One part of “Aftermath” I don’t think I’ll ever get over is that Hunter, Wrecker, Echo, Tech, and Omega were on their way to get Crosshair when Crosshair walked into that hangar. The way we talk about it in the fandom is as though they left Crosshair behind in that first episode so they could rescue Omega, as though they traded him for her, but that’s. Not. What. Happened.
They go back to Kamino to grab Omega despite the risk, because they think she belongs with them, yes, but also because they’re still confident. They haven’t failed a mission yet. And —and this is important—because she said she wanted to go with them, and they take that into account.
And, of course, they immediately get captured, taken to the brig, they find Omega, Crosshair fires off about following orders—his new favorite hobby that he only picked up in the last week(1)—the guards come to take Crosshair away, and Hunter puts himself between Crosshair and the guards and says No. Absolutely not. We stay together, we’re a set, do not separate, and then—
—Crosshair gets up and leaves. And the rest of the batch probably doesn’t fully understand why.
Now, I personally think that Crosshair’s decision to leave was multifaceted. I do think the chip programming had something to do with it. It’s telling him that Hunter’s made bad call after bad call since Kaller, and that the smart thing to do would be to just comply with whatever the empire wants. He’s also deeply frustrated with the rest of his squad, though he probably doesn’t know why he suddenly disagrees with them so much. And I also think that Crosshair didn’t want anyone else in his family to get hurt. He’s got his hackles raised and he’s ready to pounce when that one guard hits Hunter in the gut; he knows that they’re going to take him one way or another, so best to do it in a way that doesn’t end with the rest of his squad getting shot. All of that is in play in Crosshair’s decision to get up and go with the guards willingly, but all the rest of the batch knows is that he does it.
It’s even possible that their initial read on Crosshair’s decision is mostly in line with the last thing I listed—that Crosshair does it to keep the rest of them from getting hurt. It’s also possible that their read on it was that Crosshair was upset. But it probably doesn’t matter. The first thing—the first thing out of Hunter’s mouth when they break out of the brig is, “We need to find out where they took Crosshair.” The only reason they go to the hangar at all is to grab their gear so they have a better chance of getting him without dying on the way. They suit up, Hunter tells Tech to get the ship ready for a speedy getaway, and no sooner does he add that the rest of them are going to get Crosshair that Crosshair walks in. When Crosshair walks in—what he sees of them, and what they see of him informs every single interaction they have through the rest of the series.
First, what they see of him. Crosshair’s chip is activated. He’s just been electroshocked into submission and had that chip’s programming ramped up to twenty. He’s not in control of his thoughts or actions, but the only two people who have any inkling that that’s the case are Tech, who’s powering up the ship and not in the room, and Omega, who is a Child and about to be shot at for the first time in her life. The rest of them have no idea. All they know is that Crosshair is standing there wearing a new set of armor, leading a new squad, with a new rank, telling them to stand down and looking oh so pleased with himself as he clarifies that that is, in fact, an order. At the time, while Crosshair is monologuing about how they need to come quietly and how Hunter can’t see the bigger picture, it must look to them like the reason Crosshair left in that earlier scene was because he wanted to leave the squad. We, the audience, know that’s not true, but the rest of the batch doesn’t, especially given what they’re seeing at the time.
And then Crosshair starts shooting. It looks to them like he’s trying to kill them, and its not just empty. As much as Crosshair surely doesn’t want to, as much as Crosshair probably hates himself for this later on when he’s more in control, he shoots Wrecker. And unlike earlier in the episode, when Wrecker got shot during the battle simulation, Wrecker isn’t able to eventually get back up and keep fighting. Wrecker’s down. It’s all Hunter and Echo can do to just drag him onto the ship, and the only reason they even manage that is because Omega manages to shoot Crosshair’s rifle out of his hand; they don’t have the manpower to subdue Crosshair and drag him on board as well, not without potentially getting themselves or Crosshair (or Wrecker) killed. They don’t leave Crosshair behind for Omega’s sake or because they got in one argument and wrote him off here. They leave him because, in that moment, it looks for all the world like Crosshair does not want to go with them, like he suddenly wants them dead or captured, and they’re just trying to get out of there alive.
And what he sees of them…gah. There’s a split second, blink-and-you-miss-it moment when Crosshair first walks in, sees them, and he looks terrified. He knows what he’s about to do, and he hates it, and he probably doesn’t know WHY he hates it, because his programming has to be screaming at him that what he’s about to do is right. Good soldiers follow orders. But the part of Crosshair that’s still himself, the part that’s still aware, still able to differentiate his own mind from the chip’s programming here in the early days after order 66, that part is yelling back that he doesn’t want to hurt them, but he can’t stop it. He doesn’t have that capacity. And that has to rip him apart here. The things he must have had to tell himself later just to cope.
But also—what he sees when he walks in? He sees the Marauder powering up. He sees everyone suiting up and grabbing their gear. He has to think—the thought has to cross his mind—that they’re leaving without him. And they’re not, they were literally on their way to rescue him, that was the next move, that was the plan, the only reason they don’t go through with it is because he walks in, starts shooting, and Wrecker almost dies, but Crosshair doesn’t know that. He wasn’t there to hear Hunter say that was the plan, no more than the rest of the batch was there so see what Nala Se and Tarkin did to him.
The worst part? None of them know about the parts they missed yet(2). Hunter, Wrecker, Echo, Tech, and Omega still don’t know what happened to Crosshair after the guards took him away. Crosshair still doesn’t know the others were coming for him. And I’m really curious about what’s going to happen if, and maybe when, they all get that context.
