Okay, my brain refuses to think about anything other than Murderbot, so I looked at every use of the word "friend[s]" in TMBD and... created some pie charts. Normal human activities.
Some Thoughts™ I had while putting this together (under the cut):
In All Systems Red, Murderbot notes that the PresAux crew are all close friends (twice! and goes on to explain their internal relationships which I think is very cute). This is pretty much the only use of 'friends' in ASR, except for when Murderbot says that SecUnits can't be friends with each other.
It seems that this may be one of the first times Murderbot has ever really been around a group of friends before? Murderbot notes that this is not the norm for its contracts and admits that the fact that they are all friends and the way they interact with each other make it actually enjoy that contract (before!!!! the hostile attack, so it already enjoys this contract before they start seeing it as a person etc ghghhhh). [Inference: Friendship seems enjoyable.]
The first character that calls Murderbot its friend is ART in Artificial Condition. Murderbot immediately refutes this (and then goes on to call ART its friend to its clients for the rest of the book). [Inference: Maybe ART is Murderbot's friend. And maybe that is... agreeable]
Rogue Protocol has more than twice as many instances of the word 'friend' as any of the other novellas. Why? Miki. Friendship and its implications for non-humans are a central theme because Miki is friends with everyone. Murderbot initially scoffs at the notion that Miki and Miki's humans are friends. At the end of the book, after witnessing how desperately Don Abene tried to stop Miki from trying to save them, and her grief after its death, Murderbot has to admit that she had in fact been Miki's friend. [Inference: Humans can be friends with bots and can sincerely care about them]
In Exit Strategy, Murderbot tentatively uses the word "friends" for its humans for the first time (several times actually). It questions whether it can actually call them its friends or not and later realizes that it had been afraid what admitting that the humans are its friends would do to it. At the end of the book, Mensah tells Murderbot the PresAux crew are its friends, which is the first time a human has directly said that to it (at least on-page). [Inference: Humans can and want to be Murderbot's friends]
In Network Effect, Murderbot seems to be more habituated to the word 'friend', confidently calling ART and Ratthi its friends, like it is no longer just trying the concept on unsure if it fits. There are many instances in which other characters refer to MB as ART's friend or the other way around and Murderbot's humans refer to Murderbot as their friend several times. Generally, there seems to be less hesitancy, because yes, all of them are Murderbot's friends, why wouldn't they be. [Inference: SecUnits can have friends. This SecUnit has friends. They care about it a lot.]
Conclusion: The Murderbot Diaries tell the story of a construct that does not seem to consider the possibility of friendship for itself and is fine with that - until it accidentally starts caring a little too much and suddenly more and more people annex it as a friend (ew) to the point where it can no longer deny that this is happening and has to begrudgingly admit that yes, it has friends now and maybe that is actually not a bad thing.
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THE WEIRD AL-CANA - THE MAJOR ARCANA, INSPIRED BY WEIRD AL YANKOVIC SONGS
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ho-ly shit, this actually got finished. this was so much work for something that is so incredibly niche, but im so happy with it. this was SO MUCH FUN to come up with, to think of songs for each card, to slip in silly references and make my little border designs... thank you so much everyone else who has been enjoying these posts!
tumblr wouldnt let me upload the full-size stitched canvas so I had to shrink it a little, so if you want to see all the individual cards at their full size PLEASE look at the individual posts on my blog HERE! this was the first time I ever got the tumblr warning that a photo was just too big, haha.
this post also goes out to everyone on the weird al side of tumblr- yankoblr, y'all have brought me so much joy in such a small amount of time with your posts and memes, even though i just got here and started randomly posting one day. i went from being very self-conscious about what i considered an 'embarrassing' interest to wholeheartedly goofing and it feels great. keep being silly no matter what guys
stay weird, y'all :)
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Hey so I have to inform you all because I am morally and legally obligated to inform people about this movie -
I have told you before that Clue (1985) was available on Amazon Prime and today I have even better news. I don't know when it was added BUT ! it's FREE TO WATCH (with ads) ON YOUTUBE !
Also it's my favorite movie (this doesn't matter I just have to say it).
Also also just because I found this out five minutes ago it was released on Dec 13, 1985. Which was a Friday. A movie about a board game about murder released on Friday the 13th ? Truly a move of all time.
