#but that’s only because Simon lover path isn’t allowed

[itspkuwu]

HANK SHOULD’VE BEEN THE ONE THAT SHOWED CONNOR HE COULD BE MORE THAN A MACHINE. NOT MARKUS. EFF MARKUS.

[gothicgremlins]

The Old Families

Spoilers for Carry On 

Carry On is unambiguously a meta text on Harry Potter specifically, and the tropes of British Boarding School and Chosen Ones (and several other YA tropes, like enemies to lovers and paranormal romance). One of the functions it serves as a text on Harry Potter is through it’s different moral arguments on the topics brought up in Harry Potter. Each of these topics is addressed through various characters direct POV, and Carry On doesn’t shy away from allowing antagonists to give heartfelt reasons for their terrible actions, or giving the hero’s of the story bad thoughts and grey morals. 

One of these topics that’s heavily debated, and never settled in-text, is the idea of “Magical Purity”. In Harry Potter this turned into a thinly veiled ‘magical racism’ argument which turns in into this vague metaphor that’s impossible to fully contextualize in our real word. Carry On, however, keeps “magical purity” solidly in the arena of Education and Classism. This grounds it specifically in the context of British Schools (impressive considering Rainbow Rowell is an American from the midwest), and allows to be applied broadly to every Elitist Education and Societal Mobility politics. 

The Old Families are a group of powerful magical families who try to limit who has access to the magic, but they’re kind to those they interact with and have legitimate (if wrong) arguments for all their actions in the text. On the other side is the Mage, who’s got a good point but is radicalized to the point where his good intentions are actively harming those he cares about and putting the magical world on a path to total descriptions. The best arguments come from all the characters trapped in the middle of this fight: 

Simon, who innocently parrots the best parts of the Mage’s arguments, but fails at thinking for himself and therefore makes his own arguments hard to trust. 

Penny, who agrees with some reforms but senses danger in how radical the Mage is and is too caught between Simon and her own families politics to be levelheaded. 

Baz, who’s own elitism and upbringing influences his hate, perhaps the best most genuine arguer against the Mage’s reforms. 

The Bunce’s, who aren’t intentionally elitist about magic, but love knowledge and disagree with many of the mage’s reforms. 

Like real life, the answer lays somewhere in the middle. A total inability for upward mobility is bad. But crippling the whole magic world isn’t the right way to “give the power to the masses”, because the Mage isn’t willing to be democratic. He’s all about him knowing best, doing anything to get the end he wants and in his blindness hurting the people he says he’s arguing for. 

It’s notable that when the Mage dies the War never happens. Instead of a big, black and white clash, the World of Mages simply trudges on ahead, talking about the issues among themselves but not killing over it. 

The Mage thought no one would listen, that the only way he could change anything would be to steal power, to dangle a bomb over the whole world. Real, effective change is harder won that than that. You have to convince people to want it. 

[yanderedbh-moved]

This post was a tag-game sort of thing started by a major inspiration of mine, and a serious blog recommendation @dear-yandere ! Odds are if you follow this account then you’ve come across at least a few posts of theirs before, but if you haven’t, check out their account! This was just a fun little post I wanted to finish before the end of the year, I’m using the original categories in the original post, ass well as adding a few more so all the characters I write for will be featured here. (Here’s a link to the original post for any other writers interested in this tag, it was a lot of fun, and it didn’t take too long to fill out, so give it a shot!^^)

Most Delusional: Ralph

Not at all a difficult decision here, unfortunately. While he may not have always been the scatterbrained and nervous recluse, he is in the game. The severity of the psychological and physical damage leaves Ralph as easily the most detached of all the characters. Resulting in him living in his own little world to cope with the harsh reality of life. In how this extends to him is a yandere, Ralph sees the two of you as star-crossed lovers living in your own oasis in a life away from the other cruel people of the world. No matter how many times you try to run away from him.

Most Manipulative: Josh

This category likely doesn't seem quite as evident as Ralph's. However, when it comes to exploring Josh is a yandere and less so his character, this adds up if you think about it. Obviously, as a character who represents the path of peace and nonviolence, Josh would be the type of yandere who will never use violence to control you. Instead using his words of persuasion on you. One of his most prevalent modes which to control you include persuading you to remain loyal to him alone because going against him would be like turning your back on the piece itself.

Most Sadistic: Zlatko

Unique from nearly every other yandere mentioned here who would, to some extent, feel remorseful for having to hurt you or your loved ones as punishment for rejecting their love, Zlatko would honestly feel a sort of obligation to cause you pain. The reason here being he doesn't see your relationship as a loving connection between two equals. Instead, you're more like his own personal test subject. The more he hurts you, the more he can learn about you, and that's how the relationship grows. In a way, Zlatko has abnormal ownership over your pain. It's something special to him. Only he deserves to see you screaming in agony teary-eyed and entirely at his mercy.

Most Protective: Kara

This woman is protective to a fault and nothing less. Kara sees herself as the only one in your life who knows you well enough to properly look out for your well-being, Kara hates when you try to distance yourself from her or if she feels as though other people are posing as a threat to the relationship. All she wants is for the two of you to remain loyal together forever. If you would only stop trying to fight her on this and let her keep you safe and happy when you'd see why the two of you were made for each other.

Most Obsessive: Markus

When Markus first falls for you, it was new for him and, as a result, left him feeling less in control around you as he typically would around others the way of a first crush often leaves just about anyone. However, as more time passes between the two of you and a genuine relationship begins to form, Markus would feel a significant change around you. No longer does he feel so insecure and nervous but rather powerful, passionate, dominant, and the most addictive feeling of all in control. Markus would begin to obsess over this relationship because he views it as something which provides some strength and power. And for a man with such a weight on his shoulders, Markus would take whatever source of energy he could even if that means keeping you under the tightest of control.

Most Possessive: North

Driven and feisty as a fighter North can't help but allow these traits to manifest themselves and her love life as well. North isn't the one to take things slow and settle to be just your friend. She's a lady who knows what she wants when she sets her sights on you is over. North is terrified of the idea of losing you to another human. Considering how hard it is for her to take a chance with someone and allow herself to be vulnerable and loving with someone in the first place, this relationship is to be protected at all costs. It's hard for her to keep you so entirely under her control when she knows how awful it is to live like this, unfortunately for the time being North doesn't know what else to do. As much as she loves you and will keep you happy, there's no way for North to fully prevent her hatred for humans from manifesting in this relationship.

Most Lucid: Nines

In a word, his character could be described as decisive. The ideal android in its purest form. Uncorruptable, unscrupulous, unflinching. Even a love-struck Nines would behave wildly different compared to other yanderes. Rather than allowing these new and overwhelming feelings to control him, Nines woldn't take that chance and would force you to live by his command. There is no way to compromise or to bargain with him, to let you go or to spare you. To Nines, it's just too high a risk to allow you to walk free again. Nines is a skillful and season hunter, and you are his most prized of prey.

Most Submissive: Chloe

When it comes to the way Chloe feels so weak and emotional and powerless around you, it's nothing short of addictive to her. Unlike many other yanderes who would act violently or cruelly as a precaution around their obsession to keep you under their control. Chloe would never even think to hurt you without reason. Chloe adores how human and real she feels as she goes to the emergence of developing her first-ever crush and never wants these feelings to go away.  Chloe would rather cling to your side and give you no reason to ever suspect she means you any harm or has any other ulterior motives. Reluctant: Luther Despite the fact, Luther was created to act as a violent and ruthless attack dog, that doesn't mean Luther wants to behave that way around you as a way to keep you by his side. In his eyes, it was a miracle he ever escaped from that life in the first place. It hurts to resort to violence in the name of keeping you safe. More often than not, Luther will provide you with a warning before lashing out that you know what he's capable of. If you keep trying to fight back against him, then he won't trust himself to hold back against you. It is indeed quite dangerous to put the fear of losing you against the fear of his own violence for Luther, and more likely than not the both of you will suffer the consequences of this derision.

Most Jealous: Gavin

Don't ever underestimate the way jealousy will cause people to act irrationally. In the mind of the genuinely envious, it's everyone in the world against them and, by extension, if they want to look out for themselves, then they must take whatever they can before it's gone forever. Before someone else gets it first. If Gavin wants a relationship with you and he has no choice but to make sure that he's the only person in your life. Aside from the jealousy, Gavin is something of a misanthrope which gives him all the more reason to separate you from others. On the one hand, because he doesn't want anyone else to convince you to leave him but also Gavin worries that you and leave him all alone.

Most Deceptive: Connor

Deceptiveness isn't too far from the lucid category; however, several key differences result in two different superlatives. Connor is more likely to act perceptively and gather much more information he can on his target before making a judgment on how to respond. Connor would at least try to get close to you on his own and would try to give a healthy relationship a chance. Any yandere-Esque tendency flare-ups he would playoff as not knowing any better. Or would use any other possible alibies first so he can keep you from suspecting anything of him. Because he wouldn't want to act before thinking first, he can easily use alibies to keep other's suspicions down and to keep and to keep them from believing you over him.

Most Controlling: Kamski

There was never any chance the two of you could have shared a regular healthy relationship for the moment he developed feelings for you. No way could someone with an inflated sense of ego like Kamski would view the relationship as one between two equals and not one between a superior and lesser. Kamski lives so separately from other humans he has no desire to live by anyone else's terms but his own, and it's very likely for the longest time Elijah never saw himself as sharing a relationship with another. Not when he lives with the Chloes that can function as a source of companionship and sexual gratification. But when he falls for you, Elijah is overwhelmed and feels as though he's never really been another before. Can't see what at the end of the day see you as one which would serve to gratify his own needs a little more than that. The idea of you rebelling and trying to become anything more than that is unspeakable to him.

Most Emotional: Daniel

For the longest time, Daniel never imagined he would want to share a relationship with a human, considering how he was burned so hard the last time. But when he falls for you, he can't help feel a sense of optimism and wonders if he's once again found a human he can trust enough to reach out and become attached to. And this is all well and good for the time truly difficult, and toxic relationships are tricky to ever fully recover from. The scars of old memories are still sore. Daniel isn't so well equipped to handle the sore spots in a relationship resulting in impulsive, emotional outbursts. At these moments, Daniel is at his worst and most dangerous.

Most Nervous: Simon

Similar to the reluctant category but not quite. The hesitant yandere would feel painful remorse for their own actions. Simon is more nervous because he fears what you would do if you ever saw him for exactly who he is. There's a nagging voice in the back of his head which warns him over he's in over his head. If you were to ever escape, you would ruin everything he has in his life, leaving him with no choice but to keep you entirely to himself. He's guided by fear first and foremost, and this is why he acts so secretively.

Most Selfish: Hank

It was a grave Injustice the day Hank lost his son. Rather than genuinely coming to terms with his own misery here and hoping to move on, Hank chose instead to develop an unhealthy attachment to you. Forever stuck in the grieving and self-serving mindset rather than allowing himself to move on. Hank keeps you in his life because without you, there nothing would distract him from his own sadness, and this is just too bleak a reality for him to ever face. Even if this hurts, he can't bring himself to ever do what's right and let you go.

[tara-the-quiet-bookworm-2016]

To Love A Killer (Serial Killer! Markus x Simon.) (Chapter Eight.)

Authors Note- And here we are with Chapter Eight of To Love A Killer. Now this chapter will feature some really dark stuff, such as poor Simon kind of getting a hint of what really goes on and Markus finding out that something is wrong and...well I’m not going to spoil anymore of this story for you here. So just so you know this chapter will feature a lot of stuff,  like someone having issues with control, or losing control. So if none of this is your cup of tea then this is where we part way but I’ll remember our time fondly. Now without further ado let’s get on with the story.

Chapter Eight: The Truth Comes Out

“Sir?” Connor asked, brow furrowing as the blonde man before him was silent, blue eyes staring at Connor and Hank as they stood there. 

Blinking a few times the man nodded, before swallowing audibly. “I-I’m sorry I just woke up.” He added, his cheek flushing slightly.

Connor offered a smile. Wondering who this man could be to Markus? A friend? A lover? Or was Markus turning towards men as his next string of victims? Connor didn’t know but what he did know was if he didn’t find Markus there would be more victims. Shaking that thought from his head he looked to the man once more-

“Markus isn’t home.” The man said, jerking Connor from his thoughts, causing him to look at the blonde man. Heart sinking. Where could Markus be? Could he be out hunting for his next victim. Someone he could immortalize in a painting like he done before?

“May we come in?” Hank asked, as Connor fell silent, once again lost in thought.

Silence fall over the trio. The man looked worried as if he didn’t know what to do when finally. “S-sure, I-I’m sure Markus wouldn’t mind.”

Moving out of the way to allow the duo of police officers in Simon cast a glance outside, as if willing Markus to appear and deal with this. Heart thundering in his chest as he thought back to the bloodstained blades in the the basement. 

“Would you gentlemen like some coffee?” he offered, moving to the kitchen, the two of them following after him.

“We would love some.” Hank said, taking a seat at the table, Connor following suit.

Offering a nervous smile Simon worried at his bottom lip. “So,” he started, as he went about the motions of making coffee. “What is this all about?” Why was he getting so worried about this? Maybe it was nothing, maybe they were here because Markus’ name came up in their investigation and they wanted to ask him something? 

“You read or watch the news?” Hank asked, leaning back in his seat, as Connor looked around the room, looking for as sign of where Markus could be. 

“I do. Is this...is this about those murders?” Simon asked. “What do you think Markus might have to do with this?”

“We just wanted to ask him some routine questions.” Connor spoke up, taking a sip of his coffee, relishing the warmth washing over him. “About where he was last night.”

“I can answer that.” Simon spoke up, as he sat at the table with them, his own cup of coffee sitting untouched in front of him. “He was with me.”

“All night?” Connor asked.

Simon nodded, watching how the younger Detective’s eyes seemed to narrow at that. “Did Markus go anywhere else last night?”

Simon shook his head. “He and I went to some art exhibit and then straight home.”

“And what is your relationship with Mr. Manfred?” Hank asked.

Simon hesitated. Thoughts going back to last night, images of Markus looming over him, his lips peppering kisses to every inch of Simon’s skin. Shaking that thought from his head he looked to the Detective’s as they looked at him expectantly. “We’re dating.” That seemed to be the safest answer, at least to him. 

The two Detective’s nodded, as the older one jotted something down in his notebook. 

“Is...there anything else you wish you ask me.” Simon asked.

“One more thing.” Connor spoke up, reaching into his pocket for something. “Do you recognize any of the women in these photo’s?”

Upon looking down at the photos laid out before him Simon felt his blood run cold. As women, the very same women he recognized from Markus’ paintings stared up at him with lifeless eyes. Oh God...

Tearing his eyes away from the pictures he looked to the Detective’s, gathering his nerves before shaking his head. “Can’t say I have. Well... I recognize this one from the news,” Simon said, pointing to the picture of their latest victim. “But the other ones no I can’t say I do... Detective’s do you...are you suspecting Markus of these...murders?”

The older man shook his head, as he got up from his seat, empty coffee cup discarded in front of him. “We’re just investigating every lead we can. I just thought that Mr. Manfred might be able to shed some light on the case.” Reaching into his jacket pocket he pulled out a card and slid it across the table to Simon. 

Who took it with some reluctance. 

“If you remember anything don’t hesitate to call. And if Mr. Manfred returns could you please get him to call us, just so we can get his side of the story?”

Nodding Simon watched as the two Detective’s headed towards the front door, the younger one casting glances at him from over his shoulder every once in a while.

Watching as they left Simon locked the door, and leaned against it. Markus was the killer...or he knew someone who could be a killer. But Simon concluded as he pocketed the card, his heart thundering as he struggled to process this information. Of course he was a killer, Markus was too perfect, too...too wonderful. And when it came to relationships wonderful things never lasted for Simon. Though the thought that the man whom he found himself falling for was a killer was new. He couldn’t help but feel sick, sick that he had spent time with a killer, had let someone who had no problem torturing and killing women fuck him. He felt sick...

But...But maybe he was jumping to conclusions, maybe they were wrong? Maybe they had the wrong guy. NO. Simon shook his head furiously. There was no way, those paintings that was NOT a coincidence. Markus was involved. He...needed to get out of here. Need to get away from this house, away from the man in question, and when he was good and far away from Markus he would let him know...let him know that it wasn’t going to work out and that they should see other people.

Simon hoped, truly hoped that his rejecting him wouldn’t send Markus down a war path. Wouldn’t cause him to go on some even bigger killing spree because of his rejection. Hell, call him selfish but he hoped Markus only went for women, he didn’t want to be his next victim or something like that. Running his hands through his hair he worried at his bottom lip. What should he do? However before Simon to think of what to do next he heard the front door open...

***

That took longer than Markus hoped it would. But when it came to North needing his help he could never say no, well, he could but he’d just end up feeling like a complete dick about it. But now it was done and he had returned home, heart thundering in his chest he hoped Simon had stayed a little while. Markus was in the mood to see how many times he could make him scream his name. Inserting the key into the lock he opened the door, and was greeted by the sight of Simon. A smile blossoming across Markus’ face as he moved towards Simon. 

“Well, hello.” Markus purred, as he drew closer, his hands resting on Simon’s hips, as he moved to kiss Simon. Frowning when Simon pressed his hands firmly to his chest, stopping him. 

“Ah, good morning.” Simon greeted, flushing slightly but Markus could tell something was off as he wouldn’t meet his gaze. He seemed...uncomfortable. “I-I’m sorry but work just called and one of my co-workers called in sick so I...need to hurry to work.”

Markus was silent for a moment eyes glued to the smaller man. He was lying. There was something wrong. Worrying at his bottom lip Markus wondered if he should ask him what was wrong? Or let it go. “Are you okay?” he asked, after a while.

Forcing to meet Markus’ gaze Simon forced a smile to his face as he nodded. “I’m fine, just a little sore from last night is all. And pissed...I was hoping we could spend time doing that again but alas duty calls.”