1. “Aftermath” takes place over at least several days, meaning Crosshair’s chip has been partially active and working its way into his thought processes the entire time.
2. I also think that part of the reason why things between Hunter and Crosshair are so broken is not because either (or neither) of them is willing to see things from the other’s point of view, but because both of them understands the other’s point of view a little too well, but in a way that lacks necessary context. Hunter probably understands that Crosshair has every reason to hate him, every reason to feel bitter and betrayed, and, honestly, Hunter probably agrees with Crosshair in that regard, and hates himself because of it. But Hunter also doesn’t know that Crosshair was never trying to kill them of his own free will and that he was therefore never bitter enough to actually want to hurt them. And Crosshair probably completely understands that Hunter has every reason to distrust him and to have completely given up hope that he might come home, and he probably hates himself for everything the chip made him do. But Crosshair doesn’t know that his family was, in fact, coming back for him and that Hunter is furious with himself for having left Crosshair behind. If they both ever had those gaps filled in they’d maybe both realize that, for all their hurt and misunderstanding, neither of them has ever hated the other. I desperately need them to sit down and talk. And then hug. And to break down weeping. Give me that catharsis I am BEGGING THIS DAMN SHOW.
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finally introducing the other character who also occupies a part of my brain:
Meet Giewont!
while the creator of it, Maria Leszczyńska, originally intended to make a war machine, she struggled a lot with finding resources then. however, with her and her family's life deeply affected by both world wars, the idea never left her mind. inspired by utopian idea of glass houses from a novel "the spring to come" ¹, she created her machine from glass. it would be cheap to make, yet durable, available as help to those in need, able to do hard work in times when it was needed - but if fragile peace was in danger again, it could fight alongside other soldiers. as if to set that role of protector in stone, she named it Giewont ². to test her creation, she gifed it to her brother Andrzej, who owned a small farm near the seaside.
Giewont worked as much as four men, not needing to be paid or fed like people would. it was a perfect solution for everybody, the new industrial revolution. that was, until about half a year into her work, glass started to shatter. it turned out not to be as durable as the utopian story made it to be, especially in contact with rough farm tools. small cracks also started to appear after they worked outside in winter, with low temperatures on the outside and hot steam circulating inside. with her fingers and edges getting sharper every day, Giewont was forbidden from taking care of animals anymore, as she would injure them. she was given the only task with no way to injure others - they recieved a showel fully made from metal and was ordered to dig. she did as she was told, even though the work put strain on her already-falling-apart fingers.
but when one day, when returning home, she noticed daughter of Andrzej, Aniela, swimming too far away from the shore and having trouble coming back, long forgotten wire snapped into its place as she jumped into the water to save her. while Giewont did bring her back home, carrying her in their arms, the girl had severe cuts on her body from coming in contact with robot's sharp hands. furious with his sister creation, Andrzej took it outside, desperate to destroy it. blinded by anger, he didn't even notice the storm gathering over the horizon
Andrzej took the metal showel and struck Giewont on the side on their head, then again, until her body fell and crumbled to pieces. He covered it with sand and raised his hands to deal the final blow.
that's when the lightning struck.
and the man fell to the ground, dead.
the sand melted from the heat around Giewont, filling the empty spaces and connecting the pieces back together. raising from their shallow grave, with body more rigid than what she was used to, she took her shovel and decided to bury the man, with what respect they had left for him. that was, after she dealt the final blow herself.
although miraculous, the lightning didn't return her to the previous state of being. their motions were stiff and some parts of theirs got lost forever among the sands of the beach. the part of her head where the first blow was dealt never worked properly again, rendering Giewont deaf in one ear (or whatever was left from it). however it did some good as well, as it widened the space around her mouth, finally making them able to talk - even if it was simillar to a whistle. determined to help people but with a body that kept hurting everyone around her, Giewont set off into the world, trying to find a home and piece herself together, leaving parts herself and a dead body behind.
footnotes below the cut:
1. "During one pause in their journey, the elder Baryka tells Cezary of an entrepreneur who, along Poland’s Baltic coast, devised an ingenious method for manufacturing durable glass from the vast reserves of pristine sands that had lain for eons beneath coastal peat fields. By a massive Rube Goldberg-type arrangement of channels and a creative method for harnessing the westerly winds (the storytelling here is a literary engineering feat in itself), an incursion of the sea provides power for converting the extracted sand into glass. From this vitreous wonder substance, prefabricated houses of glass are built inexpensively. The houses are strong as steel, hygienic, and easy to heat in winter and keep cool in summer. Whole villages are built with houses of brightly colored glass. Life becomes less of a struggle for mere existence, more civilized, and without the need to toil incessantly. People eat less meat or no meat at all, and begin to revere farm animals as sacred beings. For the reader, the digression serves to freshen the mental palate. For Cezary, however, the story is altogether beguiling, raising the utopian prospect of a more wonderful life, reunited with a homeland that might have been his to begin with and a father he has just rediscovered" - via neh.gov
wow thanks for skimming through footnotes as well! as a reward, here's the first ever design of both Janka and Giewont (which proves they were both created around the same time :] )
2. "Those knights had been in a deep sleep for hundreds of years and they only would wake up if it is time to fight on a great battle. When this day comes, the earth will move, there will be thunders that would shake the sky, many trees will fall and break, and there would be noises when the Border Mountains will break. On that moment the knights will take their horses and they will gallop to fight for Poland once again." - the legend of the sleeping knights
a lot had changed since that time :]
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