EDIT: Someone wanted to know if you can watch it with adblock on and hey! You can! (I have watched it problem free)
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Hi, I kind of have a question, Adam said that can't walk in the sun when doesn't drink blood, but what exactly happens? Do vampires just burn immediately, begin to be more sensitive to sunburn or is it another kind of thing?
so, in time and time again I really wanted blood to be something of a medicinal need for vampires. it's not a 1:1 metaphor of course, please don't try to think of it that way, but it's how I conceptualize it.
He needs blood to go in the sun, to heal, to "be something of a human again" and it also grants him the ability to time travel, shapeshift, compel others...
Without blood, he can't do these things. So, to be honest, without blood vampires would just... die. They can't exist without it. being in the sun uses blood, its dangerous. it wears you down. it makes you weaker. it can kill you!
I realize this ends up making my vampires feel weak, but... it's a metaphor for chronic illness. They have limited energy and if they do not take the time and the 'medications' they need to recover, they'll become weak or die. They have to manage their limited energy.
there's extreme privilege for vampires who have steady access to blood, like Adam does. His access to blood lets him time travel, transform, go in the sun constantly, etc. Vampires without as much access have to become nocturnal, they get stuck in one place, they have to be careful because even a small cut can cost precious resources...
A desperate vampire might end up hurting someone for what they need. a vampire with people who are willing to help them can get by, or even thrive. a vampire with none of these will die.
I know it's not the most satisfying answer, but it is my answer! My experiences being chronically ill are very much at play here.
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YOU — “No. There is still a chance.”
DOLORES DEI — “You think so?” Her voice is weary.
EMPATHY — Everything about her is weary. She is the Innocence of weariness, of heroically borne suffering.
CONCEPTUALIZATION — That is the picture you have painted for yourself, at any rate.
YOU — “You looked back. That’s the memory, the moment, that I can’t stop returning to. You looked back. I had a chance, for just that moment…”
DOLORES DEI — She meets your eye, gaze still forever cast back over her shoulder. Time stops. The stars are stilled, the ocean silent. There is *nothing* beyond this memory. Nothing at all. All of infinity is contained in this single moment when anything and everything was possible.
“Oh, Harry…” She sighs, soft as eiderdown. “We never had any chance.”
And just like that, the wave of time collapses under its own weight, obliterating everything. This moment was six years ago. She is gone from here. Gone, gone…
PAIN THRESHOLD — You cannot leave. There was nothing outside of this moment, and now there is nothing at all. It’s all gone. There is no point. I’m sorry. I can’t do this any longer.
VOLITION — Please, don’t say that…
“Okay. Well, fuck me, then.”
“How would *you* know?! You gave up! You didn’t even try!”
“We *must* have had a chance, at some point… Doesn’t everyone get a chance, if nothing more?”
“How could you say that…?”
DOLORES DEI — “Because it’s true,” she says, matter-of-fact. “There is no moment in time that you can turn back to, no branching paths, no infinity. There is only what happened. I looked back… and then away.” She closes her eyes, turning her back to you.
“The moment ended. *We* ended. That is all.”
SHIVERS — A wave crashes against an unseen shore, ocean spray tickling the back of your neck. You shiver, but no one shivers with you. You are alone in this intersection. Why are you here?
“Why can’t *I* end?! Why can’t this all just stop? Please, make it stop…”
“Ended? I’ve barely even started! I got a chance to start completely over as somebody new! I don’t need you anymore! You’re just dead weight to me now.”
“No. That wasn’t the real ending. We’re a part of something so much bigger than this intersection, telling a story that encapsulates all of history! There’s *more* to this, it *means* something.”
“Then… What am I supposed to do now…?”
DOLORES DEI — “No, Harry.” She turns back to you again now, and she looks… sad.
“We were not metaphors. We were people. Our narrative was not intelligently designed. It simply followed the patterns of history, because those are the only patterns we *know.* We tried to create something new, but we failed. There is no narrative reward for our failure, no satisfactory ending. There is only the immutable past and the unknowable future.”
RHETORIC — There is no assurance of what is good or deserved or what may bring relief. There is no assurance of punishment, either. There is no assurance of anything. Not even of a future. I don’t know what to say to make this bearable.
VOLITION — Even so… As long as you live, *something* is promised. Can you live with that?
I can’t, I just can’t do this anymore…
I can. It’s enough.
I don’t know. I just don’t know.
I can at least try for a little longer…
VOLITION — That’s all I ask. That’s enough.
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