it’s not syntactically similar, in the same way that ending a question with the tag “right?” (which Booker uses a lot) feels the same as the tag “non?”

There are a couple of things that I think are interesting about Booker’s manner of speech. Booker primarily speaks in simple and fragmented sentences, which is pretty normal, but what’s different about him is the way that a lot of his speech is referential. What I mean is that Booker relies on a lot of common phrases, common clauses, clichés and quotations when he speaks. In a lot of ways, Booker speaks the way your typical action hero is supposed to. You get a sense of Booker engaging in a broader cultural and literary conversation. I don’t know how to explain this exactly, but when Booker speaks, you just know he reads and that he watches tv and movies. And not just that, but that he borrows and imitates aspects of what he reads. But besides the pragmatic element of Booker’s speech, all of the things that are notable about Booker’s speech are things that you also see in Andy, Joe and Nicky. Syntactically, there’s nothing about Booker’s speech that is distinctly unique to him, unlike the rest of the characters who all have their own little quirks. It’s almost like Booker is imitating the others, or borrowing someone else’s words. There is one notable exception, and that’s when Booker is talking to Nile in the cave. As the conversation goes on, you see this breakdown of Booker’s language as he attempts to tell his own story. Suddenly, a lot of the conventions established about Booker’s speech prior to this scene don’t apply. Obviously there are multiple explanations for this, ranging from English not being his first language to the fact that he was talking about something deeply personal and traumatizing to someone who was essentially a stranger. But what makes this scene stand out is the fact that in his next major scene, Booker is clearly on the verge of a full breakdown, but because he’s again relying on this established lexicon, you don’t see it reflected in his speech the same way that it is in the cave.

Joe

When Joe bothers with personal pronouns, he usually uses contractions with auxiliary verbs (e.g. I’m, she’s, it’s, etc). The exception to this is that Joe doesn’t use contractions with the past tense inflected auxiliary form of have (i.e. “had”).

Joe uses contractions with demonstrative, interrogative, relative and indefinite pronouns. He also uses contractions with "there". He uses contractions with negative modal verbs.

Joe only uses a future tense once in the entire film, and when he does, he uses going-to future construction. When he uses going-to future construction he uses the colloquialism “gonna"

“What are you gonna do?”

Joe doesn’t use the colloquial “have got” and always uses “to have”.

“We have to find her”, “Well, now you have even more.”

This may be because Joe isn’t in the movie as much as the first three, or that he just genuinely doesn't use them often, but he uses considerably fewer discourse markers. Discourse markers are words that are used to connect, organize and manage sentences while speaking. Joe uses discourse markers to start sentences, and as interjections. The discourse markers that Joe uses are:

Sentence openers: oh, so, well, yeah

Interjections: hey, what

After Booker, Joe uses the second most amount of fillers. He uses more fillers when having a back-and-forth style conversation with someone than when he’s essentially monologuing. The fillers that Joe uses are: mmm, uh

Joe sometimes uses ellipses when speaking. Again, not super noteworthy, but I wanted to mention it nonetheless.

“He’s the moon when I’m lost in darkness and warmth when I shiver in cold.”

Joe uses answer ellipsis in the movie, but he doesn’t actually speak in sentence fragments when he does this. While answer ellipsis is pretty standard in English, Joe’s commitment to saying more than was asked of him isn’t.

[So... you’re even older than him.] “Nicky and I met in the Crusades.” instead of “[Yes, we are.] Nicky and I met in the Crusades.”

Joe uses sentences with a null subject (i.e. he doesn’t use subject pronouns).

“Depends on the century.” “Fought thousands of battles side by side.”

Joe uses sentences which have both a null subject and uses copula deletion. See Nile for more details on zero copula.

“Very pissed off.” “Faster than the elevator.”

In the movie, Joe only really asks wh- questions. He does ask a few using intonation, although most of those questions act more like additional tags on a wh-question, rather than a question by itself. As such, it's unclear whether Joe uses null auxiliary construction or the zero copula when asking questions.

Intonation: "Bedhead?” “So we just leave her out in the open?”

When Joe repeats himself for emphasis, it’s usually in groups of three.

Joe says “what” when he doesn’t hear something/doesn’t understand something

As previously mentioned, Joe uses some formal words like "thus" and the impersonal pronoun "one". Here are some other words to consider having Joe use unironically as well: alas, amidst, await, behest, ergo, hence, latter, much, nor, notwithstanding, promptly, quite, shall (modal), thence, thereupon, thoroughly, whereas, whom (used correctly of course), yield

Even though Joe speaks quite formally a lot of the time, he never uses the subordinating conjunction “that” when it can be omitted.

“The first immortal Andy found.”

Phrases, expressions and idioms used by Joe: all in, attention to detail, come on, I guess, out in the open, measure and reason, over a [time period], piece of shit, proved [their] case, side by side, way back

Profanity used by Joe: goddamnit, shit

Unrelated to word count or time spent speaking, Joe says the least amount of sentences out of the five main characters, although this doesn’t mean very much, considering Nicky says exactly one more sentence than him.

Sentence composition**: 57% of Joe’s sentences are simple sentences, 21% are sentence fragments, 5% are compound sentences, 4% are complex sentences, 4% are compound complex sentences and 9% are not in English.

Adjectives and adjective phrases appear in 29% of Joe’s sentences. Adverbs and adverb phrases appear in 8% of Joe’s sentences.

Languages spoken on-screen: English, Italian

The best way to describe Joe’s manner of speaking is that it’s like he has two different styles. You get the sense that sometimes Joe just says whatever and sometimes he says something that he’s rehearsed in his head. Joe is a Maghrebi Muslim man from the Islamic Golden Age so he comes from a culture and time with a rich history of and respect for both written and spoken poetry, both impromptu and memorized. I think he carries that tradition quite well. When Joe is orating (van speech and Quynh backstory), his sentences are much more structured and he uses more formal language. He doesn't speak in sentence fragments, he doesn't use any colloquial language besides contractions and he doesn't use discourse markers or fillers like he does in the more casual back-and-forth conversations. If you look at Joe's sentence composition percentages, you'll notice that Joe has comparatively less sentence fragments than other characters and that’s purely because when he orates, it's in full sentences (minus poetic ellipsis, but that's allowed). That's why it seems to me as though Joe rehearses some of what he says in advance. I don’t know the extent to which he does that, but at the very least it seems like he’s sat down and thought “how would I explain Quynh to the new immortal?” or “What would I say to someone belittling my relationship with Nicky?” Even in the delivery of the line “Faster than the elevator” there is quite a long pause between him seeing that Nile jumped out a window and actually making the joke, as if he’s thinking about it first. The majority of the sentences Joe says are in the van speech and while telling Quynh’s backstory. In casual conversations, Nicky seems to take the lead more than Joe.

I’d also speculate that Joe is quite literate. Obviously there’s his own affinity for storytelling and oration, but his use of language hints at a larger vocabulary. You see him use a frequently neglected pronoun in English and a relatively formal adverb. He also uses adjectives like “grotesque” and “infantile”. He does end sentences while prepositions though, so he obviously does not give a fuck about John Dryden and Joshua Poole. That being said, I think the idea of rearranging Joe’s sentences so they don’t end in prepositions is funny and fits his whole vibe.

Joe uses null subject construction in English, and while that’s pretty common in everyday speech in English, it is worth noting that both Italian and Arabic are null subject languages. The way that Joe uses null construction in English is far more similar to Italian than Arabic, which requires a change in sentence sequencing but I still think it’s neat. The thing that Arabic brings to the table that I’m more intrigued by is the fact that it’s a zero copula language. It’s not a matter of copula deletion like AAVE, there straight up is not a copula in the present tense, so the lack of a verb (and specific sentence sequencing) is the copula in the present tense. When Joe drops both subject and verb in the present tense he is, in effect, simulating a similar situation due to the ambiguity of the sentences themselves where the only way you can correctly interpret the sentence is by understanding that the missing verb must be a copula. He gets rid of a subject pronoun as a shout out to Italian, I guess, but also because it would sound so silly if he didn’t. I don’t think Joe necessarily picked up this habit from Arabic, but I do think it’s a fun coincidence.

Nicky

Of all the characters, Nicky has the least consistent contraction usage for personal pronouns and auxiliaries (e.g. I’ve, you’re, it’s, etc). There are examples throughout the film of him using a contraction and then in the next scene he just doesn’t. Unlike with the other characters, who have a discernable pattern (Andy always uses contractions, Nile uses contractions for dramatic emphasis, Booker becomes more inconsistent with contractions when upset, Joe doesn’t use contractions in certain tenses), Nicky is totally random in his contraction usage.

My personal favourite example of this is: “She’s more alone than she has ever been in her entire life.”

Nicky uses contractions with demonstrative, interrogative, relative and indefinite pronouns, however this usage is just as inconsistent as with personal pronouns. He also uses contractions with "there.” He uses contractions with negative modal verbs.

Outside of contractions, Nicky doesn't seem to use colloquialisms in the movie.

Nicky doesn’t use the colloquial going-to future construction and relies on simple future construction

“You will not be able to give him what he wants”, “If it’s now Andromache’s, nothing you do will stop it.

Nicky doesn’t use the colloquial phrasal verb “have got” and instead uses “have”

“I have something for you”

Nicky only has a few discourse markers in the movie. Discourse markers are words that are used to connect, organise and manage sentences while speaking. Nicky uses discourse markers to start sentences, as interjections and as responses. The discourse markers that he uses are:

Sentence openers: so

Interjections: hey, wait, what

Responses: yeah

Nicky doesn’t use any fillers. Instead, he pauses and repeats himself as needed.

"I believe it's because we... we are meant to find each other"

In my other post, I mentioned that Nicky speaks in full sentences, and while that is mostly true, it’s a bit of an oversimplification. While that kind of a statement is fine for an overview post, I felt it would be disingenuous to leave it at that. Nicky speaks in sentence fragments just like everyone else. In fact, he speaks in sentence fragments more than Joe does. He uses ellipsis, but the way he does it is functionally different from the specific methods of null subject, null auxiliary and zero copula that I’ve talked about with the other characters. While the others are quite formulaic about their usage of ellipses, Nicky’s is far more nebulous because it’s very much dependent on context.

Nicky uses answer ellipses, like the others.

[Bedhead?] “Nicely tousled.”

The next way that Nicky uses ellipses might better be described as anaphora. That means when he’s eliding words, the omitted words in the sentence can be found through the context of the sentence preceding it.

The sentence “The only reason we haven’t... is that it’s not our time yet” is missing a past participle. The missing verb is found in the previous sentence: “Everything has to die, Mr. Merrick.”

In fact, almost all of Nicky’s use of sentence fragments and ellipses can most easily be characterized this way. If the sentence that Nicky says is incomplete in some way by itself, that’s usually because he’s referring to something either he, or someone else, has said. In some cases, it’s as if he’s continuing or adding additional information to the sentence preceding it.

“We killed each other.” “Many times.”

“It was a woman. A Black woman.”

Another way of characterizing some of his use of ellipses is to imagine he’s using answer ellipsis to a question nobody asked him.

[What did you see?] “Dirt floor, clay walls.”

In one particular instance, Nicky says the noun phrase “A fine justification.” It’s already an example of anaphora, as it is referring back to Kozak’s “I believe this can change the world.” Nicky’s sentence bears some similarity to Joe’s “Faster than the elevator” as it’s also an example of a sentence which is missing both verb and subject, however when Joe uses this kind of construction, he only does so before an adjective phrase. One could extrapolate from this that Nicky uses null subject and zero copula construction with adjective phrases and Joe similarly uses it for noun phrases, but that’s just speculation.

The final way that we see Nicky use ellipsis is honestly the most baffling and I’m still not entirely sure how to best explain it. The sentence is “Spend eternity in a cage.” It is clearly not the imperative mood, it wouldn't make sense for Nicky to be telling Nile to spend eternity in a cage. Unlike the other examples of Nicky’s use of ellipsis, the preceding sentence (“That’s the reason we dread capture”) provides context but not specific form. Breaking it down from an English language perspective, the only thing that makes sense to me is that “spend” is actually the infinitive phrase “to spend” where the infinitive "to" has been elided and there is an implied “[We are afraid][to] spend eternity in a cage.” I want to be clear here: I understand this sentence. I know what Nicky is saying, I simply have no idea why I know what he's saying. I don't understand why this sentence works. For further theories, look at the section on sociolinguistics at the bottom.

Sometimes Nicky adds unnecessary pronouns to a sentence.

“But then, Andy and Quynh, they were accused of witchcraft themselves and they were trapped and caught.”

Nicky does use the subordinating conjunction “that” but there are also times when he doesn’t. The common Nicky pattern of *shrug*

“The only reason we haven’t... is that it’s not our time yet”

“As much as I like watching you sleep, I’m glad you’re awake.”

When Nicky asks questions, he doesn’t use any kind of null auxiliary construction or zero copula for subject-auxiliary inversion questions. Nicky is also the only other character (after Andy) polite enough to ask indirect questions, and he uses them when talking to people who kidnapped him, which is kind of a power move. Nicky doesn’t seem to use intonation much when asking questions either.

Subject auxiliary inversion (yes/no questions): “Are we too late?” “Are you sure?”

Indirect: “I don’t suppose it would be possible to get these chains off of us?”

Intonation: “Nile?”