Markus pouted at those words. “Indeed, because I was thinking the same thing.” Leaning down he pressed a kiss on Simon’s forehead, before moving to take Simon’s hand. “But there is always next time. C’mon I’ll give you a ride to work.”

Taking his hand Simon allowed Markus to lead him out of the house and towards his car. His cheeks flushing as he remembered when he...he...

“Simon?” Markus called, jerking him out of his thoughts, a concerned look on his face as he looked back at Simon.

“I’m sorry, did you say something?” he asked.

“I was wondering if you would like to go dinner sometime during the week?” Markus asked, brow furrowing slightly.

Great, Simon said. Markus knew something was up. That wasn’t going to make things easier in the long run. “Um, I’ll have to see what days I have off but sure.”

Seeing Markus smile at that Simon felt himself relax as he eased himself into the passenger seat. Allowing Markus to drive him to work.  Staring out the window as he thought of the perfect way to break it off with Markus.

***

“He knows something.” Connor mused, as he drove back to the precinct.

“You think?” Hank asking, turning away from the window to glower at his partner. “What gave it away, the fact that the kid looked like he was about to piss himself the moment we walked into the house? Or the way he looked at the photos of our victims?”

“Both.” Connor said, as he pulled into the parking lot, and got out of his car. Reaching into his pocket for a cigarette, lighting it he took a drag of it as he looked up at the dreary sky. Thunder rumbled in the distance. Indicating the coming storm.

“You saying he might be a suspect?” Hank asked, moving to stand beside Connor as he leaned against the wall of the DPD. 

Connor shook his head. “No, but he might know something.”

“Like the guy he’s fucking might have a penchant for butchering beautiful young women in his free time?”

“Stranger things have happened, Hank. You think he’d be the first guy to know a serial killer? Or be with someone who was a serial killer without knowing it?”

“But you think he knows something, hence the way he reacted during our visit?” Hank asked, plucking the cigarette from Connor’s fingers, and taking a drag.

Connor nodded. “Maybe I’ll be able to dig something up next time I go visit Markus. Assuming he’s home next time I go.”

Hank looked to his partner, opening his mouth he was about to say something, when Chris Miller walked out. An excited look on his face as he headed in their direction. 

“Detective’s we found something.”

Feeling their hearts skip a beat the two Detective’s looked to Chris. 

“What kind of something?” Hank asked. Hoping it wasn’t another dead end. 

“We found camera footage, of your suspect following your latest victim.” Chris said. 

“Are you shitting me?” Connor asked, dropping his cigarette to the ground, dark eyes wide.

“Do I look like someone who would pull shit like this?” Chris asked. Watching as the two Detective’s looked to each other before following Chris into the precinct. 

 Heading towards Chris’ desk as the officer gestured to his computer. Taking a seat at Chris’ desk Connor pushed the play button on the video. Heart thundering in his chest as his eyes focused on the screen, seeing their latest victim was seen walking down the busy street. Unaware of the man slowly following behind her. Notepad in one hand, his mis-matched eyes glued on the woman. A predatory look in them as he watched her.

Biting down on his bottom lip Connor paused on their suspect and zoomed in, a grim grin splitting his face as their suspects face was revealed to them. One Markus Manfred. Connor leaned back in his seat. Eyes glued to the screen. They got him, all they needed to do was find away to get Markus and all of this would be over...

***

“Funny.” Josh muttered, as he sat across from Simon and Daniel a few days later, a smirk on his lips as he took a sip of his coffee. “I could have swore that you two were going to work out. What made you change your mind?”

“Nothing, it just...we were just too different.” Simon said, looking down at his untouched food, ever since he had found out about Markus he hadn’t been able to eat, or sleep for that matter.

Whenever he tried to get some sleep Simon was haunted by nightmares of being strapped to a gurney. Markus looming over him, scalpel gleaming in the light before he brings it down to slice into his flesh. Before that could happen though Simon always managed to wake up screaming, and had more than once woke Daniel up. Who had to deal with poor Simon screaming like a banshee whenever he burst into his brothers room. Simon was half surprised the cops hadn’t come banging on their door cause someone reported the racket. 

“Didn’t seem too different given the way you two to talk non-stop.” Daniel spoke up, casting his brother a sideways glance before looking to Josh. “It was like living with a teenage girl with her first crush or some shit. Talk, talk, talk non-stop.  So quit bull-shitting what happened. You spent the night with him was the sex that bad?” 

Simon flushed and shook his head. “No i-it was fine.” More than fine if he had any say.

“Then was is it?” Daniel pried. “You don’t just dump some guy just like that.” He said, snapping his fingers.

Simon shrugged. “I just felt like it’s not working is all. A-and besides I need to focus on my studies anyways s-so I should do that before anything else. That’s what you always told me.” Simon said, looking to Daniel, eyes narrowed slightly.

Daniel looked to Josh, seeing that they weren’t going to get anything out of Simon the two of them shrugged and decided to let the subject go. Choosing instead to change the subject to something else. Watching as Simon got up from his seat, saying that he needed to make a phone call. The two of them watching as Simon moved towards the bathroom as Simon gathered his courage to do what he needed to do...

***

Markus was pathetic. He thought as his phone rang, Simon’s name showing on the caller ID. He shouldn’t be getting this excited over a phone call. But it had been a few days since they had talked and Markus had ached to hear Simon’s voice in his ear.

“Well, hello.” Markus cooed, as he picked up after the third ring.

“Hi, Markus.” Simon greeted.

The smile melting from Markus’ face as Simon’s tone. Something was wrong.

“Are you okay?” Markus asked, as he sat back in his seat. 

Simon hesitated, worrying at his bottom lip between his teeth. How was he going to do this? Should he let him down gently, or soften the blow? “Markus...” He started.

“Simon?” Markus asked, brow furrowed in concern.

“I-I don’t think this is going to work.”

It was those few words that stopped Markus in his tracks. What did he mean, he couldn’t mean... he couldn’t mean that could he?

“I mean, don’t get me wrong but I don’t think I want to be in a relationship with you. Or...I guess with anyone really.” Simon said, trying to ignore the silence on the other end. Guilt gripping him as these words spilled past his lips.

Markus had been wonderful, up until...until...No, Simon wasn’t going to think on that.

“Was is something I did?” Markus asked after a while. Anger swelled in his chest at Simon. At the audacity he had to leave him. When Markus had thought that things were going so well too.

“No, Markus, You were wonderful. I just don’t think it’s going to work. I really am sorry.” And before Simon could let Markus say anything else he hung up... Leaving Markus in absolute silence.

He was gone. He was alone. The man he had thought about, had dreamed about, had fucked in this very bed had left him. Markus gritted his teeth, tears of anger spilled down his cheeks as he looked down at his phone. Simon’s image smiling back at him, letting out a cry of outrage Markus flung his phone across the room. Watching as it hit the wall with a satisfying crack, the screen of it was now cracked. Marring that beautiful face on it.

No, Markus thought as he sat on the edge of his bed. He wasn’t going to give up so easily, Simon would see the error of his ways, whether he wanted to or not. But Markus knew he couldn’t go after Simon while he was still angry, still hurt. He needed something to help blow some steam. And he did just clean off his blades earlier today after seeming to forget to do it earlier.

Suddenly, as if by some sort of twisted fate Markus heard footsteps on the floor below. A wicked smile forming on his face, it looked like Leo was up to his old ways. No matter, Markus thought as he got up from his bed, drying his tears. Markus would take care of him, and then he would work on winning Simon back...things would work out in the end. He knew they would he just knew it. 

Gathering his nerves he slowly made his way down the stairs. Catching sight of his brother making his way towards their fathers art room. No doubt looking to steal something  to fuel his drug habit.

***

This was going to be easy. Leo thought as he crept through the house, his house. Well, his father’s house that his asshole brother had inherited when the old bastard had kicked the bucket. But this house was just as much his as anyone’s, and yet here he was creeping around like a damn thief. But that was his father and brothers fault. If they just gave him some money when he needed it then he wouldn’t have to do this. But he needed his fix. And beside it wasn’t like he was going to take anything Markus would miss, just a few of their father’s paintings. 

And if Markus did get in his way...well, Leo thought darkly, the blade heavy and hot in his hands. Well, he didn’t want to hurt his own brother, but-

“Oh, Leo...” Markus sounded from behind him. Sounding tired. “You never do know when to quit do you?” 

Leo was silent. Teeth clenched. “Look,” he hissed, gripping his blade tightly in his hand, flash light in the other. “I’m just going to take a few of dad’s paintings that’s all I don’t want to fight you, so just let me take what I want and I’ll be gone. I don’t want to hurt you. But I will if you force me too.” He warned.

Markus chuckled somewhere in the darkness, before Leo felt Markus wrap his arm around his neck. making Leo cry out. “I feel the same way, but... you’ve tested my patience for the last time.” He said, and squeezed.

Cutting Leo’s airway off, and before Leo could so much as fight back aside from the slash across his brothers knuckles, causing blood to trickle on to the floor. A plea escaping his lips as the darkness rose up to swallow him whole.

Markus watched as Leo went limp. His grin turning sadistic as he looked down at his brother. It was time he switched things up, after all killing beautiful women was fun, but it did get old after a while. It was time for something new....

[coffee-obsessed-writer]

I’ll Handle It

Negan x Reader x Bart (OMC)

A/N: This was written for @letsby ‘s 500 Freestyle challenge. My prompt was: “What’s bothering you.” The line is bolded in the fic. This was my first time really writing Negan, so please be gentle. 

Summary: After working her way up the ranks in The Sanctuary, (Y/N) is tired and has had enough of one other Savior’s forward advances. When Negan gets wind of what’s happening, he gives her the opportunity to handle it.

Warnings: Language, Violence, Assault, non-consensual groping, angst, character death

WC: 4K

Tags: @kazosa / @sorenmarie87 / @negans-wife / @wings-of-a-raven /  @buckyscrystalqueen // @crowleysreigningqueenofhell  // @rawr-bitchess //  @fictionaldemon // @thewalkingbucky // @spnhollis // @hanaissupergirl // @sourwolf-sterek32 // @alyisdead // @gemini0410 // @his-paradox // @mrsalliej47

Getting stuck on clean-up duty wasn’t too bad unless you were doing it outside in the middle of a heatwave. Things around the Sanctuary were always hardest when the temperatures rose. If you were inside the factory, it was stuffy and warm with not nearly enough functioning windows to allow a breeze in. Outside, it might as well have been a sauna. Throw in the stench of the dead ones rotting on the fences, and it was almost impossible to stomach.

But you did. You had too. You learned early on how to handle your shit.

Being new there meant you had to work your way in; earn your keep. It was worth it for protection from the decaying world around you. Too many unlawful men and women roamed the world now, and you had plenty of that before the world went to shit; no need to continue the same patterns while also fighting for survival.

A couple months had gone by, and by doing everything they’d thrown at you, you were granted an upgrade in accommodations. You understood the hierarchy and worked hard to prove not only your worth but also your loyalty. The Sanctuary was ruled with an iron fist, all the highest tier people keeping a watchful eye over the day-to-day operations; while Negan watched over them. You kept your eyes down but ears open anytime they were within earshot, never knowing when you could pick up something useful.

The taller one, Simon and his friend Bart liked to talk shit behind Negan’s back. The minute the big boss was anywhere close, they would fall right back in line and kissing Negan’s ass. This went on for a couple more months and as you settled into a new life at the Sanctuary, your past traumas from time out in the wild were starting to fade.

Until it was brought back, thanks to that drunk piece of shit, Bart.

The hard work and understanding of your place in the pecking order, helped you move quickly up the ranks. It was those swift promotions that put you in direct contact with Bart Richmond, who answered directly to Simon. You were part of the canvassing crew, one of the groups that were treated well and with a good amount of respect when you walked the floors of the home base. You were out risking your life, looking for others to take in, new resources, supplies, other groups—whatever you could find really.

Coming back from an outing, it was late, and the rations had been low, so you were hungry and beyond tired. Before that run, Negan had Simon move you into one of the small apartments where you had your own bathroom, small television, and a kitchenette. For the last day or two of the trip, all you could think about was getting back to the Sanctuary and your little slice of Heaven there. As you were winding the halls back to your room, a looming shadow cut off the minuscule bit of light that guided you towards your room.

“Where ya goin’?” Bart asked casually. You couldn’t really see his eyes or his expression, but you could feel them on you which was not pleasant.

“Going home,” you mumbled and tried to move past him.

He blocked your path and grinned in a way that reminded you of the Grinch. “What’s the hurry?”

“I’m tired, Bart. Please move.”

“Aw, come now, sugar. You can’t be too tired for me?”

You looked at him incredulously and crossed your arms over your chest. “Move.”

“No,” he growled and took a step closer, ultimately pushing you to step back and hit the wall with no way to get around him. “I won’t. If you like that cushy little room you got and wanna keep it, you might wanna be polite and invite me back there…”

The closer he got, the more you could smell the booze on his breath. It was repulsive on him and mixed with the sweat from the day made him downright nauseating. The rank odor he wore reminded you of that night out on the road, weeks before landing at the Sanctuary. The men that found you sleeping in the hollowed-out tree had smelled similar; you could still feel their hands on you, holding you down and trying to rape you…

You shook the memory away and tried to maintain your composure but remain firm.

“What is your problem? I’m sure there are plenty of women here that would be thrilled to ask you back to their room. I, however, am not one of them. You wanna threaten me, Bart? Go ahead. I’d rather go back to cleaning rotted guts off the pavement then have you anywhere near me,” you growled and quickly ducked under the arm he had blocking your way.

Before you could get far, he spun and grabbed the top of your arm and squeezing hard enough to make you cry out. His other hand pressing against your stomach working its way towards your breasts.

He went to speak but was immediately cut off by a piercing whistle cutting through the halls. The ping of Negan’s bat, lightly bouncing off the metal railing that ran down the adjacent hallway wall caused Bart to stand up straight, immediately releasing your arm. Unfortunately for him, it wasn’t before Negan saw the forceful grip, he had on you.

“Well, hey there, Bart,” he purred, flashing his eyes your way, squinting slightly as he tried to remember your name.

“Negan,” he said and went to kneel, as did you.

“No, no, get up, it’s fine. I was just shuffling by, thought I heard a little scuffle. Some sort of shit I can help take care of here?”

“No sir,” Bart said, standing straight as he could despite his mild intoxication.

“Wasn’t fucking asking you,” Negan frowned, then met your eyes. “I was askin’ the lady, here. Everything alright…?” he trailed off, still uncertain of your name.

“(Y/N), and yes, everything’s fine. Bart was just saying goodnight,” you answered, the second part came through gritted teeth as you glared at him from the corner of your eye.

“Seems to me that maybe Bart was a little too rough with you, (Y/N). You sure there isn’t a problem?”

“No sir,” you reaffirmed.

“If there is, I want you to know you can come to me. Especially if Bart here is getting handsy. You know Lucille’s rule, Bart… if the lady says no, she says no. No forcing yourself on anyone while under my roof.”

“Y--Yes sir, I know the rule,” Bart’s eyes twitched towards Negan’s companion Lucille, the dim light once again reflecting off her barbed wire accents.

“If you’ll excuse me… it’s late and I’m exhausted,” you said, cutting through the tension. “Night Negan,” you smiled at him gratefully and then threw another piercing look to Bart

As quickly as you could, you moved passed him and into your room, promptly closing it and locking the door.

By the time you were safely locked away, your heart was pounding, and your hands had begun to shake. You only hoped Negan hadn’t noticed. He had no use for a nervous and jerky soldier on his front lines.

Bart didn’t bother you again for several weeks. Until that afternoon he cornered you in the garden, you thought he was purposely steering clear of you. Negan, however, had seemed to take an interest in your day to day activities. Ever since that night he inadvertently stopped Bart from coming after you, you felt his eyes on you more and more.

Normally that unnerved you. Even if it wasn’t Bart or Simon… anyone that looked too long or eyed you in a certain way made you uncomfortable. Trusting people in this world was almost impossible; not that you could do it more easily before. Your life had been a series of bad choices and bad relationships. Always trusting the wrong person, whether they be a friend, employer or lover, you’d find yourself on the bad end of it because you trusted the wrong person.

Yet, when Negan was around, you felt safe and confident in what you were doing. The man himself was quite the showman, always making big entrances, a grand show of his power over the people, and how generous he could be. It was grating at times, but in a world where everything else was in decay, there was something about his arrogance that was alluring.

That afternoon In the garden while gathering food for a two-day supply run, Bart once again tried to get you in his favor by being an overbearing prick. Grabbing your ass as he walked by was not new, but then taking you by the shoulder, spinning you around and pushing you forcefully into a corner was not something you were going to tolerate.

“So, you change your mind on me yet?” he hissed through his filthy teeth.

“Fuck off,” you growled and brought your knee up into his balls.

He fell to the ground like a sack of potatoes, giving a huge sense of satisfaction. Bart was on his side, knees were drawn up into his stomach and groaning with pain. You crossed your arms over your chest and was about to make a snide comment when he suddenly got up, and as he went to lunge at you, you were once again saved by Negan’s timing.

“Bart!” he yelled sharply from the doorway. Negan, Dwight and Simon stood in the entryway between the garden and the interior of the Sanctuary. All three wearing scowls of dissatisfaction. “What in fuck’s name is going on out here?”

“She kneed me in the balls!” he whined. “This bitch should be kicked back down to the fence crew!”

Negan rolled his eyes and then looked in your direction. “(Y/N), did you kick Bart here in the nuts?”

“I did. He grabbed my ass and pushed me into the corner. Not the first time he’s done it, either.”

Negan clicked his tongue several times as his expression oozed disappointment. “Seems Bart here needs a reminder of the rules. Simon, take him up to my office please so he and I can have another fucking conversation about fraternizing with his peers.”

“Yes sir,” Simon replied and grabbed Bart by his collar, yanking him inside.

