I often feel like people forget that both Shen Yuan and Shen Jiu got fucked over in the transmitgation with Shen Yuan dying and being forced to live as someone to fix that person's mistakes and Shen Jiu being forced out of his body so someone could live his life better than he did. Both of them got the shit end of the deal, that's the whole point of it, Shen Yuan may have gotten his happy ending but he'll never be his own person and he's at the mercy of the system for the rest of his life and Shen Jiu never got a happy ending but now he'll never get tortured in the most cruel ways possible and live knowing he indirectly caused the death of the person he loved the most
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Maybe it's a 'study finds water is wet' type of thought, but
considering it's an action movie whose overall plot is "immortal warriors Fuck Shit Up™️", I think it's significant that in The Old Guard the thing that makes Copley pull red strings through his Murder Conspiracy Board and say "[Merrick] doesn't care what [Andy]'s done with [her immortality]" is the people they save, not the ones they kill
Most of the Conspiracy Board is him circling random newspaper headlines and faces on old photographs to (more or less realistically) follow the immortals' treck through the world and big historical events. Which is, in-canon, not much different than putting portraits from different centuries next to a picture of Keanu Reeves and saying "they look the same, clearly Reeves is an immortal!"
But then there are the connections. A little girl holding Joe's hand in WW1 becoming the youngest (and first) woman to be awarded a Nobel Prize for Medicine (suck it, Kozak). Or the grandchild of a family that Andy saved from [something] helping people escape from the Khmer Rouge genocide in Cambodia.
They are warriors. They have fought and been in the midst of countless wars, major or minor, throughout history. They must have killed as many people as they saved... and yet.
It's not them taking out a random warlord or dictator or rabidly hateful politician that has tangible repercussions in history. It's the children and families they get out of war zones, save from accidents, protect from natural disasters. People to whom they give a second chance at life, and grow to change the world (or even just their own world), like a mysterious stranger once changed theirs just by holding out a hand or patching a wound.
I don't know I just think it's particularly neat
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"Nie Mingjue would still have died young even if Jin Guangyao hadn't killed him" Not as in "So it's fine to kill him because people who won't live for much longer have obviously already forfeit their lives" (what) But as in "If you don't get that Nie Mingjue has had an inevitable young and violent death hanging over him since he was a young teenager and has embraced it you can't fully understand his character"
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Something that is sad but also that I hugely appreciate about CK is that by the end, most of the systems that harmed the crows are still in place, but their relationships with themselves have grown and changed. I find this particularly interesting in the cases of Jesper and Wylan (shocking I know). Their identities still put them in danger of being exploited or harmed - Grisha indentures are still the norm in Kerch, and the auction scene made it very clear that if the Council knew Wylan's illiteracy was true, they would treat him much the same as his father did due to the culture surrounding productivity and ability. This might seem disheartening, but the hope lies in the shift in how these characters see themselves and their role in the world. By the end of the book, Jesper and Wylan are beginning to put away their internalized shame surrounding their identities. They may still have to hide who they are from the world to survive, but they're no longer hiding it from themselves - their true selves are no longer this crushing burden they have to turn away from to function. A general theme of the series is how, in accepting who they are and what has happened to them on a personal level, the crows place themselves in positions to make change on a systemic level - Inej and her ship, Nina and her mission, Kaz and his Barrel empire, Wylan and Jesper with their political, high-society empire. None of them are all the way there yet by the end - they're still healing, and both the loss of Matthias and the weight of those oppressive systems are going to weigh on them for a long time - but we get to see the very beginnings of that process. I'm going to bite someone.
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6. Fears.
I WAS REALLY EXCITED ABOUT THIS ONE-
THE SHOW ISN’T GONNA GIVE US AN EXPLANATION? FUCK IT, I’LL MAKE IT MYSELF-
(More versions under cut!)
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I’m trying to write a “quick” reference doc of in-universe common knowledge for the players in my ttrpg campaign but every time I sit down to edit, it expands by another 200 words. The section on orbital dynamics is now almost a full page. There should not be a section on orbital dynamics. Why do I have chronic terminal writer brain. H e l p
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so in HoO we get a totally unaddressed thing about the Hephaestus cabin apparently have an underground tunnel system beneath their cabin that they’ve been excavating for almost a century and haven’t found the end to yet. We never hear about this again. But when Jake Mason is explaining it, he jokes to Will Solace that “You Apollo guys can’t have all the fun,” which implies the Apollo cabin also has secrets.
Anyways I think we should just start headcanoning random wild secret areas of each cabin just for fun.
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