Phrases, expressions and idioms used by Nicky: as much, cast off, do you know, get some rest, getting away, I suppose/don’t suppose, judge of character, love of my life,

Sentence composition**: 47% of Nicky’s sentences are simple sentences, 24% are sentence fragments, 3% are compound sentences, 15% are complex sentences, 2% are compound complex and 9% are not in English.

Adjectives and adjective phrases appear in 23% of Nicky’s sentences. Adverbs appear in 6% of Nicky’s sentences. Nicky doesn’t use adverb phrases.

Languages: English, Italian, Nuer

Before I start this, I want to say that despite having a strong accent, I think Nicky is quite proficient in English. He knows the subtle differences between words like “unethical” and “immoral,” he’s aware of and capable of using expressions with irregular syntax and he uses sophisticated linguistic phenomena in English. He uses so many complex sentences it makes my head spin. Leaving all that aside, I think that Nicky probably translates from Italian into English while speaking. Like Nile, Nicky is very deliberate about his language but in a different way. While Nile uses style-shifting to accomplish a number of different things, Nicky is primarily concerned with clarity. I think that Nicky’s tendency towards more formal language is a kind of overcompensation to make sure that he’s being understood. Another thing worth noting is that I think Nicky has actively studied language before, in a class setting or by himself, and has at least some knowledge of linguistics (specifically syntax). At the very least, he is knowledgeable about both Italian and English syntax.

This theory is largely based around the idea of overcompensation. Nicky is primarily concerned with the clarity of speech and because of that, he doubles-down on grammar and structure. Italian is a null subject language so you actually see Nicky use null subject construction when he says “Sono qui” and “Dovremmo tonarci” but you don’t see anything similar in the way that he speaks English even though all the other characters frequently rely on truncated null subjects. He demonstrates a clear awareness of the standard language restrictions of English and how that compares to the restrictions of Italian. And not just that: there’s actually an example in the movie where Nicky adds an extra and unnecessary pronoun in English. In another sentence, Nicky could have used a contraction on two separate instances and deliberately only contracted one of them because the contractions were two different tenses. For the most part, this overcompensation makes it so Nicky’s speech—while unconventional—is still grammatically correct. That’s how you get things like Nicky saying, “The love of my life was of the people I’ve been taught to hate,” which isn’t how most native-speakers would intuitively phrase it themselves and as a result, a further layer of nuance is added by the use of the Present Perfect Continuous. Despite the fact that Nicky uses some unconventional phrasing in English, he doesn’t seem particularly bothered by it or concerned about it. He’s more than willing to experiment with his speech and seems very confident in it as well. That’s why I think he has some kind of formal language training with English, because he clearly understands the system that he’s working with but is less aware of some of the common ways of speaking. I seriously doubt that Joe and Nicky spend much time speaking to each other in English.

Another point that I think is worth mentioning: while Joe seems to thrive while orating and speaks relatively simply otherwise, Nicky is the exact opposite. Nicky’s language capabilities are on full display when he’s engaging in discourse, but when he’s telling Nile about Quynh, you see a lot more irregular syntax structure from him. It’s during this discussion that you hear the line “Spend eternity in a cage,” that I’ve struggled with above. The other possible explanation for the use of this unconventional sentence construction was actually given to me by @rhubarbdreams, who said that the sentence actually makes more sense syntactically in Italian, which has an impersonal imperative. In fact, in the Italian dub, that’s allegedly what it does (“per non passare l'eternità in una gabbia.”) Whether Nicky’s apparent tendency towards unconventional speech in this circumstance is a chronic tendency from overthinking while speaking English or a result of the specific topic they were discussing is up for personal interpretation, although I do think it’s interesting that Nicky was the one primarily leading conversation up until Joe took over specifically when they were recounting a story. I think this is especially interesting considering Nicky was apparently a priest, however this might just be a limitation to him in languages he doesn’t use as often.

Bonus: Quynh

Quynh doesn’t have that many lines, so it’s not really possible to do any kind of meaningful analysis about her speech patterns (she says 16 sentences and 10 of those are screaming “no” or someone’s name). That being said, I do want to look at all the lines she presumably said in English (I’m ignoring Lykon’s death scene because if Lykon really did die in the 6th or 7th century, then they absolutely weren’t speaking Modern English, you know?)

So first we have the lines from the witch trials:

“I’ve never been burned alive before. What do you think it’s gonna be like?”

“Just you and me.”

Okay so obviously there’s some ambiguity over exactly when this happened, since Joe said 500 years in a box and TOGTH lists it happening around 1750. In the comics, Noriko fell overboard around 1590. I simply think the 1750 date is incorrect based on when people were being burned at the stake for witchcraft and heresy. I could talk more about that and my own headcanons about when it happened, but this is a post about linguistics, so what’s important to take from all this is that it probably took place at the earliest sometime in the late 15th century and, at the latest, the very beginning of the 17th century.

Taking all that into consideration, I can say almost certainly that all of Quynh’s lines are some kind of misremembered modern translation of what she actually said. She uses two contractions (I’ve and it’s) that were maybe in use, but likely uncommon. “It’s” was used, although you would be far more likely to see its counterpart “tis”, and contractions with “have” and “had” were only becoming common towards the end of the 16th century. There’s also the problem of the pronoun “you” and how singular “you” would not have been used in this informal context. And since “you” should be the singular “thou”, the archaic singular second-person conjugation of “do” would instead be correct. And finally: going-to future construction may have been used at the time (I can’t speak to the commonality of it), but I honestly can’t say with any certainty whether the colloquial “gonna” was in use. The first recorded use seems to be the 19th century. I’m sure there are other things that are anachronistic about the speech but I don’t know enough about Early Modern English morphology and syntax to speculate any more about it.

So yeah, Andy and Quynh’s conversation is either Andy’s misremembering of it in Modern English, it was never in English in the first place like the other scene, or just Hollywood movie magic for the viewers (I would love to see someone attempt to translate it back into Early Modern English though, I’m just saying).

“It’s nice to finally meet you.”

The one line that I feel has legitimate value in the analysis of Quynh’s speech patterns in English is the final one that she says to Booker. She’s using ME, obviously, with its contractions and singular “you.” She’s also using a modified idiom, “Nice to meet you”, which is interesting because that absolutely wouldn’t have been used when she went under water considering the word “nice” was derogatory at the time. All of this implies to me that Quynh has definitely spent time on land before she finds Booker. Also she split the infinitive ("to meet"). I don't know what that says about her speech, but I sure am looking at it.

Fun Quynh fact: of the 6 times that Andy’s full name is used in the movie, half of them are said by Quynh

**A note on sentence composition: I intentionally didn't go into detail about sentence composition outside of brief mentions. If any of you are curious about it, you can ask. I'm more than willing to discuss sentence clause structure, but I didn't want this to become even longer and more convoluted than it already is. Part of why I’m reluctant to give it any weight here is because of how lenient I was with what was considered a sentence fragment vs. a simple sentence, as the characters are speaking colloquial English. A movie isn’t formal writing and to evaluate dialogue by that same metric is silly. Also, I considered interjections sentence fragments to start and then realized halfway through that that was a bad idea and they should have had their own separate section, but at that point I was in too deep, and didn’t want to go back and do it all again. In the same way, there are sentences that I considered compound or complex sentences, but that “technically” aren’t because a lot of characters drop pronominal subjects and like. Officially you can’t have null subject clauses in English, because that’s not how the language works on paper (imperative mood aside). Or they elided part of the sentence so that technically it's not a clause. But people don’t actually care about stuff like that when they talk. Also I may have messed up a few times, because complex sentences are hard and sometimes I get phrases and clauses confused. It can be difficult to tell when there’s a lot happening, you know? (this is about Nicky. Sir, why do you talk like that)

If you’re a fanfic writer, I’m going to advise that you take the part about sentence composition with a grain of salt or ignore it entirely, unless you’re already familiar with sentence clause structure in English. It will not be helpful to you for writing character dialogue until you’ve actually put in the work to understand it and practice. As mentioned, I still mess it up sometimes if a sentence has too many phrases. Basically, if you think too hard about it, I guarantee it’ll stress you out.

#the old guard #andromache the scythian #nicolo di genova #yusuf al kaysani #nile freeman #sebastien le livre #quynh #tog meta #tog linguistics #long post #like reallyyyyyyy long #it's around 9.5k words #anyway i'm really excited to chare this with everyone!!#i've been working very hard on it #also in terms of formatting i like how it looks on ao3 much more than here so that's how i would recommend viewing it

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tempenensis · 4 years

Text

philosophy of “moving forward”

Human civilization as a whole is something that always changing. Culture as part of civilization construct adapts and evolves together with human who creates it. In the evolution of ancient to modern culture, believe in myth and words of mouth on the nature of unknown things changes gradually to studying them using science; in this science is the driving force of culture change and the old believe is the opposing force.

A subtle theme that slowly surfacing is the clash of old tradition to the new, more progressive thinking. Old tradition and rules are opposed and changes are happening gradually - and while it’s been bubbling for long, it's now culminated in one controversial life of Itadori Yuuji.

the old and rotting : the Great Three Families

One of main undertones during student fights in the Kyoto exchange goodwill arc is how old jujutsu tradition underlined to be contrasting with the more modern principles most Tokyo students follows. This especially prominent in the fights of Momo vs Kugisaki and Fushiguro vs Kamo, and secondary drive in Maki vs Mai.

In one of elite jujutsushi bloodline, the Zen’in family, perfection is a must. “Possessing inherited curse technique of Zen’in family”. Other than that, they are failure in starting life as jutsushi. Even among them, women are not allowed to stand in the starting line.

Looking at these alone, it implies on how old tradition put manifesting inherited technique among anything else and especially the discrimination towards women. It reflects the view in our real history, where women used to be banned from doing works and jobs considered masculine -- a view that has largely abandoned since women rights to be in the same level with men gained approval worldwide.

Momo’s saying this to Kugisaki is not wrong per se, since she herself probably experiences this; emphasizing Kugisaki’s naivety to old tradition that a lot of jujutsushi still largely follow. Kugisaki herself is also not in the wrong; she’s someone who puts her ego over everything - she has her own individualistic view that keeps her apart as her own person.

Another view of old tradition is the bloodline over everything else. It’s understandable if you consider the way they prized inherited technique over everything. To ensure that the inherited technique can manifest along the bloodline, one of the way is to keep the bloodline ‘pure’, to say. That’s why marriage among blood relation is probably the norm, even though the only clue of this is Naoya in the latest chapter, who considers which one of the twin is “good”, further emphasizing how little women is respected in this household.

Ironically in bloodline with a lot of inbreeding, it’s not the strength that is accumulated, but rather the weakness. For example, in Habsburg dynasty who used to rule Europe in the past, their long history of inbreeding caused their offspring to manifest a lot of genetic disorder - one of which is a physical disability named as their own, Habsburg jaw. Charles II of Spain was the most famous example of this. As a result of inbreeding along the Habsburg bloodline, Charles II inherited a lot of genetic disorders including the Habsburg jaw. He was even know as “the Bewitched” because of his appearance.

In line with this are Kamo Noritoshi and Fushiguro Megumi, who were born not out of inbreeding, but possessing the inherited technique of their respective clan. Noritoshi manifests Blood manipulation technique despite being a mistress’s son. While we don’t know Megumi’s mom, it is implied that she was a normal person since Touji had left the Zen’in and would be hard-pressed if he was to marry a woman from the same bloodline since he hated the clan. And I would not be surprised if Satoru is revealed actually to be a mistress son too in the future.

As if to condemn this believe, Heavenly Restriction sometimes manifest in these clan. Touji and Maki are bound with restriction of having reduced curse energy in exchange of superhuman strength. If you think about it, superhuman strength is actually way more effective weapon to be used in exorcising curse than innate curse technique that is usually simpler and weaker. All they need is some cursed tools to use. But of course, old tradition condemns them since barehanded, both Touji and Maki can’t exorcise curses.

Women being lesser than men, bloodline purity and inherited technique obsession, twins being bad omen, and the heavenly restriction being a viewed as a curse rather than a gift -- all of the believe that composed the old tradition is actually more harmful for the jujutsushi society as a whole. Theirs is an industry who is always chronically short-handed, so you would think that if there are more people available to do the job is better. But they don’t think so just because of outdated tradition. And Zenin Naoya is created as the poster child of it. He embodies everything old that Gojo Satoru discards and loathes.

education as driving force : Kyoto vs Tokyo

Back in vol 0, Getou calls Kyoto to be holy land of jujutsu and Shinjuku, Tokyo to be crucible of curses, where large number of curses can be found.

If we look over the history of these two places, it’s quite reasonable. Kyoto used to be the old capital of Japan, used to be named Heian. As we know, Heian period when Kyoto was designated as Japan capital is known as jujutsu golden age, when jujutsu developed rapidly, curses ran amok, and Sukuna trumped over everyone as the King of curses. We still don’t know where each of Great Families (Osanke) designated locations, but as the remaining of old capital, it is actually not surprising if the Osanke is located mainly in Kyoto, especially the Zen’in and Kamo. This also implies in Naoya speaking Kansai dialect and how Kyoto school shaped.