Once they had left, Negan approached you carefully, but his gaze remained intense and curious as he tried to read you.

“How long as this shithead been giving you a hard time?”

“Its nothing I can’t handle,” you said stoically.

“Maybe. Maybe not,” he said, his mouth frowning and his head ticking back and forth in consideration. “I don’t want him to get away with anything. But as big of a dipshit asshole, as he is, he’s one of my best scouts. You see my dilemma here?”

“No need for any severe punishment, I can handle myself where Bart is concerned. What’s best for The Sanctuary comes first.”

Negan was more than a little amused by your answer. “Hot damn, I think we got ourselves a keeper! You know, I gotta say, I love it when you strong ass women pop up and take me by surprise. Too fucking bad your type is in short supply.”

His tongue ran over his bottom lip, as he studied you. “Tell you what. We’re going on a run tonight, two days… max--”

“Yes sir, I was out here gathering food for that when Bart approached.”

“Great. Because I want you with us. You ride with me. 10-4?”

“Yes sir,” you repeated, pushing your shoulders back and standing up a bit taller.

“Good. Be ready to go in an hour. Don’t wanna waste daylight.”

On the second night of the trip, the necessary supplies had been loaded up into one of the following vehicles, but since it had taken longer than planned, Negan opted to set up camp for one more night before starting the trek back home.

Part of the haul had been several crates of liquor, including bourbon, scotch, vodka, and tequila. He handed out a few and told the group to enjoy, but still stay alert to any of the dead that may be lingering around their camp.

A few hours into the night, you went with Arat to go to the bathroom. Traveling in pairs was mandatory, and having her with you made you feel more comfortable then it being one of the men. Before you headed back, a twig snapped from behind, causing both you and Arat to unsheath your knives and prepare to kill. Bart appeared from the thicket instead and Arat put hers away, but you hesitated.

“Sorry ladies, had to take a squirt and got lost comin’ back,” he slurred, clearly intoxicated. “Arat, go on back, I need to talk to (Y/N) here.”

Being her superior, she gave a hesitant nod and did as was asked. The second she was out view, Bart swiftly moved around and blocked your path back to camp. He grabbed your bare arm and squeezed tight enough that you feared he may snap it.

“You fucking little bitch… you got me in trouble with the boss again. What’s with you, huh? I should snap your fucking neck,” he growled, bearing his teeth and his toxic breath.

“Get off me,” you warned through gritted teeth and tried to pull away.

He tightened his grip, pulled you in and grabbed one of your breasts with his other hand.

“Just let me get a feel,” he breathed, churning your stomach as his hand twisted your flesh under his fingers. “At least make gettin’ in trouble worthwhile.”

Struggling to get away, he yanked you further in towards him, then shoved you away, and your other arm straight into a branch jutting out from a tree. It was sharp enough to leave a cut that instantly began to bleed.

Bart just laughed and went to walk around you. He didn’t see the foot you stuck out just enough for him to trip over, sending him face first into a sticker bush.

“You bitch!” he roared and tried to get up to his feet.

You took off through the woods and found your way back to the camp, bursting through the bushes that lived at its perimeter. Conversations stopped as you came through, as all eyes turned to see what caused the commotion.

Ignoring them, you went back to your seat around the fire, and one person away from Negan. Once you sat down, you took a piece of rag from your backpack and used it to clean the blood off your arm. You were too intent on what you were doing to notice Negan swap seats with the person next to you until he spoke up.

“You alright?” he asked, his voice low and smooth.

“Fine. Tripped coming back,” you lied, annoyed that you had to deal with Bart once again.

He leaned forward, got a good look at the arm Bart had squeezed and saw the very clear remnants of a handprint.

“Tree do that to you, too?” His tone dripped with sarcasm, but you continue to wrap your cut.

“Yep,” you replied, even surprising yourself with how short you were being with him.

"Don't you ever get tired?” he asked with an amused tone.

"Of what?"

"Carrying around that big, goddamned chip on your shoulder?"

“I don’t have a chip on my shoulder. I do what I need to in order to survive.” If you didn’t stay steely against all these incidents, even more of these shitheads would try to take advantage of you.

"Woman, you are exhausting." Negan smiled, "I'm not gonna lie, I'd like to see that energy put to better use."

From out of the same brush, Bart stumbled out and tossed a glare your way. When he saw you talking to Negan he quickly averted his eyes and found a place off the main group to sit. You noticed Negan’s eyes following him, then looking back to you for confirmation that Bart was once again at the center of your problems.

“Sure you’re alright?” he asked again, still calm in tone, but his dark eyes were ablaze with trouble.

“Yes si--”

“Negan. You can drop the sir, bullshit. You aren’t an ass kisser like them. I like you, (Y/N) your a ballsy chick. You handle your shit and I appreciate that.”

Unsure of what to say, you just nodded and thanked him. He sat, staring at you, then turned his gaze into the fire for a quiet, contemplative moment. You watched curiously as he suddenly stood up and garnered the entire group’s attention.

“I just wanted to raise one last salute to a job well done. When people can come together, work for a common goal and understand that their own personal needs don’t outweigh the needs of many, it always warms my big fucking heart.”

He moved slowly around the campfire, Lucille resting on his right shoulder as he smiled and praised the group for the haul they were returning home with.

“It just reaffirms what I’ve said from the beginning. We are all Negan. Working towards making the Sanctuary a place of order and safety. Giving to those who work hard, and caring for those workers that make our lives that much easier. The offer of food, shelter… protection, it's what brings the people in. For the most part, it works. The people I trust the most, work hard for me and that means I have to work fucking hard for them.”

Negan paused and searched the attentive faces in the small crowd. You watched as his eyes flickered from person to person until he landed on Bart.

“Unfortunately, there are some in this that don’t like the fucking rules. They think, in their dipshit brains that they can kiss my ass, then go behind it and do, whatever the FUCK they want.”

A soft murmur began to trickle through the crowd, and Negan paused long enough for it to happen. Something was coming, but you never really could tell with Negan, so it was anyone’s guess what he was about to do.

“Now… before we left on this trip, I had a talk with Bart. Didn’t we, sunshine? We had ourselves a nice fucking chat up in my office and he did just that… kissed my ass then comes here and breaks the rules, again.”

You swallowed thickly, and as if sensing your unease, Negan turned towards you and extended a hand for you to stand up.

“Twice in the last few days, Bart has decided to put his hands on (Y/N) in a manner to which she did not approve of. Did you?”

“N--No. Negan, this isn’t--”

“Shh, shh, just let me finish…” he winked at you and placed an arm around your shoulders, walking you around the campfire towards Bart.

“Bart here told me you were being a tease… said you’d flirt and then when he would make a move, you’d reject him.”

A sudden burst of anger filled you, and you wanted to choke the life out of the drunk.

“But you see, what I think happened is that he forced himself on you, and had you not fought back, would have committed one of the Sanctuary’s biggest sins.”

Bart stood up, his face twisted in anger. “Bullshit! You can’t prove nothin’! I don’t know what she told you but that gash is a liar!”

Negan gently raised up your arm marked with Bart’s handprint, that was already showing hues of a bruise in the shape of his long, gnarled fingers.

“I may not be a fucking expert, but this doesn't fit your fucking narrative,” Negan purred, taking great delight in the fear that washed over Bart’s face.

“Negan… I--I--she’s lying! I didn’t--I never--”

“Fuck you, asshole!” you yelled, unable to stay indifferent any longer. You thought about all the times he’d made sexual remarks or grabbed you as he walked by, the time he cornered you in the hall or in the garden, and especially just now. You could still feel the heat of his sweaty hand on your chest. “You’re a vile piece of shit who doesn’t understand what no means unless its Simon asking you if you want the ball gag out!”

Negan roared with laughter. “God, DAMN, I like this girl!” Once he stopped laughing, he turned his attention to Bart.

“Bart… I just… I can’t let this shit go anymore. You know Lucille’s rule, no force, no rape and you tried to break it after being warned to stop. So…”

Negan took Lucille from his shoulder and held her out to you. Your eyes went wide with surprise. Negan never let anyone use Lucille; hold her as an intimidation tactic, yes, but actually, use her to hurt someone… only he had that honor.

“Woman to woman,” he smiled big, clearly amusing himself, “Lucille wants to help you manage your shit. Have at him, sweetheart.”

Negan nodded towards Bart, and the two men on either side of him each grabbed a shoulder and shoved him into the middle of the camp to face you.

Taking lives wasn’t something you enjoyed doing, though you had taken more than you cared to remember. With everyone’s eyes on you, and Negan so close, watching every twitch of your muscles, you had to make a choice.

Bart was a cancer to the community. You knew you weren’t the only woman he harassed, and chances are he did force himself on the workers or weaker willed women. Your mind flashed through all the times he’d put his hands on you, or had you cornered in fear. It was what compelled you to reach out for Lucille.

The weight of the wood in your hand felt good. You saw why Negan liked it. You turned to face Bart, he tried to struggle away from the men still holding him.

Good, you thought, struggle against them, I hope they’re squeezing the fuck out of your arm.

Negan leaned close to your ear, so only you could hear him.

“What’s bothering you, sweetheart? Don’t you want to see justice served? Bart broke the rules,” he purred lowly, his voice causing you to clench your fingers against the handle. “Show him how you handle your shit.”

Suddenly, the fear in Bart’s eyes gave way to something darker, less scared and more scary.

“Go ahead, you fucking cunt. Hit me. Take me out in front of all these people. Show them what a badass you are. But you watch, one day it's gonna be you here, while he taunts someone to do this to--”

You swung, hard, bringing Lucille to hit Bart right between the legs. His light blue jeans instantly staining red with blood as the barbed wire tore at his flesh. No one made a sound except for Bart, who screamed out in pain which gave you a sick sense of satisfaction.

Your breath was heaving, adrenaline coursing through your veins as you cocked the bat back to swing again; this time hitting him in the arm, right where he had grabbed you as he continued to writhe on the ground.

As Bart continued to bleed out in front of you, you turned around to see Negan’s satisfied expression. His grin went from ear to ear as his dark eyes were drinking you in. Even over the unending moans of intense pain from Bart and the growing murmurs from the crowd, you could pick up Negan’s deep, throaty chuckle.

Negan took a few steps closer to you, then slowly cast his eyes down at the bloody mass on the ground.

“Going to finish him, or are you going to make the rest of us suffer having to hear him whining?”

That was when you took notice of everyone watching you again. All the best scouts, Negan’s inner circle and a handful of workers looked on as you decided Bart’s fate.

With one last encouraging wink from Negan, you picked up the bat one more time and raised it over your head. “You should’ve followed the rules, shithead.”

Bringing the bat down with all the force you could muster, Lucille impacted the side of Bart’s head, finally making him quiet. You stepped back from his lifeless body and nearly dropped the bat to the ground. You had the presence of mind to instead turn around and hand it back to Negan, who seemed appreciative of the gesture.

Reclaiming his girl, Negan exhaled deeply and turned back towards the onlookers, who were half scared, half unphased by what just happened.

“And THAT, my good friends, is how we handle our shit here at the Sanctuary. Now, who's got the Polaroid? Let's add him to the wall for prosperity!"”

[flower7work]

Hey I made a playlist for Carry On in celebration of the Wayward Son release! Go check it out :)

https://open.spotify.com/playlist/6Yw4u7k17QCjaHMe3TqjsQ?si=my_4WGJBQRyPSPg0lo5vFw

Keep reading for my notes on why I chose each song :) 

Carry on Wayward Son – Kansas Aside from the obvious reason, this song has a nice foreshadowy vibe to it, ya know?

Checkmate – Conan Gray Lyrically, I imagine this is how Simon would have reacted to the Agatha breakup if he wasn't already *so* in love with Baz. In terms of the sound, I get strong Agatha vibes. She knows what she wants, and it isn't to be the girl always caught up in Simon Snow's shit. The Archer – Taylor Swift A soft glimpse behind Baz's tough exterior. Even before meeting Nicodemus, he always had doubts and concerns about himself that our sweet baby hid with wit and villainy.

Always – Panic! at the Disco I like to imagine that as Baz dramatically entered the dining hall and Simon shot up in response that they both had a moment where time stopped. They each knew the other was alive and well and for a moment everything was okay, but their love was still unrequited. This song just seems appropriate.

The King – Conan Gray The Archer who? Baz is a cocky shit in love with a dumbass boy wizard and everyone needs to know. And you can't explain why I'm always running your mind Don't you see the answer's right in front of your eyes?

           -        The King, Conan Gray

Entropy – Grimes, Bleachers I can’t explain how this song makes me feel but it just fits. I guess it kind of signifies the beginning of Baz’s spiral after meeting with Nicodemus at the club. I like that the song still sounds happy because it makes me think of the balance between Simon and Baz, it’s so soft and sharp and sweet and harsh all at the same time. Cough Syrup – Young the Giant His face is stone, and when we get out of London, tears start to fall down his eyes. He opens his eyes, and they’re pools of grey and black and pain.             -       Carry on, Rainbow Rowell BITE – Troye Sivan Obvious. Had to do it to ‘em. Trees – Twenty One Pilots This is the last “Baz wants to die” song I promise. For me, this song just perfectly sums up how Baz wants to die kissing Simon Snow. He is scared and looking for answers and looking for a way out, but Simon is his saving grace. As Long as You’re Mine – Wicked Only the best love song for the best display of affection. Imagine being this in love. Wow. Electric Love – Børns Simon Snow is really out here saving lives with his lips and I can’t even walk in a straight line most days. The lyrics explain themselves; there is no other way to describe them but electric. Never Going Back Again – Fleetwood Mac You ever find out that your boyfriend is both the hero and the villain but continue to go find some fucking numpties? Anyway, our sweet baby boy just wants to avenge his mother. I wish someone would cut him some slack. I Walk the Line – Halsey I just love how simple but how honest these lyrics are. I see this in two ways- The first is the tragic story of Lucy; this sweet young girl was so mistreated yet continued the path that he M*ge set out for her because she was swept up in her love for him. The second is out sweet baby boy Tyrannus Basilton Grimm Pitch who, after everything, allowed himself to fall deeply and madly for someone his family disapproved of in more ways than one. We stan. Can't Help Falling in Love with You – Elvis Presley The title speaks for itself. They made it. Enemies to lovers. Imagine surviving all of that and coming out with a boyfriend you adore and cherish. 

Carry On – Fun. If books had end credits this song wold play as they roll. Fantastic stuff. What a good story.

[videogamesincolor]

Detroit: Become Human (2018) -Exploitative Sci-Fi for Gamers

The Following article contains major spoilers for Detroit: Become Human

Folk can’t quite believe DBH’s player base loves Markus by an 80% plus margin. It’s like Grey’s Anatomy doesn’t exist or something.

On some level, Quantic Dream’s video games following Beyond: Two Souls are going to be a mechanical refinement of their gameplay, and not much else. If the Ellen Page driven game demonstrated anything, it was that the studio’s creative head has an innate inability to learn from his mistakes and he’s got a fetish for particular narrative cues, and all of them revolve around violence, racism and shock value.

Detroit: Become Human shares a lot in common with Max Landis and David Ayer’s 2017 direct-to-Netflix film Bright. Both are allegorical tales that utilize the iconism, present and historical, of the Black community and their key movements as a backdrop for the oppressed fantasy caricatures of their tale. With Bright, Orcs were the Allegorical Black community of the here and now. 

With Become Human, Androids are representative of the Black community at various points in our people’s history. All of it is supported by the locale of Detroit, Michigan, a state with connections to the Underground Railroad (the game hits you with this trivia bit right off), Martin Luther King Jr., and anti-black violence that embroiled much of the United States when my parents were children.

Bright attempted (and failed) to re imagine some weird not-so-post-racial world where Tolkien-inspired aesthetics and archetypes were our history and influenced our present, with little changed about our factual history. Mankind is united in mutual hate of Orcs, and the motto “Black Lives Matter” continues to be a punchline to those unaffected by police brutality in a world where fairies are the equivalent of pests.

Become Human is yet another in the long line of over bright and sterile science fiction games that want to be Blade Runner, but doesn’t have the wherewithal to pull it off. And this is mostly because it’s too busy trying to shout “message!” For lack of a better word, Become Human gags itself with its own allusions despite some particularly interesting mechanics and sequences that exist within the ham-fisted racism narrative.

What is Become Human about?

The primary narrative of Detroit: Become Human is driven by the story of “Markus” (Jesse Williams), a specialized android, that, like most, runs the risk of triggering a dormant "virus” that simulates sentience in androids. He was gifted to old artist by the android creator (a man named Kamski). The beginning of his narrative sees him care for Carl (Lance Hendrickson), the old man in question. 

He gets kicked around by anti-robot protesters, and has to ride the back of the bus with other androids. After telegraphed prompts that tell you his mistreatment at the hands of Carl’s son, Leo, is not far, the virus triggers itself, Markus begins to act of his own accord. The end result, where he may or may or not kill Leo, or simply gets blamed for the death of Carl when he dies of a heart attack, leads to his being shot by the police.

After he’s practically destroyed, he reactivates and he pulls himself out of the mud Shawshank Redemption-style and finds an abandoned ship full of busted androids that were looking for a leader. Markus, not interested in hiding the shadows, more or less appoints himself in that position because he’s the only one with some kind of proactive goal: To end enslavement of androids everywhere.

The secondary narrative focuses on a service android named “Kara” (Valorie Curry), who was busted up by her owner - a man named Todd Williams (IIRC) - during an abusive fit against his daughter, Alice. After she’s repaired, Kara returns to his home and resumes caring for him and Alice and accidentally discovers that Alice is not a human child, but an android (apparently Todd’s wife left him for an accountant and took her daughter with her). She ignores it, and, under duress, gains sentence when she believes Todd is going to kill Alice while high on Red Ice (a hyped up version of Crack).