The influence of old tradition is prominent in Kyoto Jujutsu school. First, most of the students are somehow connected to jujutsu families. Noritoshi is Kamo clan’s heir. Mai is one of the Zen’in. Momo with her way of speaking seems also to be raised in a jujutsu family. Kokichi has Heavenly restriction which we know is inherited among children of jujutsu clan. Other than them, Toudou and Miwa seem to be not from jujutsu clan, but they are probably admitted because of influence of their mentors - and the two of them have different mindset compared to the rest of the students.

Second, when the Kyoto principal asked the students to kill Yuuji during exchange meetings, the four agreed to it readily since that’s how their custom dictates. Todo did not like that idea and Miwa is reluctant, but she still goes along. However she then apologizes to Tokyo students via Maki.

Contrasting to Kyoto school, the Tokyo school is a bit departed from old jujutsu custom. Most of the students are not affiliated with jujutsu families. Maki and Megumi does have Zen’in blood, but the two of them hate the clan and everything it represents. We still have not much information on Toge and Inumaki clan in general. This also applies to students in previous generation too. Nanami, Haibara, Getou; the three of them are not from jujutsu families. Gojou is from one of the Osanke, but he loathes their custom and tradition, which might be his main motivation to go to Tokyo school. Other than them, we still don’t know about Mei Mei, Shoko, and Utahime.

If I have to name one main characteristics that drive Tokyo school foundation is that they learn. Different from Kyoto whose philosophy influenced largely by traditional value set in stone, Tokyo school learns from mistake, learns how the era changes, learns how jujutsu changes so that they can be more humane, then develops to be an unique entity. This is largely due to Yaga’s influence.

But because of him (Itadori), there are certainly lives that was saved. In fact this time he cooperates with Todo to drive away the special-grade (curse spirit). This is not limited on the students, but after this they will accumulate a lot of regrets. Aah, I should have done that, I wanted it to be like this. Aah, I should have said it, I wanted to say it.

Whether the decision regarding Itadori is correct, truthfully I don’t know. But for now, how about we watch over him?

Yaga Masamichi is one great educator. Rather than binding them to the existing tradition, he let the students have their own view and act responsibly. This is the wisdom that build the foundation and general philosophy of Tokyo school. And his view influence Gojo, who used to be his student, in teaching the new generation. For example this; when he asks of Megumi’s opinion of what they should do with Yuuji. And because of it, they bends an existing law to let Yuuji alive; a very blatant opposition to old custom.

In addition, Gojo rather tends and teaches the new generation despite wants to kill the upper management; this might also largely because of Yaga’s influence. The two of them accumulate the same regret from the incident that makes Getou to stray and learn from it -- and that regret is what shapes the learning and teaching in Tokyo school in the current time.

While the two seemingly cut from the same clothes, Tokyo school can afford to be different from their Kyoto counterpart in their teaching because of several things. First is their location. As the capital was moved from Kyoto to Tokyo, Tokyo’s population grows. More human means more negative emotion, meaning the curses also evolved to be stronger. The reason why Getou called Shinjuku the crucible of curses is because Shinjuku is red-light district, where negative emotion is probably the strongest, making curses found there also stronger than any other place. As their enemy grows stronger, jujutsushi themselves also needs to be stronger than them to be able to exorcise them. In addition, the school is where Master Tengen planted his root so to speak, and they also need the strength to protect him too. They can’t afford old tradition to weaken and hold them back, so the Tokyo jujutsushi’s thinking start to depart from old custom. The second reason is because of Gojo; that in itself is self-explanatory.

All in all, education as a whole system is not only designed to merely giving knowledge, but also to give the young the necessities so they can develop into a proper member of society. Good education system adapts to the current era and relevant view on the development of society. In the real world, modern society aligns largely with science, so science and its philosophy are integrated as fundamental parts of modern education system. And character building is also important as part of the system -- for example being critical, to be curious and question things, is an important traits to have because human curiosity is what makes us study things we don’t understand and makes science develops in the first place -- subsequently modernize human society as a whole.

But of course, it’s all not without repercussion. Since old tradition still prevails and holds tightly by the authority, it’s no wonder that Tokyo school is now facing difficulty after the chaos that is Shibuya.

#jujutsu kaisen #jjk meta #brain vomit #jjk manga spoilers

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nopefun · 3 years

Text

Interview #495: Quince Pan

q: Give a short introduction of yourself: a: I am Quince Pan, a documentary photographer born in 2000, currently based in Singapore. I am now waiting to enter university to study Philosophy, Politics and Economics.

q: What is your series "JBM" about? What was the process of making the series? a: “JBM”, my family’s abbreviation of “Jalan Bukit Merah”, is a documentary photo project centred on my maternal grandmother, Lau Giok Niu, her cultural heritage and her HDB flat where I spent my childhood under her care. It is my first exhibited series and also my first serious long-term documentary project.

In 2015, I followed my grandmother to visit her hometown in Fengwei, Quangang District, Quanzhou City, Fujian, China. Bringing my camera along on the trip, I noticed that instead of shooting purely for fun or beauty, I would include certain objects (for example, a calendar on the wall) in my frames because they had historical significance. I submitted those Fengwei photos as my portfolio for the 2016 Noise Art Mentorship (Photography and Moving Images). I got selected, and my mentor, Jean Qingwen Loo, urged me to pursue a project which I could speak authentically about. Through her criticism, I learnt to further prioritise meaning over style. My grandmother and my childhood were topics close to my heart, especially as she cared for me during my childhood and gave me the gift of the 头北 Thâu-pak dialect, a unique variant of Hokkien from the Quangang District. Eventually, “JBM” was born as my mentorship capstone, and was exhibited at the “Between Home and Home” Noise Art Mentorship Showcase at Objectifs in 2017. I haven’t stopped shooting; that’s why it’s an ongoing long-term project!

“JBM” contains a range of visual styles, ranging from photojournalistic fly-on-the-wall documentations of heated family discussions and visits by distant relatives from China to more tender images of sunlight at the void deck where my late grandfather’s wake was held in 2006. Rituals and festivities are anthropologically significant, so I pay particular attention to Chinese New Year, the Qing Ming Festival and the Winter Solstice, which my family celebrates. I also look at how other photographers document their families: Bob Lee, Nicky Loh, Bernice Wong, Brian Teo and Nancy Borowick.

More broadly, “JBM'' extends beyond photography and is a family history project. Since 2013, I have been researching the Quangang district, 头北 Thâu-pak dialect and my grandmother’s clan. I discovered that other descendants from her clan established an ancestral temple in Singapore, which initially stood on Craig Road but is now housed in a flat in Telok Blangah. I already did some fieldwork, interviews and preliminary documentation, which led to an article I published in April 2021 in Daojia: Revista Eletrônica de Taoismo e Cultura Chinesa. Maybe I will explore this in greater depth in future photo projects!

q: How did you get into photography? a: When I was around seven years old, I loved to play with my father’s Fujifilm compact. As a young student, I hadn’t heard of terms such as “light painting”, “Dutch angle” and “rule of thirds”, but those were the techniques I subconsciously used in my photographs.

I entered the Noise Art Mentorship, as previously mentioned. During the school holidays, I worked as a media intern at Logue and as an assistant at Objectifs for the “Passing Time” exhibition and book by Lui Hock Seng. Through these work experiences, I learnt so much from Jean Loo, Yang Huiwen, Ryan Chua, Lim Mingrui and Chris Yap: news angles, editorial writing, scanning and touching up negatives and slides, colour management for print, liaising with clients and issuing invoices, among other skills. As part of the Noise Art Mentorship, I was given a copy of “+50” by the PLATFORM collective, which opened my eyes to diverse approaches within the documentary genre. I started to regularly attend talks at Objectifs and DECK, where I got to know people in the local photography scene, particularly in the documentary tradition.

q: You also do videography. How do you see it in relation to your photography? a: Videography requires a different way of seeing and thinking compared to photography, because video has additional temporal and auditory dimensions. With photography, I don’t have to think about how long I want a scene to be, what foley and B-roll I want to overlay, or have a storyboard in my head before heading out to shoot. In that sense, photography is more reactive to and receptive of situational contingencies because it requires less pre-planning.

Also, photography can be a solitary endeavour, but it is quite difficult to make films alone, and the schoolmates I used to make films with have since embarked on separate paths in life. However, photography and videography share the same basics as visual media: composition and sequencing.

Fundamentally, I see myself as a documentarian, and this applies to any medium I work in, be it photography or videography, or even writing. The end goal is to record and share history by telling stories from lesser-known perspectives. Thus, the topics of my video projects are similar to the topics of my photo projects; sometimes I do both side by side! The films I made were all documentary shorts of places which do not exist anymore, such as the Hup Lee coffee shop at 114 Jalan Besar and the old Sembawang Hot Spring before NParks took over the site from MINDEF and redeveloped it.

Currently, I am working as a videographer for Sing Lit Station’s poetry.sg archive. Thankfully, this job can be done solo!

q: What or who is inspiring you right now? a: Bob Lee, for being an amazing father and spreading hope and joy to others through his images. Alex and Rebecca Webb, for pairing literature with photography. Tom Brenner, for approaching photojournalism like street photography. Sim Chi Yin, for her international achievements and being both an academic and a practitioner. Brian Teo, for being an eminent contemporary. Last but not least, Kevin WY Lee’s advice, “CPR: Craft, Point, Rigour”, which I try to benchmark my work against.

q: Upcoming projects or ideas? a: Nothing concrete on my mind so far. I am just going to see where life takes me and what topics life makes me want to explore or talk about.

q: Any music to recommend? a: First and foremost, my fight song: “倔强 Stubborn” by Mayday. A close second, Queen’s 1986 “Under Pressure” live performance at Wembley is a transformative experience. The catchy “他夏了夏天 He Summered Summer” by Sodagreen brings out the grandeur in the mundane. “Silhouette” by KANA-BOON and “Everybody’s Changing” by Keane remind me of the fragility of life and time. I also like The Fray, Kings of Leon, Last Dinosaurs, Stephanie Sun, Tanya Chua, and the Taiwanese indie band DSPS.

his website.

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#Quince Pan #nope fun #photographer interview #singaporean photographer #photo documentary

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starsheild · 3 years

Text

AU August 2nd- Marriage of Convenience

AU August 2nd 2021- Marriage of Convenience

It was almost as though his time tied on the wagon was the calm in the eye of the storm for Prowl. The cycle had started in a whirl of activity and ended much the same way, and Prowl had only been swept helplessly along by it all.

His processor had skipped a little when he had finally come face to face with the speaker and discovered that the Monsters of Mountains were just mecha. Strange looking mecha to be sure, but beings whose fields he could teek, his optics could observe, and his audios could hear even if his processor could not process the glyphs being spoken for the most part.

The visored mech had lifted his chin forcing Prowls helm one way and then the other as he studied him. When he spoke again it was in heavily accented but perfectly fluent Praxian. “Just ya keep quiet and we’ll get ya mov’d outta here.”

Prowl simply nodded in agreement. It was not as though he had much choice. There was no point in calling for help, for there was no one to rescue him. While his tired processor was sluggishly generating questions as it tried to process his surprise and confusion, in the moment it was so much easier to just obey.

The bindings that had secured him on the wagon were cut away and Prowl swayed as their support fell away, the stiffness of his frame after being restrained for so long catching up with him.

“Easy there.” The stranger murmured, catching Prowl quickly yet gently. He supported Prowl easily until he found his pedes again, then helped Prowl to the edge of the wagon, passing him down to others waiting on the ground, issuing orders in a dialect Prowl couldn’t follow.

Those on the ground handled him just as gently, helping him to the edge of the clearing where Prowl was met with a new sight starting enough to force his processor to focus once more. He had seen images of zap-ponies, of course, but he had never actually thought that he would see a real one, much less ride one. But that was clearly what his helpers intended as they lifted him and placed him on the small beast, guiding his servos to the stiff upright mane that ran the length of the creature's crest pointedly.

One of them spoke quickly, stopping only when Prowl blinked at him stupidly. After a nanoklks consideration and a brief consultation with his companion he squeezed Prowl’s fingers in to the mane. “Hold. Strong. Hold strong?”

That at least Prowl was able to process, and he grabbed hold and nodded. Relieved, the one that had spoken stepped away, leaving Prowl with the single mech to hold the pony. After a few vents to process the strangeness Prowl looked around, watching in silence as the mecha swarmed over the clearing, gathering up everything and loading on an entire herd of zap-ponies like the one he currently sat upon. Even the wagons were quickly broken down and loaded on the beast until there was nothing left in the clearing.

It was then that the first mech that had spoken, the leader, Prowl decided, had appeared at his side and taken command of Prowl’s mount. At his motion the entire company set out, and Prowl had resigned himself to holding on for the ride. The canopy of the crystal forest hid the stars in the sky above, leaving in darkness that his optics could not penetrate and input from his sensor wings that his processor could not interpret.

He wasn’t entirely sure how he reached their destination. The next time he really processed anything he realized he was inside some sort of building and being helped from the zap-pony. A short, dark mech appeared, taking him from the leader and guiding him away.

He led Prowl into a small room, directing him to the berth within, and for the first time Prowl balked.

The mech stopped, then chuckled softly. “Easy mech. Yer not fer me. Not fer no one at the moment. Ya hungry, jus’ wanna charge?”

Prowl started to nod, then caught himself. That was not a yes or no question, and he was suddenly at a loss.

“Ah, ya can speak now, much as ya want. Yer safe here.” There was a hint of sympathy in the dark mech’s tone and field.

“Fuel would be appreciated.” Prowl said, more relieved than he liked at being allowed to speak again. He settled on the edge of the berth, automatically evaluating it as it gave beneath him. Firm, but not so bad. As tired as he was at the moment, Prowl suspected that he could have recharged on the hard floor beneath his pedes with little difficulty. “And, maybe also, your designation?”

The mech laughed. “Sorry mech. Meh manners are slippin’. Ori’ll prolly whap me when ‘e hears. ‘M Ricochet. Rico, if ya prefer.” He fetched a cube of energon from a side table that Prowl had not noticed at first, taking a small sip before offering it to Prowl. “Here.”

“Thank-you.” Prowl accepted the energon and the gesture of goodwill, even if he had not felt anything of the sort necessary. He was a captive, was he not? His first question had gone over well enough, so after a few sips of the energon he dared another.

“May I know what my fate is to be?”

The dark mech, Rico, shook his helm. “That’s for Ori ta tell. He’ll be by, once ya’ve had a chance to fuel and charge a bit. From what ‘ave heard, they don’ make this easy on ya’ll.”

“Those that have been sent before?” A bit of hope crept in to Prowl’s spark. While he still had no idea what was to happen to him, he doubted that they would go through the trouble of fueling and allowing a mech that they were planning to end for whatever reason to rest.

“Yup.” Ricochet nodded in agreement, watching as Prowl finished off the energon. He held out his servo for the empty cube. “Want more?”

“I am not full.” Prowl said as he handed it over. “But I am no longer empty, and I fear that much more will not set well with my tank right now.”

“Smart mech.” Ricochet observed. “I’ll leave ya to charge then. Yer safe in here. Don’ leave the room though.”

“I will not.” Prowl promised.

“Good. Ya need anything, jus’ holler for me or call fer Punch. He’s my ori.”

“He was the one that brought me back?”

“Yup.” Rico smiled, the single glyph answer full of pride and affection. “‘Need anything ‘fore I go?”

Prowl shook his helm, then caught himself as he optics landed on the glowing crystal on the table with the pitcher. “Will you leave the light?”

Ricochet followed his gaze, and actually seemed a bit surprised at the request. “‘Course. Ya can cover it if want it darker, or I can bring another if ya want more.”

“One will suffice. Thank you.”

Prowl back on the berth as the door closed behind Ricochet. He did not hear any sort of lock engage, which surprised him a little. With a soft vent he let his optics go dim and his processor wander. As recharge overtook him his last conscious thoughts were of his brother, and a silent prayer to whoever might be listening that the Priest had kept his word and delivered the message.

***

The creak of the opening door pulled Prowl from recharge. He struggled to sit up, groaning as his processor slowly booted. When his optics finally focused they revealed the other mech he could clearly recall from the dark cycle.

Punch, Ricochet had named him when the dark mech had claimed him as his originator.

“Feelin’ better?” Punch asked as he came closer, offering Prowl a full cube of energon after taking a sip, just as Rico had done before.

Prowl’s optics swept over the mech curiously as he accepted the cube. The bright yellow and blue of his armor was a sharp contrast to Ricochets, though as his processor continued to clear Prowl could see the resemblance in frame and manner. “I am, thank you. Ricochet was very considerate.”

“Not enough ta ask ya yer name.” Punch grumbled. “Since ‘e couldn’t tell meh when asked.”

“My designation is Prowl.” Prowl offered with the appropriate cant of tilt of his helm and doorwings as well as the intonation of his designation that added layers of meaning beyond the mere glyph.

“Well then Prowl, welcome ta Polyhex.” Punch smiled, the expression if not warm, at least as welcoming as the glyphs. “Rico said ya had questions.”

“Many.” Prowl admitted, debating between what he desperately weighed as the most important, and lesser weighted ones that were not as frightening in their potential answers posed by his processor. Finally he settled on the latter. “I must confess I am surprised at hearing Praxian spoken.”

Punch’s expression softened a touch, his frame settling into an even more relaxed posture as he answered. “There’s a good number ‘o us that know it. Ya seem like a smart one, though. Bet ‘cha pick up in Poly quick enough.”

“Then I am to continue functioning,” Prowl sighed, the words slipping from him before his processor could catch the escaping thought.

“‘Course ya are. Don’ know what they tell ya happens ta the mecha they leave any more. Don’t really care, honestly.”

“They tell us nothing of what supposedly happens to the Offerings.” Prowl admitted. “All I know, all I know that anyone knows for sure, is that they are never seen from again.”

“Well, there is that.” Punch nodded in agreement. “Seein’ as how we can’t have ya goin’ back. But we’ve never off’d anyone they’ve offered without cause. So long as ya agree ta stay, ya live here jus’ like one ‘o us.”

“Like one of you? As a… Polyhexian?” Prowl stumbled over the glyph, his stutter the result of a great deal of surprise, and no small amount of anxiety

“Free ta live and enjoy functioning.” Punch confirmed. “Soon as one little detail’s taken care of.”

“And what is that?”

“Yer bondin.”

#AU August 2021 #J/P #Offering #RoughWrite

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electric-sympathy · 2 years

Note

Thoughts on Moon Knight? (characters, plot, representation, etc...)

To preface, I have not read the comics. All I really knew going into this was that he was basically a DID Batman tied to Ancient Egypt.

Does it make me a dumbass American that I thought Steven’s accent was really good? I’ve since heard Isaac himself rag on it but I thought it was great lol. I am so in love with lil Steven lol, I was unfathomably relieved when balancing the scales didn’t eliminate the alternate personalities. As I understand, he is not in the comics and that crushes me!

I loved being dunked in and out of different mindspaces-as-nations. Sometimes I forget how different British culture and dialect is and it’s a treat to get in the thick of it. All for Marc’s safe way of interfacing with Ancient Egypt’s influence on his life as Just A Gift Shop Cashier boy 😭

(Btw as a fish girl I AM MOURNING GUS….. He had the only adequate accommodations of any film goldfish I have ever seen and now he is GONE…!!!!)

Lesser shows would have just given us confusing whiplash but this went really well. I was so nervous they’d fail to follow through on plot threads or make a mess but there was only one I felt was dropped (The time Marc froze up instead of defending the sarcophagus with the star map.) The full blackouts were a GREAT mystery underscoring all the others. Many plots percolating!!!

I also loved the ambiguity of Khonshu. Obviously this is rather dead with the post credit scene but, considering Disney you keep expecting there to be a straightforward heroic slant and there’s kernels of one that might exist, that make you think perhaps Khonshu has hidden depths we don’t see and his bad acts are some kind of test. So he keeps doing bad things with virtuous words and you’re always guessing. I just really really love that they committed to the idea that no matter how you slice it the gods have a different conception of morality than we do. They’re alien, not just powerful versions of mortals.

All in all my concern at Disney’s ability to pull off any possible Daredevil continuation is greatly lessened!

I can’t talk much about rep as I’ve nothing in common with what the show called for. I think the DID connection is deliberately murky which I found graceful. I squealed when the little girl was happy there was an Egyptian superhero. I do find myself critical of the way several gods used British accents (Taweret in particular as she was not speaking through a vessel) considering the history of pillaging… While the villain seemed like the only full blooded Egyptian god… it’s expected that an American production would have a lot of American accents while the Brits seem like a more conscious choice… but again I am not one to speak on this.

My ONLY big issue… which I must be honest about…. Is the costume. It’s great in every way (Ethereal mummy wraps!!! With gold!!! SCREAM!!!!) except the design for the headpiece is a little unfocused and I mean that sort of literally; the hood that should be the threatening centerpiece is floppier than it should be and this character really deserves a streamlined, concrete silhouette. It makes him look like there’s not a lot of thoughts or drive in his head which we know isn’t the case. And of course they didn’t give Layla a cool hat or mask at all! 😡🤬😡 But Disney is completely allergic to superhero masks so….

Anyway there was just so much care put into just everything, I am so thirsty for more!

#moon knight spoilers

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secret-time-is-here · 3 years

Text

An Error's Journey

Chapter 50

Previous - First - Next

50 CHAPTERS!!! It's been the longest series I've ever written since 33, but 50 is a huge milestone I thought I'd never reach. If you've made it this far, thank you so much!

“It took you long enough, God of Destruction.”

“I was dealin’ with business.” Error explained, taking his usual seat in Core’s office.

“Yes, you delayed it for a time, but you did in the end.” Core smiled, “At this rate, I’m surprised you haven’t figured out my slip up.”

“Yer… slip up?”

“If you don’t remember, then I won’t remind you. I think the way things are going may give us a better ending than I previously anticipated.” Core got up out of their seat, walking over to and past Error towards the door of the office. “The opening for your cafe is today, correct?”

“Yeah, in a few hours. It’s how I managed to stop by.” Error got up, switched to Lapse and fixing his dialect.

“Good, I planned to join in the opening, at least as a standby, if that’s alright with you?”

“Works for me. I’d rather see you watching than however you find out about my personal life.”

Core laughed, “It really is creepy you know.”

“Heh, I suppose so. But I’ll happily be creepy for a good ending. Another price I pay.”

“You’re a fan of that little line aren’t you?”

“It’s fitting.” Core and Error stepped into the elevator, heading down, “There’s a price for everything, even if you don’t know the price when you buy it… I started this, and unfortunately, it’s up to you to end it.”

The elevator dinged, and Core signed to Error in wingdings as they walked along the sidewalk, following the long line towards The Outsider. “As cruel as it sounds, I wish it was up to me to end this. I’ve managed to end this many times, or so I thought. Without fail, someone or another restarted the cycle, and I continued to lose my sanity as we continued on. I fear that the price I paid for a good end was my life. A search that can never be accomplished. Never succeeded.”

They reached The Outsider, the sign bright and shining before them. “At least, you will be able to live a happy life. A life far greater than you could’ve imagined for yourself.”

“How long have you been doing this?”

“Long enough that if all my promises were a mark on my body, I wouldn’t have any skin left.”

Core turned away from him, waving to the cheering crowd. He could see Blue, Ink, and Death on the other side of the doors, Dream nowhere to be found.

Death and Blue seemed to smile knowingly while Ink and Cobalt gave wide grins.

He gave his short speech, and cut the ribbon, letting everyone in as the workers he hired began working. A Mafiatale Muffet walked over, a manager that he was very lucky to find that also doubled as head of security-considering that the place was owned by Lapse he didn’t want to risk anything. Both fans and haters could be crazy at times.

Walking inside was beautiful. A gorgeous industrial modern cafe that expanded nearly all the way to the back of the building. Couches and safe electric fireplaces were littered here and there along with plenty of tables and even bar stools. The back was a full kitchen that took up nearly the full back wall, allowing you to see your drinks and snacks being made, the smell of fresh treats wafting through the air. A small hallway was the only space left on the back wall, where several bathrooms were kept and a stairwell led upstairs.

“Should I take you and your guests to the VIP room, Boss?” The VIP room had been something he wanted and required from the start, even altering the building to make a suitable space upstairs for it. Somewhere that Ink and Death could relax without interruption and even Dream could enjoy with his lesser reputation now.

“Yes, thank you, Sydney.” A more unusual humanoid name for a monster, but fitting considering it’s after a deadly spider.

Sydney turned, and with a wave of one of her three arms-having lost the others, sadly disabling her amongst spider monsters-she told Lapse and his friends to follow. Core followed immediately while Blue exchanged confused looks with Cobalt Death and Ink, but ended up following as well.

The VIP room ended up better than he thought. Modern circular couches with a coffee table between them in the middle of the room with an electric fireplace on one side and a kitchenette with an island on the other. The kitchenette held just enough materials and machinery to make some drinks himself if Error wished, and a sink to wash whatever dishes were made as well. The back wall of the wide room held a large window, one way to watch down below but not to be spied on.

“Wow… This is amazing, Lapse.” Cobalt spoke up, “Why a VIP room in a cafe though?”

“Well, you forget my fame and yours.” Lapse shrugged off, relaxing on one of the couches, “This gives all of us a safe place to relax and enjoy without worrying about paparazzi, as long as you have the card at least.” Error pulled several early grey cards with fawn industrial lettering from one of his pockets, setting them on the coffee table. “One for each of you, and I’ll probably hand out a few more.”

Everyone’s faces lit up, and even Core smiled.

“What would you all like for drinks? I figured I would make some for you before helping downstairs. There’s more than enough on your back today, Boss.”

“You have a lot on your hands too, Sydney. You should keep an eye on downstairs, I’ll make some for us up here.”

Sydney nodded, and bid everyone farewell before going downstairs.

“I didn’t know you could make drinks?” Ink spoke up as Lapse got up and went over to the kitchenette, everyone moving to sit at the island.

“I only learned more recently, but yeah. Also had to perfect the few special drinks on the menu, plus the desserts.”

“Special drinks?”

It had been a last-minute decision, but in the end he added a few personalized options to the traditional menu. Cleverly named drinks after important people, some more clear than others. Of course, there was a blatant “Grim beanery”, a special choice of beans and chocolate that was as black as Reaper’s wings. Then there was also a blended coffee drink named: “Tasteful rainbow” that when with whip cream had rainbow chocolate sprinkles. Although there was the less clear “Deception”, that while laced with caramel, was still mostly black coffee. Even less clear was the “Royal brightness”, a confusing drink at a glance, looking like simple black coffee, but truly an extremely sweet mocha.