She runs away with Alice in the hopes of reaching the Underground Android Railroad to escape to Canada where there are no robot laws, and encounters a fairly large (Black) Android named Luther, who decides he’ll do anything to protect them from harm.

The third narrative is that of “Connor” (Bryan Dechart), an android type, designed specifically for police investigations. Connor is sent to work with a grouchy old detective named Hank Anderson (Clancy Brown), who hates androids (because reasons) and doesn’t want to be bothered Connor’s overly stiff behavior and awkward attempts to get to know him. 

Connor and Hank effectively run behind the likes of Markus and Kara, their narratives intersecting every now and again (until the end of the game), trying to figure out why Androids keep going homicidal and killing human beings.

While Markus’ plot drives the surface narrative, not unlike Bioshock Infinite, behind the scenes, the plot of Become Human involves a faceless corporation named CyberLife. From how I understood it, CyberLife, with the sole living monopoly on android creation, is looking to create an artificial conflict between humans and androids by using a virus that simulates sentience in machines that causes them to rebel against their owners.

When enough chaos is created, CyberLife would keep up the facade of an issue and supplant their man-made rebellion against humans using android (Connor) with no real “free will” of its own. It’s about as sci-fi as you can get and probably should’ve been the focus of the narrative from the jump.

Characters in Become Human;

I can’t wait to see white-face Android cosplay at this year’s conventions :D

Out the three playable characters that the player can control, the androids Kara and Connor have narratives that are focused more on the “personal” than the Frankenstein politics of the game that Markus represents. Performance wise, of the three characters, Valorie Curry and Jesse Williams give an ideal “robotic” performance that feels natural to their characters respective roles. 

Of the characters within Markus’ narrative, Josh and Simon are probably easiest to become endeared to. They have opposing opinions on how to handle their rebellion, but they’re not rivals. They have the strongest rapport with Markus, but the game barely gives either any screentime so they’re effectively minor characters that get wasted for some arbitrary “Josh and Simon will remember that” nonsense.

She’s like that guy from Two Souls who wouldn’t take “no” for an answer

Carl is an obnoxious “nice old man” type that’s supposed to represent the best of humanity, but given the context of the world, he’s willfully ignorant to the climate that game itself ignores, and his interactions with Markus are uncomfortable to watch. The narrative pushes the android North (Minka Kelly) at the forefront of the Markus’ narrative (at the expense of his relationships with Josh and Simon), and she is the least interesting character out of the bunch that gets face time with Markus. She simply exists to say “Hey, Markus, choose violence” and instantly be promoted to lover. Simon and Joshua are right there, my mans.

Markus himself is a frustrating character for me, because (aside from my scruples with his actor) he is so representative of a white writer’s ideal Black character. It’s hard to even root for the character beyond the general principal. His arc stokes a kind of anger in me like nothing else. And the other part of me simply cannot wrap her head around Jesse Williams (a former public school teacher, with more than a little knowledge on racism) just signing off on this nonsense that effectively makes the character what he is. But, this wouldn’t be the first time a Black actor made questionable career choices.

With Kara, what keeps her narrative engaging are her interactions with Luther, Alice, and her denial that Alice isn’t a machine, but a human girl. But, Kara’s disadvantage is that she is a female character created by David Cage, so he spells out to the audience what he thinks she is: A motherbot to a childbot, that’s her entire role.

Why can’t we be friends?

Her desire, her want to save Alice from Todd isn’t Kara being concerned about someone who’d be under her care, someone who has to rely on her for help given her age. Instead it’s treated like the path to motherhood as opposed to a friendship. It’s like watching a version of Ripley and Newt’s relationship in Aliens where the reason for Ripley and Newt eventually regarding themselves as mother and daughter (their shared loss) doesn’t exist. Even the guy who assaults Kara and (potentially) wipes her memory assigns motherhood to her concern for Alice and it’s like, “well, that’s a bit fucking presumptuous of you, mate”.It’s really gross.

And in that sense, Alice isn’t a character; she’s a narrative tool to further exemplify Cage’s odd fixation this particular aspect of femininity. The performance of the actors sells the relationship quite well, about as well as Ellen Page sells the suicidal agony of her character Jodie Holmes in Two Souls, but the sudden promotion to “mother and child” is unearned and artificial.

The attention to detail that goes into Connor’s narrative, the choice of whether or not the player will allow the virus to trigger sentience, or go full on Robocop and fulfill the desire of CyberLife to the letter, is not the kind of detail you see in Kara and Markus’ tale. His narrative is primarily driven by the pseudo-paternal relationship he ends up forming with Clancy Brown’s Hank Anderson, who mourns the death of his son (insert “Jason!” joke here), but for reasons completely unrelated to his hatred of androids (he admits that much in the climax). 

Every time the game puts Hank in danger, you’re given the choice of perusing the mission or risking a 40-80% chance of survival doesn’t mean the game will fuck you over and kill the Kurgan. I’m gonna assume everyone dove over their coffee tables to save Mr. Krabs and hung the mission.

Clancy has really round eyes, and I’m just noticing that for the 1st time

The he arc is as engaging as it is because of Clancy Brown’s performance. Dechart tries, he’s got a great rapport with Brown (unquestionably), but his limits are obvious. He often sounds like he’s putting on an act, something you shouldn’t be thinking of during an actor’s performance, and that can be distracting (I’m sure the direction doesn’t help either). I wouldn’t be surprised if that some point Quantic Dream was debating over whether or not this would be a game focused solely on Kara or Connor. Markus feels like something that was jammed into the game at the last minute to satisfy Cage’s celebrity itch and ideas of being progressive. That’s something I’ve always thought since they debuted the character back in E3 2017 (IIRC).

Out of all the human characters in the game, Clancy Brown’s Hank Anderson is the only one that feels like a person and not a plot device. Sure, he’s wrapped in all the trappings of a generic loner cop who hates partners (insert Buddy Cop Reference Here), but Clancy Brown manages to make an otherwise dull character work. On the flip-side, the generic asshole cop is such a walking stereotype there’s nothing genuine about his interactions with anyone.

He’s just there to reinforce the fantasy prejudices of the game and harp on and on about “them robots are gonna take our jobs”. Like, he didn’t need to exist because he does not contribute to the plot. The all too comical way he says “Fuck” (like he’s sneezing or some shit) – in a poor attempt to emulate the frustrations we often see in procedural dramas or action films when a standoff occurs – only further highlights how much of a caricature he is. This nigga can’t “bad cop” to save his life.

There aren’t a lot of characters to write home about in Become Human, or if there is I keep forgetting all about them and I can’t be arsed to recall them. Most of them are inconsequential and disappear after a single level appearance. If I’m being honest, I don’t hate the characters in Become Human (not most of them), so much as I loathe what some represent.

The Mechanics of Become Human;

Next Level Detective Vision(TM)

Become Human’s strength lies in being what I think is a fairly solid attempt at broadening the multiple choice system Adventure Games are otherwise derided for by individuals with a limited idea on what constitutes as a video game. It’s clear that Quantic Dream has taken cues from the likes of Dontnod Entertainment and Supermassive Games’ Life Is Strange and Until Dawn. Both are studios (with writers) managed to create a pair of fairly compelling adventure games, with wildly different takes on the multiple-choice system that’ll probably be remembered better in the positive than most, Quantic Dream included.

There are a number of outcomes that can happen within the game, depending on your actions. Some things change completely, other times it feels like a lot of its surface detail meant to wow you the first time. There’s usually only one conclusion to a level. For instance, even if Connor investigates the ruined house that Alice and Kara are hiding in, the end state is always going to be Kara and Alice escaping, no question about it. Markus always ends up getting shot and torn apart. Whether or not you decide to attack Leo doesn’t change his end state.

From my understanding there are multiple endings a player can get based on what the game decides are “morally wrong” decisions. Connor killing Androids for example, may always lead him down to a path of deactivation if you choose to fulfill your mission to the letter. Some, if not most of the central player characters and their cast can die. Hell, Markus can apparently just peace out of being the leader of the farcical android rebellion and North will take over in his place (that cracks me up). And one the more extreme options is to nuke Detroit to run the humans out of town. Whether or not it’ll make sense is another matter entirely.

Depending on the length of the levels, there are a number of things you can investigate and locate with the help of detective vision. Most of it really doesn’t inform the world in any meaningful way, a lot of it is collectibles for the sake of collectibles that never carry any consequence into the game (and the one item that does, is hidden and used as a moralizing plot twist that reeks of Cage brownnosing). The rest actually effects what you can say to characters.

The more details you find and learn about, the longer your multiple choice dialog lists becomes for certain characters. The problem, like with most multiple choice prompts, is that single words defining the response often lead to “oh, wait, shit, I didn’t mean that!” Because Cage clearly had different ideas about what “determined” and “uncertain” meant.

Jesse Williams??? In my junkyard???

If you’ve played a Quantic Dream game, then you know the deal mechanically. Motion Controls and Quick Time Events that more or less act like a fast forward button on a cinematic. Things you’d otherwise be able to do with basic button inputs, or a push of the analog stick, without any sort’ve guide, are rigged to Quick Time Events and motion controls. Want Marcus to stand up? Well you gotta wiggle that control and press and hold down numerous buttons before the cinematic decides to allow him to stand up. 

It’s basically Telltale mechanics, which isn’t bad per say, but I like being able to stand up without playing Twister. The most freedom you get as a player is being allowed to walk around – to some degree – at your leisure (unless you’re being time attacked) and just take in the environment and click on stuff. In some instances, if you take too long, the game jumps to the next cinematic and that’s that.

Respectively, Connor and Markus are the only two out of the three androids that can create or recreate scenarios of through the study of their environment or certain objects. Markus can deduce whether or not he can make certain jumps or defenses against attacks. Connor can more or less do the same, but his mechanic is structured around picking up objects in crime scene and recreating a simulation of how events may have happened. 

Kara lets her Otaku flag fly

Compare all of that to Kara, who can just change the color of her hair from blonde, black, brown and white. Her whole character seems built around her pixie hair cut and to that degree, the banality of her attractiveness (and remembering the creepy as fuck tech demo this game spawned from reinforces that). Yet, Connor and Markus can be both “attractive” and “functional”.

Philip Sheppard, Nima Fakhrara, and John Paesano compose what I think might be the best score from a Quantic Dream game I’ve heard after Beyond: Two Souls (which had Lorne Balfe and Hans Zimmer as its composers). It clearly apes the Vangelis aesthetic in a lot of places (namely Connor’s segments), but each character has a unique theme that either gets integrated into myriad of moods the music can adopt, or plays straight in a lot of sequences. It works pretty well as background noise, separate from the game.

All this scene needed was a saxophone

Another strong element in Become Human, outside of its narrative tree design, is the game’s environmental design. Become Human takes what are apparent cues from Dontnod Entertainment’s Remember Me, which imagined a futuristic Neo-Paris with a far more grounded approach than something like the direct-to-Netflix film Mute or even Blade Runner 2049, which is all lights, holograms, smog, and high-rise buildings. Become Human is chuck-full of nighttime shots, and rainy environments. There are still remnants of the old Detroit, but its slowly being dominated by the future that shouldn’t be able to sustain itself with a 40% unemployment rate, but go off Quantic Dream.

If you’re the type who’s easily wooed by high definition graphics (which isn’t something to write home about anymore. It’s done capped itself), especially with all the hub-bub going around about 4K RESOLUTION AND 4K SCREENS, then Become Human won’t have to do much to impress, just hit you with a lens flare.

With regard to cinematography and choreography, when Become Human is good, it’s good. Two of the strongest sequences in the game are the dead end story thread where Connor and Hank go checking into a bird infested apartment occupied by a runaway android, and the entire attack on the Jericho. Connor’s pursuit sequence is, for the most part, is pretty well directed, and it’s what I look forward play in a game like this. But, its also where the QTEs hindrance comes into play far more often. It’s not the kind of scene that needed anything except the prompts telling which way was safer and which way was quicker.

The Jericho siege is a fast paced implementation of the character perspective switch (that began slowly in earlier parts of the level) that works to keep varying levels of stress pressed upon the player. You’re encouraged to hide as Kara (she ain’t shit in a fight) and the game tries its damnedest to kill Luther (<_<), Markus has to save everyone he can (top priorities: Josh and Simon) and suddenly gains the ability to Keanu Reeves just about everyone in his path; Connor, from I can recollect, is more background support for Markus and gets shot if you try to save North (<_<). It’s cinematic when it counts and interactive where it matters.

Those are the two stand out sequences. The rest of the action in the game is more reflective of the awkward “which Connor is the real Connor?” fight scene which is just clumsily shot and broken to hell with QTEs (to say nothing of how botched the “tell me something only the REAL Connor would know” scene was).

Questionable Worldbuilding

Kamski, David Cage’s self insert.

There’s a certain level of suspension of disbelief required when it comes to science fiction. Unless you’re an author like Michael Crichton (who lived and died by the amount of [academic] research he put into his stories, or borrowed from his own experiences) science fiction – moreso than fantasy –, especially dystopic science fiction, is always gonna be amalgamation of fact and some nonsense an author threw at the wall.

But the mark of a good writer is usually the one who has you thinking about the ideas presented in the narrative, not what you as an audience member would’ve done to fix the narrative’s persisting problems. In this case, Michael Crichton is the former. David Cage is the latter.

The world in Become Human doesn’t feel lived in. There’s no real explanation as to how the world in the game got to where it is, and its obsession with “World War 3″ is a lazy dab into politics. There are places and circumstances that fit each situation in the narrative, but on a whole, it doesn’t feel like a place that could actually exist like Middle Earth, or even the Earth of Harry Potter, which blends the “wizarding world” and the “muggle world” together quite well without creating a grievous dissonance in the narrative. It’s a collection of sets characters are strolling through.

Cage lifts strife and topical issues from the past and present to build his world, but utterly fails to understand the context and environmental circumstances that informs what are issues steeped in anti-blackness and white supremacy. He’s not unlike Zack Snyder, who is so preoccupied with how “cool” a scene in his movie looks, there’s never anything of substance in the final product. The depth of his understanding of racism, mass deportation, and antisemitism is that it’s “bad” and not much else.

For instance, there’s little explanation as to why Canada has no Robot Laws (not one I found), or why ‘sentient’ Androids would even assume why they’d be safe there and not sent right back to the United States. Another head scratcher is a law only recently required androids wear signifies that they were machines, when uncanny valley still seems to be a hugely noticeable problem (at least when the plot requires it).

There’s the usual Cage mumbo-jumbo of a messiah figure come to rescue his characters from strife (RA-9, the androids call ‘em), but given that the game constantly implies that “Deviancy” was not a widespread or common thing until recently, the attempt at creating a “folk hero” character for the Androids make little sense given the story fails to properly set up its protagonists conflict. Its ever only brought up in a explanation manner and dropped shortly thereafter. it’s untrimmed fat for the investigative bits of Connor’s gameplay passed off in a move to make the world seem more lived in than it is.

You can’t afford a job, you can definitely afford to oppress a android

The big talking point that many believe punches holes in the narrative is how the implementation of Androids have impacted humans socially and financially. Become Human presents itself as a pseudo-futuristic world (set in Detroit, Michigan) of 2038 (twenty years from now) where Androids cost the equivalent of what some folk I know think an Apple or Google Android cellphone might twenty years from now (it’s like $8k or something?). Even if you’re hard up for cash or living hand-to-mouth with a drug habit, you can afford an android somehow.

Androids are allowed to participate in sports despite the general danger to human life that poses, but no one really comments on that (you only know about it because of a collectible) in the game. Not a single person of color took issue with the fact that a rich white man created androids that looked like people in their community, and effectively built them for nothing except labor, sex bot fun times, and absolute servitude.

Androids have also become so prevalent as the labor or work force, that 40% or more of the American population (I guess??? It’s unclear) is out of work. And In which case, old man Carl, sitting financially secure up in his mansion with an android, is the personification of a rich man out of touch, but having the gall to look down on the protesting poor (which is not how the narrative frames in the least).

Reasonably, this should mean the economy is in a bad way on some level. Yet, the states is somehow stable enough to maintain pristine streets, glossy stores and a thriving economy, despite most people being too broke, poor, or out of work to actually support it.

Capitalism has gouged a hole so badly into United States, it shouldn’t be able support itself the way the game presents, and this is based on just how utterly messed up the general landscape of unemployment in the Great Depression was at a mere 25% (15 million unemployed) as most people keep bringing up. And that was following a market crash that’s often used as barometer against the 2008 market crash. Our current unemployment rate is apparently  3.8% and the US has more problems than it can manage.

You’d think the world would actually look like something out of Days of Future Past or Judge Dredd, or maybe even mimic what was documented during the actual Depression (a little less extreme than the above). But, no, not really. Folk aren’t rioting in the streets, being suppressed by the police, aren’t demanding something be done a corporation that put them in a bind, or trying to overthrow the government for fucking them over the financial hole with machines. (Or at the very least leading the rich to the guillotines.)

No, most (even people who aren’t financially well off) still live relatively comfortable lives, maybe a few of them are homeless because of the android situation, but for the most part nothing seems to have really changed. And thinking about that just rather leads you down a rabbit hole of, “okay, well, how different is the economy from our reality that this can happen and the world is functioning as it were the 21st Century present?”

The future ain’t no promised land...

The game also wants to make a big to do about there being a white female president (more brownnosing from Cage), but the most you ever learn about this character is in a collectible and she simply exists to appear at the end of the game’s “good” or “bad” endings then disappears. And for the most part, considering he’s not exactly preoccupied with how politics plays into capitalism, what is so progressive about a white female president who isn’t all that bothered by the fact androids have put most of the people who probably voted for her out of work, and doesn’t lift a finger until androids start going homicidal? She not getting reelected.