Then he also had a few other select drinks on the secret menu, if anyone ever figured that out. Dark chocolate mixed with white chocolate cocoa, another black coffee paired with raspberry syrup, then a mixed berry handcrafted tea, along with minty green tea and cherry tea-both of which are also handcrafted.

“Yup, then of course the secret menu, but that’s mostly tea.”

“I got a challenge then,” Death proposed, “Make the drinks that you think we’d like best.”

“That… might be a little hard, didn’t we meet not too long ago? When I first told you all about The Outsider?”

“Yeah, but that’s what makes it fun.”

Lapse shrugged, quickly preparing drinks, easily switching between each of them.

Death and Ink were easy, Grim beanery and Tasteful rainbow, although the rest were a little harder. Blue, he was pretty sure, liked americano-espresso and water, since Hearts talked a lot about him. Cobalt was more difficult, but something scratched at the back of his mind that said no chocolate, and in the end, he decided to go with a red eye-espresso and coffee. Core was the worst, who smiled innocently all the while. Lapse finally went with a likely yet unlikely option. Simple hot chocolate.

Everyone sipped at their drinks, and Ink was the first to speak up.

“This is amazing, Eldeem!”

“Thanks, glad you enjoy it.” He smiled, trying to keep his eyes off Reaper’s shit-eating grin.

At the least, the VIP room was a grand success.

They ended up staying there nearly until close. All of them relaxing together until it was just Lapse, Ink, and Death, the latter of which told Ink to go on forward without him. Ink didn’t question it, hurrying on to wait downstairs.

“Wow Soul… Can’t believe I didn’t notice sooner.” Death smiled, “At least I know how you get your money now.”

“Yeah yeah, just… don’t tell anyone else, ‘kay asshole?”

“I won’t. That’s an honest promise too. As much as I joke around if you’re gonna ask me not to do something I’m not gonna do it.”

“Good, because you’re one of two people that knows.”

“Ccino?” Error nodded, “Figured. Nice disguise by the way, although you can’t fool death, so ya failed there.” Grim chuckled, “Have fun messing with the Stars like this?”

“You have no idea.” Error smirked, “Although, it also lets me help out around. Since Lapse is closer to Dream than I am.”

“Pfft, yeah. Dream actually has been doing better. Came to my realm when Ink was over and talked over things with us… still not joining us, but it’s good closure, ya’know?”

Closure. As if he’s getting that anytime soon. “...Error?”

“Yeah?”

“...Don’t be a stranger, alright?” Error nodded, and Death leaned in, giving him a kiss on the cheek-Lapse’s form flickering before returning.

#Undertale #utmv #UTMV #An Error's Journey #AEJ #AEJ Chapter 50 #Chapter 50 #Error sans #Ink sans #CORE Frisk #Core #Reaper sans #Underswap sans #mafiatale muffet #my writng #my works

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trials-by-blood · 4 years

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Male with Gender Neutral S/O. S/O is protective over their Yautja. One day, on the mothership, a female gets interested in the male. S/O firmly shows the male is theirs. Male is very impressed by their antics. (If possible, make it naughty ish. Like pulling on Yautja tresses. I apologize if that makes you uncomfortable. I don’t know what you’re rules are.)

Okay so, It’s done! Like another prompt, I decided I should consciously try to be concise and cap it off before going over 2500 words or else it could go on and on. Unfortunately, this couldn’t be naughty because I’ve made the decision to keep this blog at a PG-13 rating. I wound up RBing my original post (The one announcing open asks) with a loose outline of my rules after receiving this very ask. Yeah, I kinda had that “Uh-oh, I forgot the most important step” moment.

This one sort of ran in a few unexpected and at times turbulent directions. I hope you enjoy this reply although it veered a little off course.

-Ghardeh-

The ooman was always a pain. Ghardeh called them H’ko. It was literally the word for no. Why did Ghardeh call the ooman this? Because it was the first word in Ghardeh’s language that they had learned and one they loved to use. No, no, no. “No” to proper clothing in the current yaut fashions, “No” to any food item they found suspicious, “No” to bathwater heated too hot, “No” to sleeping in the kehrite as unblooded should, “No” to observing Ghardeh’s hunts via a live stream transmitted from the eye lenses of his helm because they did not like the idea of possibly witnessing their companion’s death in real-time. A definite “NO” to learning to hunt as well. They didn’t have any interest in hunting to prove themselves.

H’ko, H’ko, H’ko. Ghardeh had heard the word in that terrible accent so many times he’d begun mockingly repeating it back to the ooman out of frustration, eventually, it became their pet-name, and later it became a term of endearment. Ghardeh had long given up on the notion that H’ko would ever become a warrior, but that was fine, the ooman was proficient in mechanics and electrical work and it was a respectable profession for an ooman.

Bound for the Clan ship, Ghardeh did not worry much about the ooman’s safety. His clan worked with oomans regularly and in H’ko’s case, as they weren’t a warrior and wore typical ooman dressings, the people would regard them with the same scrutiny as the unblooded: well beneath the gaze of warriors. And yautja women? Well, they ignored their male counterparts ninety percent of the time too, doubtful they’d even register H’ko’s presence at all. Other yautja should simply pretend H’ko didn’t exist as they tagged along safe and sound under Ghardeh’s left arm, and if anyone spared them a second glance it would likely be assumed that H’ko’s role was that of a hired repairer and no more.

Ghardeh had prepped H’ko very sternly and more than once for this visit. Speak to no one above their rank. Do not make prolonged eye contact as it is seen as a challenge. The breeding season is near so if a female propositions, allow Ghardeh to decline and do not intercede. That last instruction was very important.

Ghardeh had known that humans were often monogamous, and when asked H’ko confirmed that they would prefer not to share Ghardeh’s romantic attention with others. This was one of the many compromises in their unusual partnership. Ghardeh would sleep and engage in sex acts with H’ko and only H’ko, but they had agreed to allow Ghardeh to donate reproductive material non-sexually to females if it was asked of him. Ghardeh had to explain to the ooman: if you are a strong warrior and a fine hunter, it is your duty to contribute your traits to the next generation. They had accepted that aspect of yautja culture begrudgingly, taking a long time to think through and voice all concerns about it just as Ghardeh had done as well when it became apparent that his ooman companion did not enjoy the notion of their mate being dragged to a stranger’s bed chambers if a proposition was accepted. The ordeal of Yaut mating practices also seemed to upset them. A female will usually test a warrior to be absolutely certain that she’d chosen a sire well. This often involves dangerous feats or enduring a physical altercation. H’ko had been unhappy with the very common occurrence of males limping their way home after a failed encounter with a choosy woman.

Ghardeh was merely reviewing all of this information in his head whilst he lied on his back and massaged at the stress crease in his forehead with his knuckles. Tucked against his left side and in the crook of his arm was H’ko, snoring and blissfully unaware of Ghardeh’s anxiety. H’ko would be relatively safe for sure, but something always went wrong when he tried to bring them aboard the Clan Ship. Last time, H’ko accidentally got dragged off with another group of oomans after being mistaken for a member of an ambassadorial tour group. None of the actual ambassadors had the gall to inform their extraordinarily intimidating guide that H’ko was just some random person who was grabbed, scolded for wandering off -which they had, but not from that group-, and herded along with the rest of the soft little aliens. Ghardeh was tempted to tether H’ko to his own body this time, so they couldn’t move more than ten feet from him.

Ghardeh sat up and scrubbed a knuckle against his closed eyes as he prepared to leave the bed, then let a hand fall on H’ko’s shoulder to gently shake them awake. It was time to dress, eat, and prepare.

Docking went smoothly, and disembarking was uneventful as well. They were greeted by Chulonte, a friend and hunt brother who knew H’ko well and even dipped his head slightly to acknowledge their presence.

“The meeting place has been reserved, we should go now, the others have already gathered,” Chulonte told them briskly before turning away and leading them on.

Ghardeh leaned toward H’ko and dropped a hand on their shoulder. “We’ll acquire a midday meal after the meeting, just the two of us.”

Ghardeh was pleased when H’ko gave him an earnest closed-mouth grin. H’ko liked when they ate alone yet in public. Called them “dates”.

-Taylor-

Ghardeh was in the meeting with his equals, a loose coalition of hunters each with their own private hunting vessels who always coordinated with one another so that their time hunting on various worlds did not overlap. Apparently, there were laws in place to prevent over-hunting on some planets and to avoid over-exposure on others. Taylor was told to wait outside with Chulonte’s hounds. They were big ugly scaly beasts. One had a face like a cross between an English Bulldog and a cod, the other was nothing but a fangy maw of teeth and horny protuberances growing from its back but they were rather friendly, at least toward Taylor. Taylor wasn’t completely fluent in the Yautja dialects but it had seemed that, as a favor to Ghardeh, Chulonte had given his hunting hounds a command to guard the tiny human among them. The animals hovered close to where the human sat and would stand from their seated positions if any passerby veered too close. Taylor chanced a hand at petting them, Bulldog Face kept dropping his enormous head into the human’s lap for more attention, Spikey Back wasn’t into it and lied down just out of reach.

A group of women began to form nearby, but not too close, as Spikey Back had stood and shown the lot of them his teeth when they tried to form a cluster too near to where Taylor sat waiting for Ghardeh. Taylor could hear this and that which was said among the women. Some of the discussion was pretty damn raunchy. They were here to find action and had planned to greet the hunters when they conclude their meeting and disperse. They said things about what they wanted to do to the hunters they had chosen, sometimes what tests of strength and resilience they were expected to endure, but more often the discussions leaned heavily into overtly explicit themes. The woman who wanted Chulonte wanted to see if he could track by scent as accurately as his hounds could and if he succeeded in this test she would, and Taylor could only partially decipher the phrase, “??? him so ??? that his spine comes undone from his pelvis”. It made Taylor’s skin crawl, especially when all of the women laughed approvingly at what the other had said. Taylor hoped it was a lesser evil in being just a filthy joke but given how tall and strong they appeared, and how dangerous Ghardeh had told Talyor they were, they wondered if they really could injure their partners in such a way. It certainly seemed possible.

Taylor felt tension building in their chest. They heard them name off nearly all the hunters they’d seen enter the meeting room and every brutal ordeal they wished to subject them to, and it was only a matter of time before Taylor heard Ghardeh’s name. It happened, and when it did, the human’s pet name was mentioned as well.

“Ghardeh is a difficult one to persuade, too difficult to bother with up until now. He now has rank advancements, clearly enough to afford him a live trophy. That’s worth some regard, but how to get rid of H’ko long enough to have adequate time with the man?”

“Seems like Chulonte’s dogs make fine enough guardians for it. Let us coordinate our liaisons then-”

Taylor couldn’t keep their mouth shut. They’d been infuriated by three ugly words. Live Trophy and, It.

“I am NOT a Live Trophy! And Ghardeh is NOT available for your abuse!” They shouted, causing both of the hounds to jerk to attention and search for a threat to their charge.

-Ghardeh-

Ghardeh had correctly predicted that the meeting would go very much as it had in all of the previous seasons, a few smooth agreements, a few disputes, a fight or two, and then they’d leave and continue about their personal business. He left that meeting room with lunch on his mind and the expectation that H’ko would be clamoring for a meal as well, he had not anticipated being met with the sight of them dangling from the grip of Dar-bak’di, the most fearsome of the local young women who roved in a pack during the breeding season. H’ko was kicking and gasping for air as they flailed in her grip, Chul’s hounds were being bribed into complicity by the other women offering them whatever morsels they had in their bags, and Dar-bak’di was making a show of how easily she could destroy a mere ooman. Now it was Ghardeh shouting H’ko! H’ko!

It took a great deal of convincing to get Dar-bak’di to release H’ko, and the limit of her mercy was to drop the gasping ooman on top of Ghardeh and call them both abominable, in addition to accusing Ghardeh of something akin to bestiality. Dar’bak-di had smelt Ghardeh’s amorous n'dui'se all over his ooman companion and she refused to believe it when she was told that H’ko was a legally hired mechanic. To perform mating practices with species classified as prey was frowned upon, but not against any written law. The truth of the matter was, H’ko was unbelievably lucky to survive the encounter and had, hopefully, learned something from it.

The ooman did not argue or make a fuss on the way home, and whether they liked it or not they were carried. The bruising around their neck was already blooming into hot red blotches. Ghardeh said nothing of it but make no mistake, he was furious. He’d told H’ko in no ambiguous words not to engage in conversation much less an altercation with yautja women! And what did they do, start a fight they could never under any circumstances survive on their own.

Upon his Vessel, Ghardeh placed H’ko in bed and with the intention of letting them sleep the ordeal off. After leaving the room, he went to the galley to serve himself a drink before grabbing the kit to treat severe bruising, but heard the soft soles of H’ko’s feet padding behind him.

“Go back to the bed and rest,” Ghardeh told the ooman flatly without turning to look at them as he poured a glass of c’ntlip.

“They were saying terrible things,”

Ghardeh sighed and set aside the decanter before taking the first sip and responding.

“They’re lonely and horny, of course they were speaking in lewdisms. I warned you that they would speak this way about whatever they set their longing eyes upon.”