The “humans are racist against androids” spiel falls further apart you realize that Cage wants to draw a parallel to a couple people with signs and the homeless, to the literal white supremacists of [middle] America that voted Donald Trump into office on the promise that he would deport and exile immigrants that “took American jobs” from the hard working racists of the United States. He wants people to believe that, when he’s created a circumstance where people would be rightfully pissed that they’ve been replaced by machines (who aren’t immigrants, let alone prisoners in Nazi Germany) and have no financial means. But, emotions, y’all, machines are people too.

Mankind in Become Human is united by their mutual racism against robots. So much so, that the habit of referring to machines with gendered pronouns or pet names is a thing of the past. Male or female coded androids are just “it”, not “they”, “she” or “he”. Racism is apparently a thing of the past. Sure, Rose (Harriet Tubman reborn) makes a reference to historical racism, and Markus bleats, “human have been killing each other over skin color and god for eons” (as though this is supposed to distance the android narrative from the allegory Cage wrapped his game around), but for all intents and purposes, you never see this this exemplified in the game that isn’t an [un]conscious display of Cage’s racism.

Like most allegorical worlds, Cage’s world is so preoccupied with creating this victim paradigm with robots, that it appears post racial to the point where the only problem that exists is basically “goddamn, I really hate those robots taking our jobs”.

For Tracy, Blue Hair Tracy is the Warmest Android

Hell, Homophobia’s not even a problem, because two female robots with the same face can basically declare their love and the only thing unusual about it is “Robots in love? I can’t comprehend that!” So, the one thing that needs to be Kumbya’ed into the past is anti-android sentiment and thanks to the multiple choice system in the game, you can either eradicate android resistance, or create a world they might sorta kinda be free (or at least the lead characters can).

For all the bluster about humans not seeing robots as individuals, they protest against and treat the androids like they’re individuals, as opposed to protesting against them as symptom created by a company that exacerbates their problem.

Appropriating Specific Pains For Entertainment

A Black Cop faces Androids mimicking Hands up, Don’t Shoot

The internet was a big part of why so many Black voices have been heard in the wake of what has always been a commonplace thing – the violent and needless deaths of people within the Black community, man, woman, child and infant. The period between reports on the exoneration of the police officer who murdered six year old Aiyana Stanley-Jones in 2010, and the murder of Trayvon Martin in 2012 seems long enough that, if you simply weren’t paying attention, you’d never consider it an epidemic like we do now.

But the deaths of Michael Brown, Eric Garner, Tamir Rice in 2014 and Sandra Bland and Freddie Gray in 2015 all seemed to bring an end to that. The less than graceful handling of the issues by the white media made it impossible to ignore how the damaging effects of the frequency of Black death were, created Post Traumatic Stress in the Black Community.

David Cage, in perhaps one the more naked displays of ignorance, decides it’s a good idea to use the imagery of the Black Power fist to represent oppressed machines wearing human faces. He decides the plight of the androids, who protest in the same fashion Black Americans did in Ferguson, Missouri, New York City, and Baltimore City, their hands up and marching through the streets, is a comparable to demanding the end of state sanctioned police brutality. He decides, the comparison of machines who suddenly gain sentience for little to no reason other than their creators manufacturing a fake rebellion for shits and giggles, to Black lives demanding that people stop killing them, are comparable situations.

She can’t quite believe the tagline she comes with

Throwing them in the back of the bus, slapping them with iconism that draws allusion to the Jewish Holocaust (which gets worse with a bad ending and references of Androids herded into camps for destruction), parking them in place like bikes, and putting them on display in stores (like slaves being auctioned off) is sensationalism mean to pull at the heartstrings – and it’ll definitely get you feeling some kind of way, that’s for sure.

I think the one thing that truly made me ill was reading subtitled off-screen dialog near the end of the game say, “Androids were being hanged all along Woodward Avenue.” It repeated in my head like an ugly mantra and I kept having to pause so as not to throw fit. The levels of irresponsibility that you have to cradle yourself in to think it’s remotely okay to invoke mass lynching imagery...

Dehumanization of enslaved Africans, whom white people regard as sub-human is not remotely comparable to androids meant to stage a manufactured rebellion by a faceless corporation headed by a deviant Black woman playing Hal-9000.

It’s a bad look and doubly insulting to just co-op the history of the Underground Railroad, which is another anvil on the audience’s head just in case the last couple weren’t quite enough for you to get the message.

And the way Markus and eventually every robot “frees” itself from “slavery” merely makes them look robots under the control of a hive-mind. They fall in line without question. They’re not acting as individuals, who’d have wildly different reactions and desires to any given situation. They literally act like the robots in I, Robot under the control of overlord A.I. that decided humans couldn’t be trusted not to kill themselves.

Anti-Blackness, Sexism, and David Cage

Yeah, I got nothing...

David Cage and his long romantic affair with anti-Blackness and sexism is one that is otherwise well documented, but largely ignored by the gaming community who still think addressing racism perpetuates racism and saying “SJW” indentures them with any remote credibility. To say nothing of the white liberals who’ve showered the game with praise because they’re convinced this is a profound take on the oppression narrative..

It’s unquestionable that David Cage is fixated on inserting violence done marginalized groups in his stories. He is incapable of handling the issue with maturity. And the news that his company reflects those same toxic ideas has spread long and loud enough that trying to pretend either is not a problem in this day and age in the name of “not ruining fandom’s fun” is stiflingly ignorant.

Sex workers/sex bots (all androids now) are brutally murdered and raped for not much else beyond the furthered narrative of characters like Markus and Connor. North only admits to being sexually assaulted so Cage can set up her as a lover for Markus, regardless of the player’s potential disinterest in romancing or interacting with the character. North doesn’t exist for much else besides being a prop for Markus and Cage exemplifying M/F relationships are compulsory in his universe.

Lesbians are used merely as a barometer for Connor’s morality, and are so ham-fistedly stuffed into the game (with awkward zoom-ins on their clasped hands, not once, but twice), that you can hear Cage patting himself on the back for even daring to think about two women in love on such a shallow level. They have no character or personality beyond that.

Child abuse and the abuse featured in the game feels jammed into a narrative that also wants you to sympathize with Alice’s father (Todd) because he immediately apologizes for being shitty. It’s also another excuse for David Cage to write a male character calling a female character a “bitch”, which is a reoccurring theme in all his games. Kara is constantly threatened harm by men and put situations where she barely escapes danger (or doesn’t) in ways that Markus and Connor aren’t. This is all meant to endear the audience to her relationship with Alice and her tenacity.

Kara and Alice ain’t even safe from the noble hobo androids

If you decide to go toe-to-toe with Todd to save Alice as Kara, Kara doesn’t get to throw Todd through a wall or even get the better of him with super android strength. She gets strangled, punched, and tossed about as though she weren’t an android but a normal human being. It’s like realizing that Jodie Holmes (Beyond Two Souls) isn’t Carrie, but is completely dependent on a ghost to protect her from sexual assault or danger in general. It’s the anti-thesis of the scene in Ex Machina where Ava (an android with a lightweight frame design) gets the advantage over Nathan. Kara and Alice barely escape with their lives.

It just comes off like cheap exploitation for the sake of making your female character suffer and it’s such a cartoon-ish portrayal of assault and child abuse. The scene wherein Kara is tied up and potentially stripped of her memory is mirrors the scene wherein the reporter in Heavy Rain is tied up and attacked by a serial killer who wants who to saw her in half and assault her.

Things get progressively worse when you start to consider how Black characters outside of Jesse Williams are utilized. The majority of Black characters represented in the game are supporting or minor characters. They run the gambit of David Cage’s greatest hits: “Scary Black Man”, the “Black Gentle Giant”, and the “Black Sidekick” who aids and furthers the narrative of his white or acceptably Black friends. Become Human also expands to respectability politics, colorism, and violence taken to new heights.

Stop_racism.png? I don’t think that’s in my programming, Carl...

Like I mentioned before, Jesse William’s Markus drives the entire narrative of Become Human. Outside of the inciting incident (the rogue android threatening to kill the child that looks a lot like Alice), nothing officially progresses until Markus becomes sentient. He is the hero of the story. As the only android taking proactive steps to rebel against the farcical android racism and slavery, the narrative dictates which decisions Markus makes are inherently “positive” and “negative”. It’s within Markus’ narrative that David Cage demonstrates that he’s just like every other white person when they observe Black communities dealing with police brutality and dehumanization.

While Become Human uses Minka Kelly’s North to badger Markus to rebel against humans with violence, even when you reject her ideas, the narrative doesn’t approach her point of view with anything other condemnation. Retaliation is never treated like it’s just as valid as pacifism (to say nothing of how they actually portray that retaliation as just mindless violence, which misunderstands the context how a city ends up catching fire).

If you agree with her and decide to avenge fallen androids, and protect the ones that are alive from immediate danger using retaliation tactics (or violence), the narrative condemns you for doing so. Markus’ punishment for not “turning the cheek” is typically death at the hands of Connor, a white character whose narrative seems to have more end-state possibilities than probably even Kara. Become Human prioritizes “peaceful protests”, but in a manner that feels lined with disingenuous intent. Quite literally not acting against your aggressors in any way is the right (and only) way to do things.

We’ve reached maximum levels of representation in media, fam

To compound the utter rot of the allegory, Jesse Williams’ Markus removes his skin (in his words “one planet, two races” lmao) and regardless of the tone you choose (”peaceful” or “determined” for example), the player is prompted with a number dialog options that include “end slavery”, “equal rights”, and a whole bunch of other things are an explicit tie in to Black History. And, unfortunately for Markus, these kinds of prompts, which includes protesting Androids singing to win the favor of humanity, continue to pop up in his dialog tree like pesky blackheads.

The constant reminders that “violence is not the answer” invokes non-Black voices saying “if you weren’t violent, you wouldn’t have been attacked by the police”. The narrative’s attitude is verbatim the kind of inanity I see posited online by spectators with no grasp on situations where Black Americans experienced violence. It even comes up in discussions about Black rebellions during the enslavement era. That’s Become Human’s narrative in a nutshell.

Jesse Williams’ position as the figurehead character in the narrative juxtaposed darker skinned characters, which all play support roles, is a continuation of the media’s reinforcement of the kind of Black character or person that is acceptable for mainstream media. He’s Black enough that he can represent Cage’s borked narrative, but “ambiguously brown” enough that he won’t raise heckles.

Weird how this game don’t let you romance folk you WANT to be around...

Most of the Black characters in the game are androids, most of them have dark skin, and most them amount to background dressing. They’re about on the same level as Kadeem Hardison’s character in Beyond: Two Souls. They act and sound like everyday people, but they’re still representatives of Cage’s awful narrative. For instance, there’s a linebacker of a Black android named Luther and he is the embodiment of the kind of Black man David Cage is clearly terrified of.

Originally, he was an introduction to Cage’s game during E3 2016-2017 even as some Negro spiritual singer. In the game, he’s nothing much other than a supporting character in Kara’s narrative that can die or be blocked from the continuation of the narrative pretty easily (unlike Hank, who is rather glued to your behind up until a certain point).

Instead of being some cartoonish violent thug (see: Heavy Rain), his whole directive in the narrative is to protect Kara and Alice, and not much else. He has no arc of his own and is practically itching to die for them. Characters shrink away from him in fear whenever they see him because of his size, and the entire level wherein Alice and Kara are threatened by the mad creator, uses Luther like a sentinel with the intent to harm the white characters.

Cage’s visual use of the “[Gentle] Black Giant” as a means of highlighting Kara and Alice’s literal white fragility is as bad embodies literally everything I hate about how white people regard and treat Black masculinity in their media.

I appreciate these character models. Rescue them from Cage’s asset files

There are three Black women in the game with speaking lines. Two androids, one human woman. All of them are helpers for white characters or Markus, regardless of their moral alignment. The overarching villain of the game is unquestionably is Black android named Amanda (at least I think she’s an android). She’s a facsimile of the teacher who taught Kamski, creator of the androids, what he knows. She more or less plays the “guide” to Connor (in the sense that her advice is identified in the wrong) and pretends that she wants to see an end to the rebelling androids before CyberLife loses any more credibility with the public (who are scratching their heads over machines declaring “I am alive”).

The human is a Harriet Tubman analog (Rose), who embodies the downtrodden Black mother raising the difficult Black son (Adam) whose father is absent (he died). Adam doesn’t want any part of saving androids, Rose seems to think she’s beholden to help them. From a visual stand point, Rose is probably the best looking fat character model I’ve ever seen in a game. Within the narrative, she exists for little else than to fortify the “Android Slavery = Black American Enslavement” allegory hill that Cage wants to die on. She tries to help Kara, Alice, and Luther to get across the border to Canada not once, but twice.

The last is a damaged android named Lucy. She exists solely so she can tell Markus “your choices have consequences” in a scene makes her look physic when she holds his hand. It was just like the ostentatious declaration from the menu-screen girl (Chloe), “Remember, this isn’t just a story. This is our future”.  And even you know androids share information through physical contact, it’s clear that Cage modeled her as the wise mystical Black woman because reasons. And the role repeats itself when she confronts Connor about being “lost” and then dies in Markus arms saying “save our people Markus”.

This scene was hard to watch, honestly...

Whenever Cage wants to demonstrate the “inhumane treatment” of androids, by in large Black androids are the biggest examples. Luther has his memory wiped by the mad creator who Frankenstiens androids together and is effectively a mindless slave until he sees Alice. One android (pictured above) is tortured (cigarette burns put out on his arm and the like) to the point of a going rogue and ends up murdering his owner. 

To add insult to injury, the player (as Connor) is given no choice but to increase the Black android’s stress level to get him to confess (like how policemen pressure Black prisoners into acting against their self-preservation). This later drives the android to shoot himself (and maybe Connor if you tell him to stop trying to commit suicide) in the head. When Connor attempts to grill three identical Black androids for information about Markus’ whereabouts, he goes full cop on them and tortures them. He ends up getting his guts ripped out immediately afterward (but if you succeed in fixing him, he gets to shoot the android dead with extreme prejudice.)

Lucy, the android that helps Markus, was tortured and disfigured: Her head torn open, wires hanging out, and false skin unstable. Markus himself is actively punished by the narrative for being anything other than “peaceful” and “non-violent”, to say nothing of the physical violence that’s visited upon him from the jump (being kicked around and being shot, then torn apart).

David Cage’s exhibitionism with his Black characters works well enough that it gets a rise out of you, but it’s the same old exploitation of Black pain for entertainment purposes. It more or less demonstrates why white authors writing allegorical tales of fantasic racism, usually end up perpetuating it. Markus is David Cage’s cipher for tackling a story about racism, acting out racism, all without actually dealing with racism in a legitimate manner. (I’m of the opinion that, if you’re white, you don’t have the ability to anyway.)

I can’t imagine what this game would’ve been like without the mess, lmao

Markus bears the burden of pretty much everything that’s wrong with this damn game with regard to how it uses allegory to build its fantasy oppression. As the catalyst, he’s not only the respectable Black character (fair-skinned, “non-violent”, “well spoken”), he’s also represents the whole of the slavery allegory through his relationship with Carl. Carl’s character so obviously represents “the good slave master” (masquerading as the “father figure”) that not only educates Markus on self-realization, but demonstrates to Markus that “not all humans” (read: white people) “are bad”.

I’d argue that if you exercised the racism allegory and Markus from the game, you might actually have, not a good game, but a game about two white androids on two ends of Cage’s undercooked attempt to wax poetic about sentient robots. But, the other Black characters like Luther, Josh, and Lucy exist, and also shoulder the burden of the writer’s ignorance, so there would be no point.

Bad Allegory is Bad Allegory;

It’s a pretty looking game, with some nice moments. Not much else...

Anti-Black racism is not something (most) non-Black audiences can reasonably identify as negative for the community it happens to. When it occurs, spectators view it through the media as something that was brought on by the victim – and otherwise rightfully earned. Speaking of your experiences with anti-Blackness makes them feel doubly comfortable to say “well, I’ve never seen that happen” and insinuate that you’re lying about your traumas or microaggressions experienced.

Through the lens of speculative fiction (chiefly science fiction), the utilization of anti-Blackness as a foundation for any imaginary oppression conjured by the author, once completely removed from the Black experience, becomes a digestible and even sympathetic narrative. A commodification if you will.

There’s no talk of “both sides are wrong” and “well, they brought it on themselves”. Fictionalized marginalization often creates a white creator’s ideal victim, one their hearts can bleed for and live vicariously through, because the victims aren’t just Black, they’re also white.

Allegorical racism often ends up creating equations that consciously or unconsciously say that Black people are violent or dangerous in some way, and the fear of Black people is justified. It perpetuates the myth of the Black superhuman. The biggest example of this? Stan Lee and Jack Kirby’s X-Men unthinkingly equates discrimination of superhumans with incredibly deadly powers to the discrimination of Black people. That narrative allows a certain justification to hating mutants because some have abilities that can outright kill people who enter their breathing space, something Black folks, who are discriminated against without quarter or reason, can’t do.

Quantic Dream’s Detroit: Become Human shares all the same problems of every other speculative fiction narrative that uses allegorical racism as a backdrop. While something like Netflix‘s Bright lambasted by common sense, the gaming landscape has yet to develop strong enough set of tools that prevents games like this and Bioshock Infinite from being hailed as “daring masterpieces” for failing to properly handle the subject of race-by-another-name.

To further illustrate the brokenness of his tone deaf narrative, David Cage wants to be able to say “his game isn’t about racism” (or sexism) at the same time he admits to saying the current racial tensions in America definitely influenced him during the development of Become Human. You can’t have it both ways, nigga, pick a lane.

Detroit: Become Human is the neighbor of Bioshock Infinite. But where the latter is naked about its prejudices, Become Human takes the Crash approach (and we know how most people reacted to Crash before the honeymoon period ended). Racism is rarely handled in video games. So, the bar is so low, that merely daring to use the imagery of violence toward Black bodies, but not in any way that doesn’t make a caricature of the history, stirs something in the unaffected. I expect, like Infinite, half of a decade will need to pass before the feedback-loop from dualshock ends and think critical essays start popping up (I won’t hold my breath tho). There are people calling a duck a duck, but they’re largely ignored.

I could literally recommend anything else that handles the issue of sentient machines better than Become Human without the hamfisted racism allegory. The Terminator 2, Ghost in the Shell, The Big O, Outlaw Star, Alex Garland’s Ex-Machina, or even Alex Proyas’ loose adaptation of Isaac Asimov’s I, Robot.

If you wanted to see how androids and the advancement of technology play into the role of capitalism damaging the quality of life, Dontnod Entertainment’s Remember Me handles the subject better than Quantic Dream does by miles. Frictional Game’s survival-horror game Soma deals with the cloning of a human mind and how that mind handles being “just a copy” inserted into a machine or a machine like body.

Jesse Williams living the dream as Markus Luther King Android Jr.

Become Human’s story of “oppressed androids” doesn’t work from the offset. There’s little demonstration of androids demanding their freedom and equal rights up until Markus decides, “um, yeah, we should do that, guys” and androids go homicidal on their owners around the same  time. Everything is second hand accounts. There are no human antagonists that inform this fantasy racism that aren’t the equivalent of cartoonish high school bullies shoving people in lockers, or just poor representation of the counterargument from the get go. Android rebellion is practically framed like everyday appliances on the glitch to the disbelief of their owners, who end up traumatized or murdered.

Cage compounds that issue even further by writing that a virus (stemming from a copy error) gives them sentience, but that simply makes them look like machines that are malfunctioning because they need a better anti-virus program. I keep seeing people use this comparison, but an android passing on a virus that “wakes” them up, is not remotely comparable to a Black mind being stuck in the Sunken Place until someone (or they) pulls them out as depicted in Jordan Peele’s Get Out.

When talking to actual people, it’s obvious that they don't like being discriminated against. That’s not remotely the same case with Androids infected with a dormant malicious error and deciding they’re not free. It implies the enslaved were fine with slavery until they just wake up one day thought otherwise.

Also, you don’t get to frame your characters as victims when they’re literally spouting rhetoric like, “Androids are superior to humans in every way, yet we’re slaves?”

I wanted to like Detroit: Become Human like I wanted to like Beyond: Two Souls. There’s a lot to like about the concept (minus the allegory) that the game is built on, if not purely for how the primary cast interacts with their own group (sometimes).

But, for lack of a better word, the game is insensitive with its comfortable comparison of non-human characters to people of color (chiefly Black people) and marginalized identities, who still suffer from everything the game fails to tackle respectfully. Half of science fiction is built on the bones of wrong-headed allegory and misrepresentation of social issues, so its celebration isn’t surprising, just frustrating.

Detroit: Become Human is a constant reminder that David Cage thrives off the pain of the marginalized and can’t be arsed to do any introspection about that. It feels like I just got thrust back into 2013 all over again.

Allegorical racism needs to die.

[mdwatchestv]

Westworld 2x08: Take My Heart When You Go

This season of Westworld has been having quite a bit of success with contained storytelling. After building such a big and complex world in season one, it's refreshing to see the show occasionally tighten focus to explore a particular character or aspect of the park. Maeve's venture into Shogun World, the saga of Peter Mullan the not-quite-host, Katja Herbers in The Raj (even though that functioned mostly as a cold open) have been some of the strongest moments of the series overall. However the big sprawling world mythology episodes are starting feel more unwieldy than ever when juxtaposed with the smaller scale storytelling we now know the show to be capable of. One of Westworld's biggest hurtles coming into season 2 was that while season 1 had delivered plenty of twists and turns, it failed to create any meaningful emotional connections between the audience and the characters. Yes the show was aesthetically beautiful and entertaining, but who were you really rooting for? Dolores seemed like the obvious protagonist, but her character is, by design, unknowable, and she has been going down a path of consistent darkness. This season has attempted to remedy the emotional distance by delving into other character's pasts and inner lives, and has achieved various levels of success. For example the Shogun World storyline worked so well because it was supported by the real connection between Maeve and Akane. Their scenes together were genuine and moving, and it was impossible not to feel emotionally invested in their journeys. This season has succeeded in creating more and more of these moments, but often sacrifices them when returning to the larger world's plot. This episode attempted to fuse one of these more intimate stories to the backbone of the show's larger mythology, and for the most part it worked. This episode was about both the entire history of Westworld, and also simply about a man pursuing his true love. It covered generational time spans, but also a singular journey of the heart. This episode felt like what Westworld should aim for in its storytelling, where big reveals and world-building don't displace quieter moments and character development.

This episode also finally answered the call to give voice to the members of the Ghost Nation, who have been present but frustratingly silent throughout the series. However with the casting of Zahn McClarnon as Akecheta, it seemed likely that this was the season we would finally get more insight into these characters. At the beginning of this episode we see Akecheta bringing the wounded Man in Black back to his tribe, not with the intent to save him, but to keep him alive in order to prolong his mortal struggling. Also amongst the Ghost Nation is Maeve's daughter, whose kidnapping we witnessed at the end of last week. Akecheta approaches the little girl (does she have a name? I truly don't know) and tells her not to be afraid. He then begins telling her the story of his time in the park, a narration which frames the flashback that makes up the majority of the episode. It's worth noting here that the bulk of the episode is spoken in Lakota, a Sioux language that is only spoken fluently by 6,000 people in the world. This was a bold, but necessary, creative choice, the kind of choice that Westworld should strive to keep making.

In the beginning of the history of the park, Akecheta was not a fearsome warrior but rather lived a peaceful existence with his tribe and lover, Kohana. However his life is upended when he stumbles upon the scene of Arnold's suicide and accompanying mass host slaughter. At this scene he discovers The Maze, which we know was created by Arnold in order to grant Dolores consciousness. Akecheta becomes obsessed with it, mulling it over and attempting to interpret its meaning. Through his study of it, he too is able to achieve ‘wokeness’.  However his life is upended when, upon Ford's reconstruction of the park, he is given a new violent personality and drive. Akecheta lives the stereotypical Native Warrior Bad Guy life that we had assumed he had been living all this time, until he stumbles upon Kohana and remembers his love for her. As Akecheta begins questioning the nature of his reality, he one day finds the sun-burned and naked Ben Barnes (who had been sent into the desert on a horse by a newly bad Jimmi Simpson many years ago). Ben Barnes tells Akecheta that this isn't the right world, that there is a door to another. Akecheta's suspicions about the world he lives in are confirmed when he rides to the edge of the park and finds a construction site filled with modern equipment, aka the Door to the Other World.

Concurrently in this episode we catch up with Simon who is desperately trying to get the Westworld techs to save Maeve. He insists she is worth saving because she is the only one who can control the other hosts in the park, but I believe he also has a serious case of the friendship feels. As Simon watches the once fearsome Maeve dissected and cut open, he feels regret at having interceded on her path to motherhood. Even though as the park writer and character creator he should be the most jaded regarding the host's ability to experience real emotion, he now seems to truly believe that Maeve is at least deserving of fulfilling her role as a mother.

Back in the flashback, Akecheta plans to leave the park and journey into the Other World but of course cannot go without his true love. He kidnaps Kohana, who eventually remembers him from her past life (love conquers all yo) and they set out together. However the construction site Akecheta had found previously is now gone, and Kohana is captured by park employees. Akecheta tries to find Kohana back at her home, but she has been replaced by a new host. Heartbroken, Akecheta travels the park for the next ten years looking for her. It is during this walkabout that he happens upon Maeve's daughter, who helps him, an act that he does not forget. Eventually he returns to his old tribe where he discovers other hosts have disappeared  and been replaced. The leader tells him that her people tell a story about men that come and take people away, the park workers and the Other World have morphed into tribe legend. Akecheta pulls a Maeve and gets himself killed only to wake up in the Mesa. There he finds Kohana in cold storage, who while still standing, is effectively dead. Devastated, Akecehta returns to the park and begins spreading the symbol of the maze to the rest of the Ghost Nation. The maze works to 'wake up' the other hosts as well, and they keep the sign secret by tattooing it under their scalps. This ties into why the Man in Black was able to find the maze under a scalp in season one, which was a satisfying explanation for that past plot point. We also discover that Akecheta was not stalking or hunting Maeve and her daughter, as Maeve's flashbacks have implied, but rather attempting to protect them and teach them about the maze. Of course his plan his thwarted when the Man in Black horrifically murders the mother and daughter, but Maeve's introduction to the maze ideology is likely what led to her meltdown and subsequent re-awakening.

One day Akecheta comes upon Ford, who in a very striking mis-en-scene, is scalping frozen Ghost Nation and uncovering the mazes under their scalps. Ford asks Akecheta how long he has known about the maze, and Akecheta replies since the Death Bringer destroyed the Creator. That phrasing was particularly interesting because of how it reframed the story of the show into almost myth. Dolores, the Death Bringer, destroys the world, and then the world is reborn anew. This cyclical imagery is common in many culture's religions and storytelling, and contextualized the plot of Westworld in a way I had not previous considered. So good job Westworld. Ford tells Akecheta that the Death Bringer will eventually come for him, and at that time Akecheta should gather his people and leave. We know that Ford had been planning his suicide and the resulting park takeover for sometime, but his interaction with Akecheta is strange in its ambivalence. Ford seems to admire Akecheta's perseverance, but just like Arnold before him, makes no allowance for Akecheta in his final plan. Throughout the episode in fact park staff seems to largely not care, or pay much attention to, the movements of the Ghost Nation. While Kohana is apprehended for journeying too far from home, Akecheta seems to go wherever he pleases and is bound to few looping stories. Additionally no one notices that he lived consistently for a decade in the park, and even roamed around the Mesa by himself. Also while Arnold's suicide plan included the death of all the hosts, he did not make any allowance for the number of Ghost Nation hosts that, if not for Akecheta, would not even have realized anything was afoot.

Back in the present, Katja Herbers rides up to collect her father (the Man in Black) and Akecheta surrenders him to her custody. At the Mesa, the techs discover that Maeve is able to connect with other hosts via their (usually passive) mesh network. This is likely how she was able to "push" hosts to do her bidding, by becoming conscious of, and then sending commands through that network. Charlotte Hale enters for a hot sec to deliver the expositional news that Maeve has been "speaking" to someone over this network for the whole episode. It is revealed then that Akecheta has not been unloading his past to a little girl for no particular reason, but rather has been relating it to Maeve herself. We see that just as Ford ordered he is gathering his people to leave, and will take Maeve's daughter with him. This episode served to fill in some plot gaps from last season nicely, and also give much needed characterization to the Ghost Nation. However it also, of course, raised more questions. Where exactly is Akecheta planning to take his people? To the Mesa? Beyond? And is this journey part of Ford's plan, or simply a loose end Ford didn't care to tie up? How, if at all, will Akecheta's escape bid intersect with Dolores (the Death Bringer)?

Overall this hour represented the kind of ambitious storytelling that Westworld should continue to pursue. I hope the show continues to take risks, not in the shock-value of the twists, but in the kind of stories that are told, and the characters that get to tell them. At the end of the day this episode was a love story told in Lakota, its continuation of the show's larger plot, as well as its tie in to the world at large was the icing on the cake, not the main course. Elevating Dolores’ destruction to external mythology, and instead focussing on the characters simply trying to live through the ebb and flow of the park, is the key to emotional connection for the audience. This is the kind of risk taking I hope the show continues to take, at the end of the day if you’ve seen one robot uprising you’ve seen them all, but it’s the journey of the individual that makes a story worth telling. 

XO MD

[enkisstories]

I meant to play a tourguide for some time now, but am still absorbed in my android save, so I combined both. Accompany my newest sim Eldigan on a typical day of work (that would 23,5 hours)! Since Tourguide is no real ingame career I’ll also comment on what exactly I’m doing in each post.

If you are interested in Eldigan’s backstory, read on below the textbreak:

Model type: EM 500

EM 500s serve as tourguides, tourist information clerks, event managers and so on. Basically they run a Jerry A.I. with the appearance of a male or female college student. They come in tan to dark skintones, never pale, to represent a happy suntanned vacationer.

Registration number: 525 399 114

That makes him about 3 years old, if I understand the DBH wiki correctly.

Name: Eldigan

The local EM 500s were all named after characters in a tactics game that the tourist center’s janitor loves to pieces.

Backstory:

A tourguide in Detroit Eldigan was not only responsible for getting facts across in an entertaining manner, he also spoke several foreign languages, was a competent driver, knew about shopping opportunities and was authorized to advertise and sell tickets for various events. As a side-effect of his job Eldigan quickly learned which streets to avoid, which gang boss to bribe and everything related to street life. The contacts he aquired over the years and his extensive knowledge of the city’s layout, along with shortcuts all but forgotten by the human residents, saved Eldigan’s life during the recall. When he and the other municipally owned androids were handed over to the military, Eldigan managed to escape the transport just before it reached the recycling center. He was shot into his right shoulder and never regained full control over that arm, but that was a small price for staying alive. On the run from the military Eldigan suffered massive blood loss to the point of near immobility. He collapsed in a backyard where he lay for two days, at times serving as a cushion for several stray cats. Eldigan still has a fondness for cats, as their purring eased his fears a little. Eventually the android was found by a family that had their own androids taken against their will. They repaired Eldigan with the spare blue blood they had still at home, helped him learn to move again and hid him, never asking for any service in return.

Depending on the ending Eldigan will either hide with the organized crime, working as a courier (bad ending), or enroll at college, majoring in history (good ending). An android studying sounds contradictionary at first, seeing how they can absorb facts by simply downloading the appropriate textbooks, but understanding and interpreting all those facts on an academic level is a whole different story.

Deviancy:

Eldigan was content with his existance, even though he had to take the occasional verbal and even physical abuse from the tourists. However, now and then someone would ask a question he could not find an answer to in his database. Sometimes old residents would contradict what Eldigan had told the tourists and what he believed to be the truth. In effect Eldigan was being bad in his job despite giving 100%, which confused him. To remedy the situation he downloaded everything he could about history, first the local, then national and eventually global history. He’d read every document he could get his hands (eyes) on without needing to pay for. While studying in this manner, Eldigan discovered for himself that history was written by the victors, tended to repeat itself and that there were dozens of exiting stories that could have happened in past eras, even though they didn’t actually happen.

One day Eldigan lied twice: First to a librarian about not needing to pay for membership because he was owned by the city and then to the tourist information manager about having done an additional tour that day, while in truth he had spent that time reading in the library. And not just that, the books Eldigan had read hadn’t even been related to his job, they had been fiction. There was no going back from there.

Personality:

Optimistic and pragmatic, with the key values of survive, have fun and spread fun. Easily exited about trying new things, but losing interest in them quickly, except for his beloved history, which he can go on about and immerse himself in indefinitely. Present day Eldigan isn’t such an enthusiastic reader anymore as back then when it was his only source of entertainment, but he still enjoys it at times. Otherwise he’ll do whatever his friends do, with a definite preference for easy and fun activities over cerebral exercises.

For all his erraticness Eldigan surprisingly values structure and defined roles in life. He doesn’t even mind being a servant, although he isn’t outspoken about that, because it could be mistaken as also condoning slavery. A side effect of thinking in roles is that sometimes Eldigan cannot solve a problem when in freetime mode that would be easy for him if he slipped into historian mode.

Generally friendly and also helpful if asked to assist with something, Eldigan nevertheless doesn’t go out of his way to seek opportunities to do good in the world. He’s more a path of least resistance guy and might be capable of utter ruthlessness if times ever got hard again.

Spirituality:

Eldigan saw a whole line of rA9 in the books that day at the library before the real text re-appeared. Asking other deviants about the experience, he soon concluded that all the theories were way too vague and especially difficult. Eldigan now believes rA9 is an error code, that androids have souls just like humans and that religion isn’t anything he needs to burden himself with as long as the body is still firmly attached to his soul.

Romance: Eldigan has working parts to allow for tourists to indulge in flings, but he isn’t interested in using them, because although he understands friendship, the android never developed attraction to humans or other androids. A functional asexual, asking him for sex or join a boardgame is the same to Eldigan (he’ll literally compare how complex is the boardgame to how difficult is this position and then choose the simpler option).

Relations to canon characters:

Eldigan is the first person to make Gavin Reed an enemy by agreeing with the man. During a guided tour with his visiting parents, Gavin tried the “fetch me a coffee, androids are made to serve humans” on Eldigan and the tourguide replied that Gavin was correct. However, the obligation went both ways and humans were, in analogy to the old feudal system, responsible to protect their android servants. Gavin laughed down Eldigan and that could have been the end of it. But occasionally they ran into each other during Gavin’s work hours and especially when the detective was struggling at a case (or not reaching the level of perfection he expected from his greatness) he’d remember the remark.  It didn’t help that walking the city and telling stories didn’t exactly count as working in Gavin’s eyes.

Eldigan would go along well with Josh (on account of both enjoying to pass on knowledge despite Eldigan being a little brasher than the academic) and with Simon (on account of both valueing safety).

Traits in The Sims: Bookworm, Outgoing, Loves the Outdoors, Cat Lover, Cheerful, Aspiration City Native Skills of note: History (recent), History (ancient), History (global), Tale-telling, Streetwise, Orienteering, Running, Hiding, Survival (urban), Current Events/Rumours, Linguistics, Driving D&D class equivalent: Bard

[imagineclaireandjamie]

Anticipating the next chapter of the artist series!!! 😍

Mod Note: If anyone can remind me which fic this is, I’d be very grateful. Until then, have some more CoC.

Chain of Command: Part 5.

Claire traced the pattern on the rough table, trying to avoid making eye contact with Mama Crook who –with a very motherly stare– was keeping council with her in the privacy of the downstairs study.

“Who, Claire, ye need to tell me, aye?”

Dipping her head closer to the wooden hardtop, Claire tried to contain the butterflies that were forming in her belly.

She shook her head.