“But it was about you and-”

“I don’t care what was said about me! You disobeyed the most important instruction I have ever given you! You could have been rent to pieces! You directly challenged an individual no less than twice your height and perhaps four times your weight! Worse still, she was legally in the right to throw you through a wall if she wanted to!”

“She called me a Live Trophy!” H’ko shouted through a snarl.

The tone immediately triggered Ghardeh’s expression to twist and eyes to darken as he postured for a fight -albiet only a verbal one- but the words gave him a reason to pause as he processed what was said. Live Trophy, it was nothing else but a slur, and H’ko’s anger was justified. H’ko tended to show a fear response with tears and soft whines when they were angered, though, which Ghardeh was always bewildered by. A show of anger more familiar to Ghardeh had come first this time, perhaps because his own mannerisms had begun to rub off on the ooman, so a second pause was taken to scrutinize H’ko’s face. Ah, the grimace and tears were building behind the facade. Ghardeh deflated.

“She called you a Live Trophy?” he asked, softly this time as not to elevate H’ko’s anger further.

It was too late to abate the ooman’s upset. Fat droplets ran down their rounded face and they stopped making their oh-so-important eye contact as they nodded to confirm that, yes, they’d been called a live trophy.

Ghardeh moved in to close the distance between them in two strides before dropping both hands on his ooman mate’s shoulders with a great sigh.

“We will treat the bruising on your neck, then we will prepare a meal on our ship, then we should talk about what happened.”

H’ko did that typical human thing by saying nothing and gripping the yautja around the waist in an embrace. Ghardeh tried the rumble affectionately, but frankly, he was now furious beyond belief for all new reasons. Live Trophy. Had he known such a term had been thrown at his companion, he’d have been inclined to challenge her too.

“You were brave Tay-Lar, for defending your honor.”

“Really?”

“Yes,” Ghardeh said with a genuine growl of approval this time, stroking the back of his companion’s round head.

#yautja #predator #asks #violence #human/yautja

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paradoxcase · 4 years

Text

When Gandalf and Pippin arrive at the outer wall of Minas Tirith, the guards stop them and are like, we know you, Mithrandir, you’re totally cool and are welcome to come in, but who is this guy with you? Is he like a dwarf or something? We don’t want any foreigners coming in right now, unless they’re big strong warriors who are going to help us win the war. And Gandalf is like, this is Peregrin, a mighty warrior who has seen more battles than you have, and he just got back from the sack of Isengard, he is a mighty man! And Pippin wakes up and is like, this is complete bullshit, also I’m a hobbit, which Gandalf explains is a halfling, and then Boromir gets brought up because he went off to Rivendell to find out about the prophesy having to do with a halfling, and Pippin reveals that he was there when Boromir died, and the guards are like, oh, you can definitely come in because Denethor will want to talk to you. But it’s hilarious that Gandalf actually tries to pass Pippin off as a great warrior initially.

A rarity: a moment of Pippin dumbness in the book that is spared him in the movie (I believe): right up until Gandalf tells Pippin not to mention Aragorn to Denethor because Aragorn is trying to become king of Gondor, Pippin actually has no idea that Aragorn is trying to become king of Gondor.

There’s a note in the companion that one of the linguisticky things that Tolkien imagined but was unable to represent properly in the (English) LOTR was that although the Gondorians speak Westron, and the hobbits also speak Westron, the hobbits speak a variant dialect of it that sound very strange to the Gondorians. The Gondorians have a T-V distinction (which means, basically, that they have familiar versus polite/formal versions of “you”, and, the companion indicates, possibly third-person pronouns as well), but the hobbits use the pronouns that the Gondorians consider familiar for everyone. So part of the reason everyone assumes that Pippin is of high rank in hobbit society is because he goes around addressing Denethor and other high-ranking people using familiar pronouns. Like, Pippin is hobbit gentry, and does become the Thain, etc., but he’s not actually Denethor’s equal, which seems to be what people were assuming.

Gandalf and Denethor have this little pissing match when they meet, when Denethor finds out that Pippin traveled with Boromir and witnessed his death and wants to sit down and quiz him on everything that Boromir did, and Gandalf is like, uh, don’t you want to know about, you know, the destruction of Isengard and the treason of Saruman and the war and all that? And Denethor is pretty smart and actually suspects that Gandalf suspects him of being corrupted by his palantir the same way Saruman was, is like, oh, I already know everything about that that I need to, and then is like, even though the seeing stones have been lost, “the lords of Gondor have keener sight than lesser men”, just to remind Gandalf that he does have the palantir and could probably have literally seen this stuff happening with it. And Pippin watches this interaction, and observes that although Denethor looks more like what he’d think of as a prototypical wizard, Gandalf is in fact more powerful, and, in typical Pippin fashion, starts to wonder for the very first time how old Gandalf actually is and if he is even human.

#lord of the rings #lotr #gandalf #pippin took #denethor

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tyrras · 4 years

Text

LONG MASS EFFECT POST

Long, nerdy Mass Effect post that will probably bore everyone to tears, but I've got to get this out of my head and you're my victims. Since Bioware has announced that the series will be remastered and another sequel is in the works, I played it through again for the 4th or 5th time. I always play as a Paragon, and I always choose Synthesis. Paragon is just because I can’t enjoy being an asshole (the option to be Renegade). The rest of this post is dedicated to explaining my repeated choice of Synthesis. Warning: If you haven't played ME but think you might when the series is remastered, there are SPOILERS here. Also, Mass Effect is a Sci-Fi Space epic RPG (video game) trilogy.

The premise is this: Millenia ago (billions and billions), an almost immortal and godlike species existed (the Leviathan) that made thralls of lesser civilizations. The 'indoctrination' was subtle enough that the lesser species didn't even know they were thralls, but rather thought they were worshipping Leviathan. Since the Leviathan are essentially immortal, they noticed a particular cycle. Each civilization would eventually create artificial intelligence that they used to serve their own needs. This intelligence would become more and more sentient and eventually rebel against their creators (which always wanted to keep the AI as a tool or slave race), wiping out that civilization. Leviathan can enthrall organic creatures, but not synthetic life, and so it lost its tribute over and over. This annoyed Leviathan, so it, too, created an artificial intelligence, not missing the irony per se, but arrogantly thinking it was above the problem the lesser species encountered when doing so. Leviathan posed the Artificial Intelligence with one problem to solve: find a solution to the inevitable genocidal conflict between synthetic and organic life.

The AI (called ‘Stargazer’ and ‘The Catalyst’ in ME canon) attempted many solutions through several cycles, but ultimately it came to one very grim one. It created a race of spacefaring beings that were synthetic replicas of Leviathan in all ways. Immortal, supremely intelligent, and capable of indoctrinating organic life forms through a kind of telepathic neurological quantum entanglement (fine, ‘mind control.’ I didn’t write the story, ok?). This entire purpose of this race of synthetic creatures (The Reapers) was to destroy all advanced organic life BEFORE they could get wiped out by their own synthetic creations. All lesser organic life would be left to develop along a specific trajectory. Then, when that lesser life developed enough to create it’s own synthetic life, the Reapers would come out of hibernation in dark space, swoop into the galaxy and destroy all advanced life again, leaving no traces of themselves or the previous civilizations. Lesser life was preserved, and the cycle would begin anew. It is important to note that the Reapers ‘harvest’ the civilizations they slaughtered. The knowledge and history of each cycle was preserved within the bodies of the Reapers themselves. Thus, the Reapers grew to be MORE than Leviathan. The Reapers became the living synthetic embodiment of all civilizations in the galaxy, while simultaneously being the end of it.

This cycle lasted approximately 50,000 years.

Essentially, Leviathan made the problem worse, was almost completely wiped out by its own creation. The few survivors ran away and hid, and allowed the Reapers to return again and again.

All this background is important because I want to make one point: The Catalyst, that AI created by Leviathan, is merely a creation of a flawed organic species (even if said species didn’t know it was flawed). While it can evolve and grow, it still reflects its creator’s limitations. It is not an infallible entity and misses the irony of the Reapers, a synthetic race, destroying all organic life as a means of preventing inevitable organic genocide. They genuinely think that they are preserving organic life by allowing lesser species to evolve. They do not see themselves as destroyers, but some type of strange preservationists.

So. All that for this: Your character, Commander Shepard, is a human soldier who discovers the Reapers are beginning their next cycle. All advanced civilizations in the galaxy are now on the verge of extinction. It’s your job to find a way to defeat them.

At the end of the trilogy, Commander Shepard, has gone further towards defeating the Reapers than any organic life before. Ultimately, he meets The Catalyst and gets 3 choices (there’s a whole controversy around this, but I’m skipping that): Destroy, Control, or Synthesis.

In the Destroy ending, you kill all the Reapers, but the side effect is that ALL synthetic life in the galaxy also dies. This includes a race that has just evolved to full sentience, and a valued crew member whom you have helped to discover her ‘humanity’ (think of a female version of Data, and then think of having to kill him in order to kill the Reapers). This solution does not end the cycle of synthetic life against organic life; it simply destroys the Reapers and all current synthetic life. I can never choose this ending because I cannot bring myself to commit genocide, even though this means sacrificing myself and leaving my love to mourn my death alone in the galaxy (a whole other tragic but beautiful drama in this series). With the death of the Reapers comes the final death of all civilizations that they harvested.

In the Control ending, you must sacrifice yourself to become a kind of godlike part of the Reaper higher consciousness and, in effect, control them. You lose your humanity. This solution does not end the cycle of synthetic life against organic life; it simply controls the Reapers. Presumably, you could force the Reapers to aid organic life and warn them. You could indoctrinate all organic life. This option is one of absolute and godlike power to one individual. I can never choose this option because I cannot believe that kind of control to one individual is morally acceptable. I, personally, cannot accept that kind of power.

In the Synthesis ending, you sacrifice yourself to create a genetic fusion between all organic and synthetic life. All life across the galaxy undergoes a dramatic change, and all life going forward will be this fusion. You die, but your cells were used to make this change, and so you become a part of everything. This is perhaps the least popular ending, but it is the one I ALWAYS choose, despite the emotional devastation of leaving Kaidan (my romantic interest in the series). It ends the conflict between organic and synthetic life, and all the knowledge of previous civilizations that were destroyed is now alive again (at least in the sense of a kind of universal database).

An aside: there is an option NOT to choose. It ends with the Reapers harvesting all current organic life, and the cycle continuing.

The critiques of the Synthesis ending are interesting. The only one I find particularly compelling is the one about consent, as you literally decide to change the DNA/programming for every living creature, synthetic and organic without consulting them. You can’t—it’s a decision that must be made right there. ALL decisions you make involve this— and the only one you can choose based on ‘consent’ is to destroy the Reapers because everyone has showed up for the purpose of killing them. However, I doubt the synthetic civilization, which is fighting for survival just like everyone else, would agree to collectively be wiped out.

The potential loss of the ‘Individual and Free Will’ is major concern about the synthesis ending. Players critical of the Synthesis ending interpret the lack of conflict and understanding to mean that you’ve essentially created the Borg— a hive mind across all species. There is no evidence to support this. In the extended cut where it shows creatures in all races still wearing individual clothing and otherwise displaying individual behavior, their species are still developing within the individual characteristics of their kind. Even the Reapers (who harvested and absorbed countless organic civilizations) were, in their own words, ‘each a nation unto itself.’ Such a proclamation suggests borders and distinction. This self description comes before the Synthesis, but many players often treat the Reapers as a kind of collective, which is inaccurate. The game treats the Synthesis ending as a type of evolution where conflict between organic and synthetic life ends, and since the Reapers’ knowledge has now been absorbed, lessons of the past and cultural achievements help foster a deeper understanding that leads to a kind of extended peace and cultural renaissance on a galactic scale. It does NOT say that ALL conflict ends, only the cycle of conflict between organic and synthetic life.

Players also state that the Synthesis ending suggests the ‘pinnacle of evolution of organic and synthetic life’ and that there is nothing more to attain, no room for growth. The Catalyst states that Synthesis is the end result of all life. I don’t accept this interpretation. The Catalyst is right— in a Hegellian dialectic sense, all life will result in synthesis, and then THAT new life will encounter struggles and a new synthesis will ultimately prevail. Simply because player can’t imagine life evolving after this solution does not mean it can’t happen.

I have two thoughts about the Catalyst’s statement that Synthesis is the end point of Evolution:1) It is an entity that is billions of years old and sees processes in a scope beyond our short lifespanned species can comprehend. It’s referring to evolution in a cyclical, metaphysical manner. Thesis (A) meets Antithesis (B) and Synthesis (C) results. Then the Synthesis now becomes the new Thesis and the cycle continues. This is the one I personally believe.

2) It’s simply wrong. The Catalyst demonstrates several times that it is capable of mistakes in judgment, some of them egregious and horrific in scope. This is the one I think will be used by BioWare in continuing the series, regardless of which ending it bases the continuation upon. ALL of this started because one species got angry it kept losing its thralls and made an AI to solve that problem, which was exactly part of the problem. That AI (the Catalyst) was this creation and is inherently bound to at least some of the flaws of its creators.

So, all this is just me explaining why I believe that the Synthesis ending is the only morally right choice, at least for me. Morals are by definition defined by individual codes, and I’m choosing that word deliberately over ‘ethics.’ I do not believe that ME left the player with any ethical choice, which, for me, was part of the beauty of it. It bother me that the canonical ‘Perfect’ ending is the Destroy ending with Shepard surviving. You commit galactic genocide, but you survive- this is the ‘perfect’ ending? I have major issues with that.