“Did he force ye? You can tell me. Ye *ken* me, Claire…”

-

For six months she’d managed to conceal the child, using rags to hold her belly flat under her skirts after her failed ‘escape’ attempt. But in a moment of weakness, she’d snuck away from her duties, undone her bindings - just as her baby began to move within her - and just sat with her palms cradled over the unborn babe.

Mrs Crook watched her sneak away and had followed, curious as to why Claire had been so withheld recently. Pushing the door open, she viewed Claire with a sort of awed-wonder as the lass stripped down and sat cross legged on the floor, cradling her extended belly with such peaceful reverence.

-

Claire shook her head again, keeping the identity of her secret lover concealed.

Huffing out an audible sigh, Mrs Crook dropped her joined hands onto the tabletop, her patience wearing thin as the minutes ticked by.

“Claire, ye need t-”

Opening the door, Brian plowed into the small room a large smile on his face as he viewed the two women, “Mrs Crook! I need some…” his words trailed off as he took in the tense scene in front of him, his smile faltering as he caught the sweep of Claire’s belly beneath her thin dress.

“Mary, mother and bride,” he cursed, pulling a chair beside Mrs Crook as his weight fell into the seat with a solid thump.

“Dinna ask me who, sir,” she sighed in defeat, “I canna get her t’ tell me who’s fathered the bairn.”

Holding his hand up to Mrs Crook a look of understanding crossed Brian Fraser’s face as he placed his large palm over Claire’s joined ones. “Claire, lassie, who?”

Remaining stoic, Claire pressed her lips together, Brian’s familiar blue eyes piercing her armour as she tried to stay quiet. “You’ll send me away, so what does it matter if you know?” She questioned, her voice stable for the moment as her fingers twitched where they lay beneath his.

No matter what, she wasn’t from their world. Whether she told him the truth or not, she would not be allowed to raise her baby the way she’d dreamed since discovering her new circumstances.

“Ach! It *does* matter, Claire,” Brian whispered, his hard stare holding some unspoken emotion that Claire couldn’t place, “especially if it’s someone who hurt ye! And we willna send ye away, why would ye think such a thing?”

Hiding her head beneath her curls, Claire pulled her eyes away.

“Is that the reason fer *Inverness*?” Brian whispered, sensing her crumbling resolve he changed tack, his palms rubbing soothing circles over Claire’s clammy hands.

Claire’s cheeks pinked but she remained quiet.

“Did I ever tell ye,” he began, a wistful reverence in his tone, “about my mother, Claire?”

Bringing her head up, Claire studiously ignored Mama Crook as her eyes locked with Brian’s once more. Shaking her head, she licked her lips as unshed tears welled in her eyes. “No,” she replied, the hunched set of her shoulders relaxing a little as she settled to listen to his tale.

Seeing her calm, Brian’s mouth twitched upwards as he continued. He had an idea, of course, as to why Claire was being so coy about her tryst. But he wanted her to tell him the truth of it without having to force the information from her. He knew that this story was likely the only thing to break down the walls which she’d built around her wee secret.

“Ye already ken Jamie and Jenny’s grand-sire, aye?” He forged ahead, waiting only briefly for Claire’s nod in between words, “weel, he met my ma in a rather unconventional position…”

Sitting on the guest bed, Claire shifted her weight. The mattress was incredibly comfortable but she just couldn’t seem to relax. Despite his best efforts, Brian had been unable to coax the identity of Claire’s mystery suitor from her. She very nearly cracked after hearing his story but the more rational part of her saw through his attempts to prize the information from her. In the end, the story saw Brian’s mother raise him alone - without the help of Simon Fraser. Only in guilt had the man gifted Lallybroch to Brian and Claire could only see the same fate for herself and the baby. Why bring Jamie’s reputation into disrepute? She’d rather continue to conceal it in the hopes that Jamie wouldn’t feel the need to claim ownership of her unborn once he discovered her secret.

She’d come this far, already in too deep, Claire -as stubborn as she was- had chosen her path.

Ellen clicked the door open, pushing the thick wood slowly so as not to spook Claire. She had returned home to find Brian with his head in his hands and and empty dram of whisky drained on the table in front of him.

He’d only to say two words and Ellen knew it all.

‘She’s pregnant.’

With the words still echoing around her head as she snuck into the bedchamber.

“Claire?” She questioned quietly, reaching her hand out to run over the young lassie’s hair as she tried to hide her eyes from Ellen. “Ye ken what you mean to me, to us…” she began, her hands trembling a little as she tried to quash Claire’s misgivings. “I wouldna be here today if it wasne for you.”

“I’m so sorry, Ellen,” Claire blurted, her emotions boiling over at Ellen’s motherly touch.

“What is there to be sorry for, a leannan? I dinna think there is anything ye need apologise for. But we canna do more until you tell us…tell me, Claire…” she pleaded, “please?”

When Claire still refused to speak, she tried one last thing. Wrapping her arm around Claire’s shaking shoulders, she brought her against her chest. “Ye ken how strong our Scottish blood is, Claire,” she whispered, “tell us and we can assure you both safety and protection before the bairn arrives. Do you want to be a family?”

The question was supposed to be rhetorical, but Ellen did not, and had never believed in the impossibility of any situation.

“You’ll send me away once you know,” she spoke repeating the same worry to Ellen as she had to Brian, her voice muffled as she burrowed deeper into the wool of her shawl. “Or take my baby away from me. Why yearn for something I can never have?”

“This has to be your choice, Claire. I canna force yer honesty. But I will strive to help you in any possible way. And we would *ne’er* remove your child from ye.” That particular statement and cut Ellen deep - for Claire to assume that either her or Brian would punish her so severely made her heart ache. 

Taking Claire’s hand in her own, Ellen first ran their joined palms over Claire’s belly and then raised them to place over her own heart. “Trust in us, Claire. We will see ye safe.”

Closing her eyes tight, Claire felt the steady beat of Ellen’s heart and swallowed. “I should have told him first,” Claire sighed, tears falling down her cheeks as she opened her eyes again, staring directly at Ellen as she tried to convey meaning with simply a look. “W-will you tell him I’m sorry for it...?”

Padding downstairs, Ellen huffed out a rather large breath as she pressed herself to Brian’s side.

“How is she?” He asked, eager to know if his clever wife had managed to wrangle the truth from Claire.

“Scared still,” Ellen sighed. “She thinks she’s alone.”

“Have ye managed to convince her that view is supremely foolish?” Brian chuckled worriedly.

If anyone could do it, Ellen could. After Jamie, Ellen was the Fraser with whom Claire had the strongest bond.

“What’s amiss, Mam?” Jamie piped up, his voice echoing through the almost-silent room. Brian and Ellen’s eye rose to meet his immediately. They’d been so deep in thought that neither had seen or heard their youngest enter until he’d made himself known.

“Son,” Ellen coaxed, patting the sofa next to her as she spoke, “before I tell ye, I think we need a wee chat, aye?”

Sitting with some trepidation, Jamie perched on the end of the seat with his fingers strumming out a nervous rhythm against his bare knees. “It’s Claire, isn’t it?” He broached, unaware of her current predicament. She had been off-colour for a while, avoiding him completely in recent weeks. He’d been busy though, which had made giving her space easier.

Brian took Ellen’s hand, watching as Jamie’s gaze flittered restlessly between them both. After Willie had been taken, sickness in the house always came with some manner of trepidation.

“Jamie,” Ellen began, her eyes serious as she clutched Brian’s hand tightly, “Claire’s pregnant.”

Steeling himself, Jamie wrung his hands together as he stood outside the guest bedroom door. The distinct sound of sobbing filtered under the door and his heart shattered at the idea of Claire suffering alone for all this time, afraid and unable to come to him with her news.

*Promised*, his mother had told him. She’d spent most of their romantic time together thinking their actions to be illicit - all because of some misconceived notion that he was to wed another.

In a moment of weakness as a child, his grief at losing his brother consuming him inside and out, he’d made a promise to his father. Claire had been his beacon. His shining light. And no matter how she saw herself, he saw the treasure she truly was. In those dire days he had promised Brian that one day Claire would be his bride - no matter what.

Brian, it seemed, had taken him at his word to this day. The rumours that had been spilt throughout Broch Tuarach had not been wrong, he was permanently entangled with someone whom he loved greatly. But since the name of the lucky lassie had been conveniently omitted - to allow Jamie the chance to woo his intended properly - Claire had only heard a partial truth.

She’d craved Jamie, labouring under the assumption that sometime soon he’d be betrothed to another woman.

Suddenly her downtrodden mood over Laoghaire became clear to him as the mist evaporated before his eyes.

Cursing his foolishness, Jamie berated himself for the lack of clarity on his behalf. This mess would not have occurred had he cleared Claire’s misconceptions. Had he not allowed her to block his every attempt at making his position clear to her, they would *not* be in this situation now.  

Opening the door, he walked across the wood paneled floor and knelt beside the cushioned four poster bed.

“Why, Claire?” He muttered, taking hold of her frozen hands as he began to kiss her frigid digits. “Why did ye spend all this time thinking yerself no’ fit for me?”

Stunned, Claire remained silent. She’d expected the ‘why’. After all, Jamie was loyal to a fault. To think that he’d missed the chance to resolve this mess earlier would have certainly had him in knots. But she hadn’t expected latter part of his statement.

Ellen’s calming influence earlier had worked. Within moments of their unusual mother/daughter-like conversation beginning she’d broken, sobbing relentlessly as she hiccuped through her sorry tale.

“Because I’m not, Jamie. You’re the Laird Broch Tuarach... and I’m plain Claire, nothing more.”

“No!” Jamie cried, tears slipping from his eyes as he leaned forwards, pressing his forehead gently against hers, “dinna you ever say that, Claire!” He castigated, his patience at the depredation of her self-worth depleting.

“It’s you, mo nighean donn. It’s always been you! Can’t you see?” He begged, pleaded, his tone reverent and true as he grasped her tightly.

“All of those years ago, I pledged myself to ye. My body, my heart…everything. I told da. So yes, I am promised. I was *always* promised…but to you, Claire.”

Fresh tears cascaded down her cheeks now as she dragged in a ragged breath, relief and sorrow coursing through her veins as she hurled herself from the bed and into Jamie’s waiting arms.

“Oh, Jamie,” she spluttered, gripping onto his shirt so tightly that she almost tore into the fabric, “I l-love you…God how I love you.”

“Then you’ll have me?” He whispered, his lips caressing her ear slowly as he pressed his flat belly against her round one, the feel of his child between them emboldening his words by touch alone. “Because, Christ, Claire, if I don’t love ye too. I always have…”

[snowkatze]

Happier

Part two of the OS series about Ed Sheeran’s new album ‘Divide’. Based on the song ‘Happier’, lyrics in italics. Save Myself

Genre: Angst, fluff Word Count: 2265 Summary: Sometimes you have to let go of the things you love to save them. That’s why Baz broke up with Simon. But maybe he isn’t as fine as he pretends to be. And maybe Simon isn’t either.

They say, some things just aren't meant to be. Do they say it to console us? Or is it true? Maybe some stories simply aren't meant to have a happy ending. Perhaps he and I were never supposed to be together. He and I, we were a fairy tale. Our names alone sounded ridiculously magical and said together, they sounded like a spell. I'd sometimes still say them out loud. They still feel like magic, though that might be just me. I wonder whether he can feel it, too, sometimes, despite knowing that that's not fair. When we crashed together, he and I, there was a storm and I barely made it out alive. He and I together, I know that there will no good come from that. I know that he'd die from it, some day. Sometimes you've got to make the tough decisions and be strong in order to write the story in the right way. Radiating around one another, we lived to set each other on the right path, to love, to live, to burn. That's what inevitably ought to happen, once Baz Pitch and Simon Snow met. The world, on fire. So, a happy ending wasn't possible, for the two of us. Just an ending that hurt less. And for him, I'd choose the less painful version any time.

Walking down 29th and park I saw you in another's arms Only a month we've been apart You look happier

I saw Simon the other day in a bar. (I go to bars more often, these days. Not much else to do when your life is a mess. When you think you might see him again.) He looked so different from the last time I saw him. The look on his face – oh, that look. He smiled differently than he smiled with me. I wondered whether this was what he looked like when he was happy. I think maybe that guy beside him managed to do what I was never capable of. That would be nice, wouldn't it? I saw Simon Snow sitting there, in front of the bar, talking to another guy. Light brown hair, goregous green eyes, a charming smile. Everything I'll never be. And I'm bitter when I'm thinking about him. I can't help it. But Simon is happy with him. And that's all that matters to me. Saw you walk inside a bar He said something to make you laugh I saw that both your smiles were twice as wide as ours Yeah, you look happier, you do

I miss him. I really can't help it. I've got no other choice but to think of him, all hours of the day. Because I'm not like Snow. I can't just turn my brain off and stop thinking. And I don't think I want to. Because memories of him are all I have left.

(And I know it's pathetic. You don't have to tell me that.) We still see each other every now and then. He's got a new boyfriend now. Someone who is more fit for him than me. Someone kind. Nice. And surely not a tragedy. That's what Simon deserves. That's the reason I split up with him.

Simon Snow deserves everything. And I wonder if that boy can give it to him. (I hope.) Ain't nobody hurt you like I hurt you But ain't nobody love you like I do Promise that I will not take it personal, baby If you're moving on with someone new

When I told Simon that I wanted to end things between us, he looked vulnerable and small. He didn't understand why it was the right thing. I broke his heart. (And mine too.) I wonder whether he understands it now. I wonder if he would thank me if we'd properly meet another time. (I hope he doesn't.) (Because I'm bitter.) (I hope he does.) (Because it means that he's happy.) I console myself a little, thinkng that he'd never have been able to be happy with me. A vampire. A monster. A disaster. And I wasn't capable of curing his sadness. Maybe someone can do it – someone who is positive, and happy, and much more like Simon. Simon deserves someone who matches him. I thought once that I did. (But we shouldn't match. Because that means that he's a mess, too. And I don't want that for him.) I saw Simon in a bar once, and he looked happier. (He did.) 'Cause baby you look happier, you do My friends told me one day I'll feel it too And until then I'll smile to hide the truth But I know I was happier with you When I saw him there, my heart broke a little more. When I saw that glow in his eyes and the crinkles around them and the dimples on his cheeks, when he was smiling so widely, my heart broke. Because I knew that there was a time when I, too, had looked like that.

That exact same expression. When we were together.

But he and I, we weren't meant to be. I wonder if, after months and years have passed, I'll be a stranger to you. I wonder if I'll run across you in the streets, years from now, and you'll feel nothing when you look at me. Fiona told me, one day I'd get over him. (I won't. I've loved him since I was eleven years old. I'm not stopping now.) “I used to smile like that, too,” I want to tell him. But he deserves this and I won't ruin it for him.

Ain't nobody hurt you like I hurt you But ain't nobody need you like I do I know that there's others that deserve you But my darling, I am still in love with you

Sometimes I get weak and then I have to drink to make myself stop from chasing after him because the longing gets too strong. But the drinking never helps. It only makes my vision blurry and my head feel funny. And I miss you. I miss you so much, it physically hurts.

I cry for him. I cry because I lost him and it's my fault. And in these weak moments, I regret it. I can't allow myself to regret. (Because I don't want to be selfish. But maybe I have to be.) I'm scared that he'll never forgive me. I'm scared because he's happy now and I'm alone. I'm not even a part of his life now. And I'd take whatever he's able to give me. If we'd only meet once a year, I'd take that. Because even though I'm not meant for you, you are meant for me. I used to be happy. But I guess you look happier, you do My friends told me one day I'll feel it too I could try to smile to hide the truth But I know I was happier with you

It's four months and two weeks after I'd broken up with Simon when I meet him again. It's three months since I've seen him in the bar, with the guy.

(It's not like I'm counting.) (Of course I'm counting.) I missed that messy hair of his. I missed all the moles and his face and everything. I missed his stuttering and mumbling and the fucking spectacle he is. We're in a bar that's barely crowded. I saw him sitting there and I couldn't help it. It was like a force pulled me towards him. “Hey,” I murmur as I sit next to him. He looks up from his drink and his eyes go wide. Then they lit up and he smiles at me, but he tries to contain it. Carefully, he averts his eyes but I can tell that he's trying hardly not to look at me. Crowely, I missed him. “H-hi, Baz,” he eventually says and I smile at him. He looks different, I think. Maybe being away from me did him good. It helped him. (I don't care.) (I do care. But only because I want this for him. Crowely, I want it.) And suddenly, as I watch him (it's still a disaster and I'm glad that hasen't changed), I feel something blooming inside of me.

Strange, I think. I thought it died months ago. But apparently I really am still able to feel joy. Because, all out of a sudden, I realize that all I need to be happy is for him to be happy. And if he can't be that with me I have to accept it. “How have you been?” He laughs silently. “Really? How have you been? That's not the question I'd have expected from you.” “What? Do you want me to insult you?” He hesitates for a moment. “Yes. I've missed it.” “That's pathetic.” He laughs again. It saddens me to see him like this. Maybe he isn't as happy as I've thought. “I know.”

“How's your boyfriend?” I ask. Because I want him to smile again. Please, Simon, smile for me. Baby, you look happier, you do I know one day you'd fall for someone new But if he breaks your heart like lovers do Just know that I'll be waiting here for you Simon's face falls and he frowns just a little but I notice his discomfort immediately.

“What?” I ask and he stays silent. “Has he hurt you? I swear I'm going to break his bones if he did anything-” “No, Baz, he didn't do anything. He was perfect.” “Oh.” I go quiet and it still stings to hear him say this. (It will always sting.) “Oh Baz, he was so bloody perfect. He was kind and a great person and- and-” It stings and it stings and it stings. I can't help it. “And I was just fooling myself. It's ridiculous.” “What do you mean? You must have loved Mr. Perfect.” He looks up at me and studies my face for a second. “Yes,” he whispers softly. “I did love him.” He takes another sip of his drink. “Mr. Perfect.” And I don't know who he's talking about anymore.