And yes, I know that there is a theory that Synthesis and Control are both elaborate ruses of Indoctrination meant to get Shepard, the only threat the Reapers have ever known, to destroy himself. I simply don’t buy it, as I feel that theory needs to come with a tinfoil hat.

Also, in my head canon, Shepard survives and Kaidan finds him (I always play mshenko). Fuck that dying crap. Thank you for coming to my TED talk.

#mass effect #masseffect #me1 #me2 #me3 #masseffecttriliogy #mshenko #synthesis ending #synthesis #nerdy #commandershepard #shep #kaidan #georg wilhelm friedrich hegel #dialectic #overthinking #i love it anyways #holy crap this is long #apologies

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shanie-the-toyaddict · 3 years

Note

1, 9, 15, 17, 21, 25, 26, 29, 33, 41, 46, 48, 54, 59, 68, 73, 81, 96, 98

😊

Oh my word! That's a lot!

Ok, here goes.

Behind cut for length

1. Name - I prefer Shanie but my parents call me “Mis”. Well, my mom calls me “Mis” my father calls me “Pooch” which I despise. Just stick with Shanie.

9. What did you study - I changed majors midway through college. I started out as an art major focusing on computer animation. That didn’t work out at ALL. Turns out I sucked ass at computer animation. Too much math involved. So I switched to a major in teaching with minors in history and popular culture. Unfortunately I failed at that too and, while I did graduate, it was with a degree in “Planned Program” which is a polite way of saying “General Ed”. I did earn my two minors though, so I guess that’s something!

15. Relationship Status - Single. Very Very Single. I haven’t had a single date in about 10 years. By the looks of it, I’m going to stay single.

17. Do you have a crush - Do celebrities count? If not then no. I don't even know anyone IRL to have crushes on. I legit have nobody in my IRL life outside of my parents and my case manager. Kind of hard to have a crush when you don't have any friends or even acquaintances.

21: How was your day - Well, today I got nothing accomplished. I did have a meeting with my case manager, so that was nice. It’s nice to have someone to talk to and infodump on (which she lets me). Outside of that I woke up, had breakfast, lunch, and dinner, had a nap, and went to Dairy Queen for ice cream on the way home. Unfortunately, DQ is on the far side of town and by the time I got home, it was melted. So it went in the fridge to eat later once it refreezes. Outside of that it was a pretty boring day.

25. Your fears - Whoo-ee. Ok. So coming in with the borderline I’d say my biggest fear is abandonment. That just comes with the territory. After that I have a huge fear of storms and waking up in a fire, both brought about by recurring nightmares. I also have a fear of flying (too much Air Crash Investigations) and I hate elevators. I’m not claustrophobic mind you, I just have a fear that they will fall on me. Anything over 3 stories and I’m having an anxiety attack. There are other, lesser fears but those are some of the big ones.

26. Your dreams - Well, in a literal sense, my dreams are wild, crazy adventures that I get most of my fanfics from. From a metaphorical standpoint I really don’t have any. I’ve given up on hoping for anything good in my life. I’m too busy trying to get from day to day to indulge in long term planning. I know it seems terrible, but it’s the truth.

29. Hobbies - Obviously action figures, that much is clear. I collect and customize them to display in my apartment. I also like making digital art (sometimes) and am starting to get into illustrations/artwork. However, I don’t have a tablet/pen for the computer so everything is done with the mouse and GIMP (which makes it difficult). I’m an avid collector of digital media. Some of my big ones are Doctor Who DVDs, Wrestling Entrance Themes, and Official Xena Photos (not the physical ones, jpeg scans). I used to be big into Wizard101 and, while I don’t really play anymore, I still like following the game on YT and on here.

33. Languages you speak – Only English, except it’s a very specific English. I usually speak what’s called the “Yinzer” dialect which is a dialect that is unique to the Pittsburgh region. That’s why you see me use the word “Yinz” a bunch. That’s our word for “You guys” or “Y’all”. However, while most of my speech is Yinzer, I have watched enough British TV in my lifetime to have picked up some Brit speech. It confuses the hell out of people when I use it because you’ll have me say things like “My apartment needs cleaned” and then follow it up thirty seconds later with, “I’m rubbish at cleaning.” My mother has picked up on this and sometimes calls me her “British Daughter” because of it.

41. Your Device Background – My phone’s lock screen is a picture of Shane in his Roman Centurion outfit from the one Royal Rumble photo shoot. My phone background is a checkered wallpaper with “SZ” on it for Sami Zayn. (That one might be getting changed if he stops being Sami.) And my computer background is just a night sky over the mountains. I rarely ever see my computer wallpaper so I don’t mind that it is a generic background.

46. The most dangerous thing you’ve done – You know how Lucy breathes fire on Xena? I taught myself how to do that. That wasn’t bright to begin with but it was made so much worse that I was underage and couldn’t buy Bacardi and was using lamp oil instead. I was young and dumb.

48. Some things you’ve tried in your life – Funny thing, I’m a sucker for strange foods. There was a list going around that said “How many of these weird foods have you eaten” and I think I had eaten all but six of them and that was only because I didn’t have access to them. I’m proud to say that, since then, I’ve knocked Quail Egg off the list! Turns out the local Japanese restaurant served it. So that knocked it down to five. Still need to get ahold of some gator meat and haggis. I’d love to try Foie Gras but it’s just so damn unethical that I don’t know if I could bring myself to eat it. Pheasant is another one that I’d love to try but I can’t convince my parents to buy me one (and I’m far too poor to afford it myself). But, yeah. I love strange foods. I’ll pretty much try any food once if I know it’s safe to eat.

54. Any tattoos or piercings – Unless you count partially pierced ears then no. And my ears are only partially pierced because after I had them done they got infected so I tried to let them heal shut. They ended up not closing fully and now, if I’m not adverse to a bit of pain, I can still wear earrings occasionally.

59. Song you wouldn’t normally admit you like – Judas is my guilty pleasure song. I know Jericho is a douchebag and I have tried to hate the song but I can’t. I end up singing along every time.

68. Favorite Movie/Series - Hmm... well, my all time favorite movie is definitely “The Towering Inferno”, hands down. I’ve lost count how many times I’ve seen that. I’m a sucker for disaster movies and, in my opinion, that one is the cream of the crop. I actually like it better than “The Poseidon Adventure” simply because I think the movie is inferior to the book. That said, I’ve also read both of the books that “The Towering Inferno” is based on and I like the combined movie better than them. Favorite series, however, I don’t think I have one definitive favorite series. I’ve had favoriteS like Xena, Buffy, Sherlock, Doctor Who, etc, but I’ve never had one all time favorite.

73: Favorite Greek God – Oh geez. Hmmm... You know, I’m going to have to go with Hermes here, primarily because I have this theory that he is the god of the internet. I know there was no internet in ancient Greece but, frankly, Hermes is the god of commerce, communication, travelers, and thieves. While it’s true that Hephaestus is the god of technology and would probably be the god of computers, I fully believe that Hermes would be the patron of the interwebs.

81 Favorite Books – In all honesty, going to college for 8 years burned me out for reading and now I can barely bring myself to read a comic book. For this reason, most of my favorite books come from childhood. My all time favorite book as a kid was “Flight #116 Is Down” by Caroline B Cooney. It was a disaster story about plane crash in a young woman’s back yard. Somehow, everyone didn’t die – a fact which was called out in the final pages when a fireman says that the crash was extremely odd because “usually they’re all dead.” That book might be another reason I’m terrified of flying. Other favorite books of mine was the “Fear Street Saga Trilogy” (Not the Fear Street Series, the trilogy that served as the origin story). I also like the Hitchhikers Guide saga but when I found out that Douglas Adams died before he could finish the saga, I stopped reading after book 4 so that the story had a happy ending. Novelizations in general are a big thing for me too, I’ve read some really good ones over the years and it’s fascinating to see how they differ from the movies they’re based on.

96. Hero or Villain – Well, if my dreams are anything to go by, I’m a villain at heart. I know, weird right? You all think I’m such a nice person but really, I have a huge dark side to me IRL and, if I was in a world where superheroes were real and I had superpowers I would almost certainly use them for evil. Or, at the very least I would use them to force social change ala Dr. Horrible.

98. Shapeshifting or Controlling Time – SHAPESHIFTING! Oh my goodness shapeshifting! I would love that so much! First of all, I wouldn’t be this huge anymore. I could be as heavy or a skinny as I want. Also, I wouldn’t have to worry about looking old or losing my hair! Plus, can you imagine the cosplay potential!? Forget dressing as the 13th Doctor, I AM THE 13th DOCTOR! That would just be the best!

PHEW! That was a lot! Thanks so much for the ask! This was fun. I love ask games.

#ask games

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thenexusofsouls · 4 years

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Former Muse: Marya Maximoff

MARYA MAXIMOFF (Biological aunt and adoptive mother of twins Wanda and Pietro Maximoff.)

Type of Character & Fandom/Source Material: Canon-divergent character in the Marvel fandom based loosely from concepts in MCU’s Age of Ultron, some 616 influences, and a large amount of my own development and interpretation of this character. Basically, I am trying to create an MCU version of her, and since we know next to nothing about her in Ultron, I will be adding a lot of my own original elements in fleshing her out. So her background will have some core ideas taken from 616, especially about her relation to the twins, but changed to fit the teeny bit we know about her from Ultron. After that it’s just me running amok with the character and fleshing her out in original ways, haha.

FC: Noomi Rapace, specifically in Sherlock Holmes: A Game of Shadows

Race: Human, but a genetic mutant like the twins

Age: Currently mid 40s... exact age would depend on the ages of related muses in threads and details of background

Occupation: Usually as a baker or cook in a bakery or tavern type setting. Fortune teller and tarot card reader on the side.

Potential Triggering Material in Threads: Well... Marya deals with a hefty dose of racism, criticism, and/or mockery on an almost daily basis for her nomadic lifestyle and culture (Romani), her religion (Jewish-Polytheistic), and if she’s in the United States, her thick accent and imperfect grammar when speaking non-native languages like Sokovian or English (her native tongue is a Romani dialect). Also, other potential trigger warnings for things like severe head injuries and amnesia.

Negative Personality Traits: Haughtiness and tending to be overly forgiving of people simply because she knows/likes them or is related to them.

Positive Personality Traits: Tenacity, thick skin, but also kindness, empathy, and strong motherly instincts.

Background: Get ready for me to walk all over the comics here, haha, but as I said I’m creating my own largely movie-compliant version of Marya Maximoff. She is a Romani witch in a family in which mutant genes and the ability to successfully engage in witchcraft are somewhat hereditary, especially among females. She and her sister Natalya both had magical abilities, albeit different ones. Marya has dreams that are premonitions of the future, but they are often vague and she may not fully understand the meaning of them until it is too late. She can also glean images or emotions from touching objects or people, a talent she shares with her niece, Wanda. Although the twins believe that she is their mother, Marya is actually their biological aunt. Her sister Natalya is actually their mother, but not long after giving birth, she gave her children to Marya and her husband Django and went into hiding as Magda Eisenhardt in an attempt to throw off the twins’ dangerous father, known as Magneto. At the time, Marya and Django had lost their own son and daughter, and so they welcomed the twins readily. They officially adopted them, and the twins have never been told that their parents were not actually their parents.

Marya’s husband Django was not a mutant, but he was an accomplished pickpocket and thief. Think of that what you will, but what he did helped to support his family and put food on the table when work was scarce, and he taught his adopted son Pietro his skills. This was something Pietro continued to do well into his teenage years in order to support himself and Wanda while they were living on the streets following the bombing they believed killed both of their parents. He also used his skills to assist the poor, disadvantaged, elderly, and sick citizens of Sokovia, a community he and his sister had come to call home. Marya saw stealing in a different way than most, and there was a code to it. Never steal from those who have less than you have. Never steal from family or trusted friends. And in her mind, the Romani people had been placed at an inherent disadvantage simply by virtue of the fact that they were seen as lesser by many European communities, mostly White or at least believing themselves entitled. Because of that, Marya saw Django’s stealing as efforts towards the balancing of wealth and resources back in their family’s direction.

Marya was a kind and loving mother, but she was not afraid to set boundaries for the twins or discipline them the same as their father. However, she did her best to understand, nurture, and accommodate their individual personalities as they grew older. Wanda was shy, quiet, and often obedient, whereas Pietro misbehaved a lot, had trouble focusing on a single task, and had endless amounts of energy. Because the twins were so different, Marya recognized that they needed to be cared for and encouraged in different ways. They didn’t learn the same way or respond to criticism the same way either. Marya always thought it was very important that the twins be nurtured in ways that best suited their personalities and needs, but also helped them grow and improve as people. She did her best to do that, and to make sure Django did the same.

When the twins were six, little Wanda was assaulted by a boy her own age, and the child had cursed him impulsively in her panic and rage. Unfortunately, the budding witch had no idea her curses carried real power, and the boy had a fatal accident the following morning. The boy’s death, rumors of Wanda’s witchcraft, and rumors of Django being a thief are the main reasons why the Maximoff family had to leave Transia and the village they had been living in. They traveled alone in their vardo for a while, joining up with Roma caravans as times. Settling ultimately in Sokovia, they worked toward having a permanent home and were able to purchase an apartment. Everything seemed to be going well for them, until the wars raging around them caught up to them. When the twins were ten, a shell was dropped on their apartment building. Marya and Django fell through the floor, while Wanda and Pietro hid under a bed, ultimately being trapped for two days. Django was crushed and killed by falling rubble, and Marya suffered a severe head injury among other things. This caused her to have amnesia, not remembering who she was beyond her first name.

The twins were saved after two days, but Marya lingered in the rubble for almost four. By the time she was able to crawl out on her own, she was dazed, malnourished, and badly injured. Not remembering herself in her amnesia, she wandered the streets and was taken in by a family who didn’t know who she was. Meanwhile, the twins were taken as wards of the government and were ultimately placed in foster homes that didn’t work out. Marya, once she was at least physically healed, left Sokovia, not realizing that she had a reason to stay. She returned to the nomadic lifestyle she knew, even if she didn’t remember the people she had spent it with.

From here she can go wherever a thread needs her to. She can remain in Eastern Europe, travel to Western Europe, or even make her way to the U.S. Those are the likely places she would end up. After three years, she began to remember who she was, and did attempt to look for her husband and adopted children. She was told that her husband died in the bombing and that the twins survived, but she was never able to locate them. Not many were willing to help her, either because they couldn’t or because they were prejudiced against her way of life and thought the twins were better off in foster care. If they only knew where the twins actually ended up... It breaks her heart that they were never found, because she loved Wanda and Pietro very much, like her own children. She still holds out hope that she will find them someday.

Potential Starter Ideas:

Well, certainly finding out she was still alive would be an interesting plot for a Wanda or Pietro muse, whether before or after the events of Age of Ultron.

What if she saw video on the news of what happened with Ultron in Sokovia and recognized the twins?

She can also be a stand-alone muse for Marvel or non-Marvel muses to interact with, just in her own life. She’s an enigmatic and adventurous sort.

Fun facts: Marya’s innate mutant powers with regard to premonition and gleaning information about people and objects she touches or is near to help her a great deal with her fortune telling and tarot card reading businesses. Perhaps she misleads people doing this, but she sees it as infinitely more authentic than outright playing them without any knowledge of them whatsoever. Also, she feels that if done via tarot cards, palm readings, or other such avenues, the information she does convey to them is better received than it would be if she revealed herself as a witch. She actually does not know anything herself about being a mutant, what that means, or that her witchcraft is something genetic that she is able to do, she only knows that magic runs in the blood of her family, whether it takes the forms that hers and Wanda’s magic does, or more physical forms like Pietro’s. She believes that “the blood of the Old Gods runs in their veins,” which basically means that their bloodline is believed to be an ancient one blessed with favor by various gods of the natural world, some of the same ones they still worship today within the polytheistic part of their religion.

#muse: marya maximoff #{i expect this muse to be really low activity and that's fine}#{but it would be fun to explore her a bit}

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manitamuerte · 4 years

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Tarkin’s Folly - Ch. 2

Pairing: Armitage Hux x Enyo Tarkin (OC) Word Count: 2,001 Tags: Canon-Compliant until TROS, Awkward Romance, Emotionally Repressed Hux, Fixing Canon With A Hammer

Summary: Admiral Tarkin’s presence on the Steadfast is of no comfort to General Hux. The lofty weight of her family name and the reputation which proceeds her does not bode well for his future on High Command. [Read it on AO3] —

ADMIRAL TARKIN STOOD AT THE END OF THE LONG AND GLOSSY BLACK TABLE.

She quietly waited for the Supreme's Leader permission to speak, which he gave to her with a slightly bored wave of his hand. Hux could make out the slight eagerness he masked with the gesture, watching the way his shoulders relaxed as he sat in the place of honor. The General quickly turned his head so that Ren wouldn't catch him looking.

Admiral Tarkin's voice held a clear and grandiloquent quality begotten from her Eriaduian accent, which was a borrowed dialect of the Core-World's Basic – made sharp by Imperial Remnant influence. "Allegiant General Pryde and Supreme Leader Kylo Ren have asked me to prepare and present a simple evaluation of any of the high-ranking officers currently serving here on the Steadfast. I was allowed to pick anyone of my own choosing, and provide my own materials as I saw fit."

Hux felt his stomach drop. Tarkin had to know how Pryde and Ren felt about him, and she'd truly be foolish if she didn't leap on the opportunity to disparage him again in front of all the others. He knew he was the weakest link on the Council. This would be like a final nail in the coffin of his failed career, a springboard for which she could use the momentum to further her own. And if she truly was a Tarkin-- then she was no fool.

In the week she had been on board, Hux had not had a single chance to speak with the woman -- nor had much time to even consider her presence much besides on the first day of her arrival. Ren had him running off on unimportant missions, personally seeing to it that his day-to-day life was absolutely miserable even when he could not physically be there to see it.

Admiral Tarkin's grey-blue eyes pierced his skull as she turned her gaze to him for a brief moment, causing him to avert his own. Some at the table squirmed uncomfortably, either knowing the sequence of events about to happen and pitying Hux -- or more likely: Worried that her report would be about them.

She pulled a small holoprojector device from her pocket and activated it. An image of a grid and a flat rendition of D'Qar appeared and spread out over the table, and Hux immediately knew what sort of awfulness was about to transpire.

"If you could all draw your attention to the holoprojector, please. This is a representation of the failed engagement at D'Qar," She began, her voice settling in a calm and practiced lilt. "As I'm sure you all know, The Resistance was able to flee from this encounter despite the odds being heavily in First Order favor."

From the corner of his eye, Hux saw Ren lean forward in his chair with interest -- but felt the helmeted man's heavy gaze on his own countenance, watching him for any sort of reaction. He tried very hard not to give him the satisfaction, but a lump was forming in his throat that he had to swallow eventually.

"The active ships in the engagement are as follows:" As she spoke the names, the images appeared on the grid in formation. "One Mandator-IV Class C Siege Dreadnaught called the Fulminatrix, and Three Resurgent-Class Battlecruisers --plus, later, our scrambled Tie-Fighters. This was against the Resistance's One MC85 Star Cruiser, several MG-100 StarFortress SF-17's, several small squadrons of X and A-Wings. There were other Resistance ships present, but not strictly combat builds. To remind you, The Resistance was in the process of evacuating from their base of D'Qar and thus not in any sort of intelligent formation."

"Thankfully," She continued, "Their base planet-side was destroyed by the Fulminatrix's commander Captain Moden Canady. Our ships came upon the planet from hyperdrive, however you must note the formation that the ships are locked into."

The clear tactical mistake was on display for everyone to see. Hux's eyes averted from the grid, unable to take the wave of shame which washed over him. He felt Ren's eyes.

"The Resistance was able to drop a payload and destroy the Fulminatrix at the end of the engagement and escape due to many errors, including a delayed scrambling of our Tie-Fighters, as well as allowing an enemy ship behind our lines to take out all surface point-defense of the Dreadnaught. "

Hux had known the Resistance was failing, that this evacuation had been a last-ditch effort to survive. If he had simply destroyed them without the fanfare he was hoping to use for propaganda -- this would have been their final stand. His hubris haunted him -- He could have been in Pryde's place, promoted. He could have been hailed and applauded as the man who had finally stamped out the Resistance. But now he was forced to sit through a demonstration about how terrible of a commander he had once been -- a mistake, a moment of weakness -- and it's forevermore a mark against his otherwise impeccable file. Well, this and the fall of Starkiller base.

The holovid continued forward, the ships changing position. "Furthermore, I believe it was pure negligence and miscommunication which lead to the death of our personnel and the loss of the Fulminatrix. The battle formation as depicted is simply inefficient. To the point, the very sight of it makes one wonder if the commander of the engagement -- General Hux -- was purposefully sabotaging."

Hux jolted in his chair. How dare she accuse him of such a treasonous act? It was fine that she criticize him, but that was a measure too far. He felt his face grow hot in anger. His eyes locked with hers for a brief moment. He was surprised to find her expression was devoid of emotion.

"I have suggestions for how the engagement should have been handled." She clicks the holoprojector, playing a few more seconds of the holovid before pausing. The ships shift on the grid once more. "As you can see, this formation makes more sense. The battlecruisers would take escort position as I believe was intended, and thus would have the ability to create a defensive line for our Dreadnaught." The holovid illustrates this perfectly, and continues to animate as she speaks. "Furthermore, the Tie-Fighters should have been scrambled immediately, to take out the flotilla before it drew near. As an aside, I would have had the Dreadnaught prioritize the base just before or immediately after targeting the MC85 Star Cruiser -- if they had nowhere to go, the Resistance would have to take a moment to regroup and think of a new plan. This hesitation would have been our moment to attack. We direct our Tie-Fighters to clean up the survivors, and the Resistance would have been crushed."

The animation shows the rest of the ships being destroyed, then finishes. The blue glow of the projection ceases, and she places the holoprojector back into her pocket.

Ren is the first to speak, voice clipped by the vocoder of his helmet. "I applaud your...Subdued aggressiveness, Admiral Tarkin. To accuse General Hux of treason is not the angle I expected, but amusing. Furthermore, although it was not your task to come up with them -- your suggestions are...Noted."

Hux felt like a stone was lodged in his throat.

Tarkin’s face does not pale as a lesser person's might, though perhaps it was because she read Ren's comment as the compliment it was while discarding it's back-handedness. She stares right into the visor of Ren's mask. "I only provided the facts as I saw them, Supreme Leader. I expect my charges to go above and beyond in their tasks, and I uphold myself to my own standards."

"A commendable trait of anyone in a leadership position, indeed." Ren mutters, leaning ever forward. Hux hated the way he said it, in that voice he used when he pantomimed responsible authority. "However, it would do you well to be careful that your aspirations do not exceed you, Admiral."

Her mouth twitches downward, the confident mask cracking ever so slightly. This seems to be the result Ren wanted, because he leans back in his chair, looking smug and satisfied even with the helmet on his head. "Of course, Supreme Leader --” She answers, “Wise council indeed."

Ren defers to Pryde, nearly cutting off the end of Tarkin's sentence. "And what do you think, Allegiant General?"

Pryde seems to perk up considerably, his posture tense. "I believe her presentation to have been satisfactory, Supreme Leader."

Ren's voice is tight. "But what do you think, Allegiant General?" He presses. Pryde's face conceals his panic well.

"...Admiral Tarkin's suggestions are spot-on, and if I remember correctly, Captain Canady had also expressed displeasure with General Hux's methods before his untimely death. The engagement was a failure, through and through -- our victory at D'Qar quite phyrric for both involved--"

"Make no mistake, Allegiant General. The miscommunication was on Captain Canady's part." Tarkin interrupted, her voice sharp and eyes laser focused on her target. It was suddenly clear to Hux that she did not like Pryde in the least, which was of some – little – comfort. "The comms history shows General Hux attempted to have the Captain launch the Tie-Fighter squadrons upon exiting hyperspace. The problem was his lack of further correction. Captain Canady seemed to have misunderstood the order as preparation of launch only -- though I couldn't say why. I believe this was likely due to his personal feelings about the General, as I understand it. It is a disgrace." She spat the final word like it was poison. "I suspect we ask more of our officers, do we not? We shouldn't let personal grievances or opinions cost us valuable tech and personnel in the midst of engagements."

Hux was felt a cold sweat begin to break upon his brow. His embarrassing past was no secret, but he hated that she knew. Everyone knew. Canady, Pryde -- all the older ex-Imperial officers. Friends of his father. They watched him grow up, and even though he was nearing his 35th year many of them still saw him as a child and a mere extension of his father. A failed extension, even.

Pryde's face immediately flushed with anger, both from being talked down to by a lower officer and from understanding her underlying meaning. He did not chastise her with the Supreme Leader present, realizing Ren's lack of protest meant her comments were allowed. "...Of course, Admiral."

From his peripherals, Hux watched the Supreme Leader's helmet slowly turn to his side of the table. The tightness of Ren's voice was gone, instead replaced with barely filtered amusement. "General Hux, what do you have to say for yourself? Admiral Tarkin has suggested you appear so incompetent that it looks like purposeful sabotage."

The General grit his teeth, gnashing them in agony. Ren was enjoying this way too much -- and he wondered if he really set this all up just for the express purpose of his own amusement. It certainly wouldn't be out of character, that's for sure.

When Hux spoke, his voice remained level but wavered at the edges with hesitation."I am, of course, appalled at the accusations of treason suggested by Admiral Tarkin -- however, I must agree that the engagement at D'Qar was poorly executed."

Pryde snorted. "Of course you do, Hux. It's plain as anyone can see." Hux noticed Ren stiffen at Pryde's sudden outburst, curiously turning to face the Allegiant General but saying nothing.

"...Have you anything further to add, General Hux?" Was what Ren did say, after a moment of tense silence.

"...No, Supreme Leader."

"And you, Admiral Tarkin?" Ren asked, his helmet tilting slightly to suggest his gaze shifting.

"No, Supreme Leader." She echoed, sounding the smallest bit pleased with herself. Hux stole a moment to glance at her face and was not surprised to find a smug expression on it. He averted his eyes to the table like a kicked dog.

"...Very Well. You are all dismissed."

#general hux #armitage hux #general hux x oc #armitage hux x oc #my writing #tarkin's folly #fanfic #also on ao3

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