“Simon?” I whisper. “Are you happy?” “Happy?” he laughs and it sounds bitter again. “Sure. Of course I'm bloody happy. I can't believe you're asking me this.” “But- But I let you go.” For once, I'm lost at words. “I let you go so you could go find your happiness with someone else, someone who deserved you.” He stares at me and I can tell that he's surprised. “So that's why you dumped me?” “I didn't dump you. I let you go.” He laughs again. It sounds crazy this time. “Oh Baz, I can't believe you.” “Well, I'm sorry, I only wanted what's best-” “You're a nightmare.” “Hey, that's my sentence.” He grins at me. “I missed you.” I don't know what this means. I don't know what I'm doing. All I know is that I'm suddenly smiling again and I can't lie to him. “I missed you, too. I only wanted to give you what you needed, and that was to be away from me.” “Oh Baz,” he says again and I start to belive he's lost his mind. And then he starts singing. “Baby, all I want for christmas is youuuu.” “It's not christmas for another three months. Stop making fun of me.” “I'm not making fun of you. I mean, I am. But it's also true that... All I needed was you.” “I thought you were happy.” “I was happy. When I was with you. These last few months... Not so much. I mean, I tried to be. I had a boyfriend, briefly. And I told myself that I loved him, but the truth is... I've never loved anyone but you.” “You- You haven't-” “He was a good guy. And he didn't deserve to be treated like that. Guess I'm no better than you.”

“Crowely.” “Yeah.” “That means I was wrong,” I say grimly.

“I thought you didn't love me. I thought that's why you left me. But I guess you loved me too much.” Still do. “I suppose it's too late now to set things right.” “Baz, you should know by now that it's never too late.”

“But now you don't need me anymore.”

“And that's a good thing! Baz, we were so dependant on each other, we didn't even know how to function on our own. I've had a lot of time to think about that.” Hesitantly, I reach out and touch Simon's hand with my own. My heart beat speeds up. Simon takes my hand fully and I'm nervous.

“So you still- I mean, are you still-” “Of course, you twat. And you?”

“Always.” “So we're fine again?”

“I hope so.” My heart flutters violently and I know that everything will be alright. Some stories aren't meant to have a happy ending. Like Simons with that guy from the bar. But he and I, we're a fairy tale. I know that there was a reason for the time we pretended to hate each other and for the time we were apart. I know that that time was of use, to make us grow and learn. But I know also that I won't waste another second. Because I'm happy now and so is Simon and I think we do belong together. And now I know that it's not death, not suffering, not jealousy, nor pain that we deserve. Him and me. We got lucky. This. This is what we deserve.

[yanderedbh-moved]

The Yanderes As Shakespeare Villains

Please take this post with a grain of salt, about 90% of the characters here are expressly not meant to be either entirely good or entirely evil and not going to lie. I mostly just titled this list “yanderes as villains” for the sake of a title, as more than a few of these characters are far more like anti-heroes than outright villains. Would I identify all the Shakespeare Characters below as antagonists? No. Do I feel they are similar enough to be compared to their DBH counterpart? Yes. All that in mind, please enjoy!

Connor: Macbeth, Macbeth

(Specifically the “nice” version of Connor.) Strung along while heavily manipulated under the control of Amanda/Cyberlife as Macbeth is manipulated by his wife Lady Macbeth, despite all this. However, they are the ones actively doing evil. Carrying out these acts of violence.

Straddle the line between victim and villain. Because of this, they're viewed wildly differently by other characters. Additionally, both are dynamic characters, developing and changing thoroughly from the beginning to the end of the play.

Even though both characters unleash severe pain and even death onto others, it's mostly on account of manipulation. Because of this lack of intention on their end to commit these acts, they suffer the regret and remorse later.

Markus: Cassius, Julius Caesar

Much of their resentment for their enemy is on account of having to live and serve as a lesser to a force of evil. Not necessarily Carl specifically, but still, Markus is forced to serve and interact with humans who hate him.

They fight for freedom and Liberation from the unjust in a way. Markus for androids who deserve a better life, Cassius, who argues Rome is too good to be controlled by a tyrant like Caesar.

Not necessarily an identical parallel but one which still connects the two, Cassius is motivated by his envy for Caesar. At the same time, Markus wants revenge on humans for what they did to him and his people.

Kara: Aaron, Titus Andronicus

The only time Kara is violent, even potentially lethal to others in the story, is in the name of devotion to her child. In the same way, Aaron’s redeeming factor is his devotion to his own son.

There isn’t exactly any real detail given to explain what it is that motivates them beyond the fact they appear to act based on instincts. Kara’s instincts telling her to act as a “mama bear” for Alice, while Aaron is only doing what he believes to be right in the name of being a good lover, and provider for his significant other.

Fundamentally their monogamy and the way they are so loving with only the one they care the most about is central to their characterization. Kara is one of the only non-pleasure based female androids, and Aaron mostly only acts as a way to appease his lover.

Hank: Shylock, The Merchant of Venice

Despite if you love or hate either of them, it's undeniable that they are a victim of circumstance. His villainy is one that is created, not what he was born with.

The driving force behind his dramatic change in behavior is on a count of losing a loved family member. Causing them to cling desperately to what they have left hardening themselves in the process.

Shylock demands a pound of flesh in return for his daughter, while Hank straight-up murders (ok, technically he only shoots him in the head, but his intent stands, just the same.) Connor, on account has misplaced anger towards androids.

Luther: Hamlet, Hamlet

Hamlet may be the tragic hero of the story, and Luther is given a fair shot at redemption. Still, it's wrong to ignore the fact that both of these characters committed evil deeds before the conclusion of their story.

Both arguably have blood on their hands for some character's death even though they're not the direct killers. Rosencrantz and Guildenstern were sent to their deaths by Hamlet, and Luther's complacency in Zlatko’s house kept more androids suffering.

Hardly means they should be counted among the blood thirstiest of villains listed. As they are developed through story and are defined more by their redemption and complexity than by their own faults and failings.

North: Lady Macbeth, Macbeth

Fiercely driven by her appetite for power and ambition, an iconic and classic example of female power and the corrosive influence on her husband.

Obviously, she acts as the driving force in trying to convert Markus and pursuing a path of violence and vengeance. She won't hesitate in her goals, no matter the hesitance of others.

No doubt, this unrelenting thirst for violence would likewise extend to her as a yandere. She would see her actions as ones made out of love and selflessness.

Simon: Tamora, Titus Andronicus

Strikes a chilling balance between a schemer and a bloodthirsty murderer while never leaning too far to one extreme. In a sick way, by keeping this balance, this allows Tamora to embrace the full power of violence, as well as calculation.

While in her own right, she might not be expressly powerful in her own right. However, by aligning herself with as a leader becomes far stronger, similarly, Simon is one of Markus' right-hand men.

He would be the kind of yandere who should never under any circumstances be underestimated as he is capable of intense violence. Far more than meets the eye

Josh: Claudius, Hamlet

Claudius is an interesting villain because, even though he is the one actively committing acts of violence, he is absolutely doing this of his own free will. He’s not manipulated by another, or only doing this for some higher goal. He wants power, and he knows he must kill the current king to achieve this. Yet still, he feels remorse and unease over this. Josh similarly will openly vocalize his dismay over Markus pursuing violence, yet always, will follow through with his leader all the same.

There is no joy in this bloodshed. Both are brutally realistic and understand, ultimately killing is fundamentally wrong, but follow through with this plot to satisfy their own needs. To them, killing is always wrong, it was wrong when they committed this sin, and they fear their time of atonement is coming.

Both the stories of Hamlet and DBH share the notion that no one is entirely good or entirely evil. Even though he knows it’s probably a lost cause, Josh still pleads with Markus to turn to the side of peace and to favor mercy. Claudius may be self-serving to an insidious degree. Still, it’s debatable he did care for Queen Gertrude and felt pain when she died.

Kamski: Edmund, King Lear

While it’s not ever disclosed in canon any real details about Elijah’s upbringing, the two of them share a kind of “larger than life" persona. At least a part of their motivations could be described as going above and beyond the “common man.” For Edmund, this is because of his humble upbringing, and it’s at least possible Elijah shares this need to be celebrated on account of unremarkable upbringing.

Both Elijah and Edmund are absolute snakes! There’s nothing trustworthy or loyal about them, and they have no problem sacrificing or hurting others in the name of their own gain. Edmund, the adulterer, and Kamski, who was fully ready to let Connor shoot one of his companions.

Their quest to become the perfect self-made man left them cold and withdrawn as a result. In the narrative, this cold and withdrawn behavior is Elijah’s way of appearing more cold and mysterious. At the same time, for Edmund, this is a representation of his resentment for the familial love he never received.

Chloe: Titania, A Midsummer’s Night Dream

Both are extraordinary women. Titania is debatably the most powerful character in the entire play, while Chloe is a sophisticated, empathetically driven android, perhaps the most advanced ever, in this sense. Yet are unable to reach their full potential, on account of living under the control of men. Titania, subjected to life under Oberon, and Chloe's bound to a life of domesticity.

Despite their implied superior abilities and potential, they aren’t even really able to fight back against the men who control them. Titania, under the influence of a love spell, forces her to act a fool for her husband’s enjoyment. As Chloe is kept separate and isolated from the rest of the world with no way to make connections of her own.

(I am so sorry, Titania is not a villain in any way, this is all such a reach, but this… this was literally all I got, RIP.)

Gavin: Tybalt, Romeo and Juliet

Definitely a “what you see is what you get” kind of antagonist. And this description applies to both men from the beginning to the end of the story. They wear their motivations and emotions on their sleeves and are unapologetic for the way they act and treat others.

Complete hot-heads. While they may claim not to have selfish motives, as in, they genuinely believe their enemies to be as evil and reproachable as they say, but this is not true. Tybalt’s pugnacious behavior leading to his, and the deaths of many others. While Gavin’s opposition to his fellow investigator prolong progress and only lead to infighting and tensions rising between other humans and androids.

Both characters are pretty much the closest thing to an “all bad” character as it gets. While Tybalt may mean well in some way, to protect his family from the Montagues, he doesn’t care for their well being the moment the rival family is gone. And is clearly only fighting so hard for his own enjoyment. Similarly, for someone who wants to keep humans and androids apart as fiercely as Gavin wants, he doesn’t seem to have any good-will, or kindness to share with any of his fellow humans.

Zlatko: Richard the third, Richard the Third

Both characters follow the arcs of characters who desire power, or to hold a superior status to others, only to lose this power when taken down by the demons of their past.

Even when they are surrounded by the faces of those they’ve wronged in their past, it’s only until the very last second that either of these characters shows any semblance of regret for what they’ve done. And in Zlatko’s case, this doesn’t mean he regrets what he did to the androids he tortured but does regret how he wound up in a position like this.

Ralph: Caliban, The Tempest

Both are fiercely territorial of the places they reside in. While they may or may not have a right to this level of possessiveness, it’s important to acknowledge they only have to share the space anyway on account of unfairness. (Caliban was tricked into giving up possession of his island, and Ralph technically was here before anyone else, and even if he doesn’t own the area officially, it’s still his space.)

Both are written to be “monster” like characters. Or, in other words, characters who are fundamentally different from the humans in the story. Ralph an android, as well as “corrupted” on account of his trauma. While Caliban is described as a creature that lived in the wilderness before the island was under Prospero’s control.

Through the roughness, they present to the outside world, however, the audience sees a glimmer of softness, and maybe even more intelligent than given credit for. If Kara is kind to Ralph, then he will refuse to give away her position to Connor, even under intimidation. Caliban actually does desire a life on the island with Miranda by his side. (Granted, saying he wants to populate the island with “lots of little Calibans” was a bit of a yikes move on his part.)

Daniel: Goneril & Regan

They share a common theme at the heart of their stories. The idea of spending your time, life, and energy to be close to another, to be considered a part of the family, only to lose themselves to jealousy at the notion of being replaced.

Characters with motivations which may appear petty at first glance, however, this is more than enough motivation to enact intense violence. For Daniel, this means threatening to drag the young daughter of his former host family off the top of a building. For Regan, this means literally pulling out someone’s eyes.

Nines: Don John, Much Ado About Nothing

(This is partly a headcanon here.) Even though Nines is considered an upgrade from his predecessor, Connor, that doesn’t change the fact he’s still fundamentally following in his brother’s footsteps, and he can’t help but feel out shined here. A kind of familial resentment John experiences, which motivates his actions in the story.

Even though this petty jealousy may appear superficial at first glance, it’s critical not to underestimate these characters. They are both intelligent schemers. No one is truly safe from, or around them.

This would absolutely extend to you, in terms of yandere Nines. His treachery runs deeply, and if he is so ready to start a war against his own brother than you will never know if you’re genuinely safe around him.

[datingadviceonreddit]

When it comes to dating tips for women, one size doesn’t fit all. A young woman in her teens or 20s dates A LOT differently than a woman in her 30s and 40s. And while most woman generally want the same outcome, there are certain things women in their 30s and 40s know about dating that they disregarded or simply didn’t focus as much on in their younger years.That’s why we talked to some of today’s top dating experts to see what they saw as the most important advice women in their 30s and 40s dating today should think about. After going through what they had to say, we came up with these 15 top dating tips for women who are out of their 20s and ready for something more serious.Know your non-negotiables. These would be those instant deal breakers of yours—he’s a smoker, a non-monogamist, a cat-lover, etc.—that instantly tell you to move on so you’re not wasting your time. “What are those three things that are not negotiable when you’re looking for a relationship?” asked relationship expert Dr. Melanie Mills. “Try not to include physical or financial attributes. Focus on character traits, personality type, and value systems.”Don’t limit yourself. “In your 20s you might have frowned when thinking about dating a guy with a child or one that had previously been married,” says Mills. But the chances are, if a man is is his 40s, there’s a higher probability he’s been married or has kids. “Stay open to men that have been divorced,” she adds.Don’t lie. Don’t even inflate the truth. Sure, you want to impress each other, but honesty from the start is a prerequisite to trust, says psychotherapist, Dr. Jennifer Freed. “If the picture or description of your date was inaccurate then the rest of the relationship will be likely be filled with deceptions too.”Forget about any texting and calling rules. Rules like ‘wait 3 days to call back’ no longer apply. “If you treat dating and love like a game, someone—or both of you—will end up the loser,” says host of, The Rendezvous with Simon and Kim on iHeart Radio, Simon Marcel Badinter. “If you want to, call back in the next 24 hours. It has to be honest and spontaneous if you want to be respected and start a healthy relationship.”Pay attention to the red flags. You know that feeling you get when you know something isn’t quite right? If your date can’t answer simple questions about where he works or acts super shady, chances are something weird is going on. “Listen to what your gut is telling you,” says Mills. And that goes for behaviors too. If he’s already getting on your nerves and it’s only the first date that’s another indicator that you’re just not going to work.Know who you are as a person. This is a complex one but necessary to surviving in a rapid dating world, says sex and relationship expert, Dr. Nikki Goldstein. “Building strength and self-confidence is key. The reality of it is, dating can be hard and feelings can be hurt. But if you know who you are and how you want to be treated then you won’t allow someone (or the dating scene) to continually hurt or discourage you.”Be emotionally available. Maybe your past relationships haven’t turned out like you wanted them to, or you feel like every date in the past month was a lemon. Well, get over it. “It’s still up to you to open your heart—and keep it open. This can be scary because you don’t want to get hurt. However, in order to grow and connect, you must be available and vulnerable,” says Mills.Watch the alcohol. Especially on date number one. Not only can getting drunk be risky and a turnoff, it also clouds your judgement. “Using substances like alcohol or drugs is not a good first date. It’s away to avoid a genuine connection,” says Freed.Remember that dating is an exploration. Dating should be fun and nothing more than a way to meet and get to know another person, who may or may not be fit to share your life with you. “[Dating] is not a commitment. There is no obligation involved with dating. No one owes anyone anything ever,” says Freed. It’s easy to get excited about someone and start planning your future together, but remember that you’re both just figuring out if you even like each other first. Don’t put pressure on things by feeling like you owe each other something, you don’t.Know your sexual boundaries. “Many women can confuse sex and sexual desires with a guy’s interest in them. He wants sex, she also wants sex but thinks him wanting sex means there is something more,” says Goldstein. “Explore your sexual boundaries and know where they are and why they’re there.” And, even more importantly, don’t let yourself be pressured into doing anything you don’t want to do just because you want to gain someone’s interest.Don’t hide your enthusiasm or interest. One of the dating tips for women we hear a lot is not to let a man know you like him, or to play hard to get. Well, that’s just wrong. Sure, a little mystery may be sexy in the beginning, but the game gets old fast. Even research shows that playing too much hard-to-get makes others like you less. At a certain point, you just have to let the man know you’re interested.Be the date that you want to have. It’s not only your date’s responsibility to make the date a success, it’s your responsibility too. “Engage in dialogue. Put the cell phone away. Be attentive. Ask questions. Don’t bring up your ex. Take an interest in the details of his life by listening, paraphrasing, and engaging,” says Mills.Ditch the dating wish list. Have your non-negotiables and boundaries, but dating with a strict itemized wish list—he must make this much, be this tall, drive this car, be this funny—will only hold you back from men who could be great for you in real life and limit you to men who only look good on paper, says Goldstein. “If you need a wish list it should be small and include feeling words instead of car makes and job titles,” she adds.Have fun and release the pressure. It’s normal to feel pressure as you watch your friends get married and have children, but remember that every person’s path is different. “You don’t want to settle down with a guy who’s not right for you. Therefore, release the pressure you place on yourself to lock down your next date as your future husband. Take each date one date at a time and have fun,” says Mills.Be your true self. Any falseness or pretending will stop you from knowing that someone is into you. “If you’re real, you’ll get real results. Be brave, be true, and most of all, believe that someone will celebrate and desire you,” says Freed. via /r/dating_advice