How do you think Nick's questline could have changed if all he found at the end was a skeleton inside that room?
lets go boys more reason for me to go off about
Nick and his purpose
So, Nick's purpose is to finish off the last thread of the guy he's a ghost of. It isn't, actually, but he thinks it is. He thinks he must tie up Valentine's loose ends so the guy can rest knowing that someone carried out his revenge.
Nick is not a man who cares for revenge. He isn't that cold, or eye-for-an-eye. This is not a moral he carries. Nick is not a "get them how they got you" kind of person. But Valentine is someone he feels he wronged by existing, fundamentally. This cop gets abused by the system he thought was supposed to protect him, which he thought was protecting others, and then they violate him further by scanning and copying his brain. Nick is the result of this ethical violation and betrayal. Nick could not exist without this. This is a guilt he carries.
Nick doesn't care for revenge, but he does believe in doing right by people. Valentine is someone he wronged; when Valentine died, he died never getting what he wanted, in a time of extreme hurt and trauma. He didn't get his revenge. So, Nick, a walking freeze-frame of all this pain and probably discomfort (Valentine was in a sketchy university, undergoing a sketchy procedure he didn't want to do), and he thinks this is what he has to do. This is what Valentine wanted, and he owes it to the guy.
Some people like to think Nick is an exact copy of Valentine, but I think circumstances, context, and experiences are what make a person. If I was put in different circumstances, I wouldn't be the me I am now. Valentine was not a robot in the post-apocalypse struggling with identity issues. Nick and Valentine cannot be the same. Valentine was the baseline Nick was built off of.
So, all this to say, Nick probably doesn't have the best, clearest idea of what he's meant for, or what he owes to the world. His idea is built off how he knows Valentine felt. But Valentine was going through it when his brain was scanned. His ideas of morals and justice were skewed. That's how anger and grief work.
Considering this, Nick walks into the bunker, and no, Eddie wasn't a ghoul. Just a guy who died God knows how long ago.
There is no thread for him to tie up.
There is no way for him to make it up to Valentine.
This is a wrong he has no way to right.
I think Nick is a lot more emotional than people give him credit for. He just keeps it all inside. Emotion you don't see is still emotion. Pain not expressed is still pain. I think in the moment, he'd try making it a joke. "Well...would'ja look at that. Something did the job for us and didn't even leave a note to save ourselves the trouble. I guess courtesy went out the window long before the bombs."
If Eddie Winter is already dead, Nick has nothing to do, functionally. He thinks that was his ultimate goal. His goal was done long ago. It was never something he needed to stew over. Valentine got what he wanted even if it wasn't by his hand or the ghost of it. But the thing with revenge is that it has to be you. If the person you hate most, who hurt you most, tripped on a weed and ate shit, is that revenge? Or is that just life not playing favorites?
Is it enough if life goes on?
Is it enough to say you don't have any obligations and can live despite someone else? Whether it's someone you feel you owe, or someone who owes you? Moving on without that gratification is not satisfying. You want an answer. You want "It's okay" or "I'm sorry."
Nick sees he has no end. There is no Eddie Winter. Valentine's only mark on this world, the only person who remembers him, is Nick. Nick is the only one to grieve him, or know his pain, or what he would think of all of this. Maybe, deep down, Nick wanted to find Eddie Winter not just to kill him, but to prove to himself that he isn't the only ghost. That it wasn't just him, keeping a good man from a good rest. That Eddie was what was really keeping that book open.
But if Eddie is dead, it's just Nick. Nick is all that's left.
You go in the bunker and Eddie Winter is dead.
From here, Nick has a different goal, whether he likes it or not; move on. Be Nick. Figure out who Nick is and accept himself as such. See that he is more than a copy of memories because he's made his own. That looks like a lot of things. Finding family in Ellie and the Survivor.. Finding community in Diamond City. Finding purpose in helping people. Finding himself in what he does now, how he does it, what he thinks of it.
Before he can do any of that, he has to accept that Eddie is dead, and so is Valentine, and just because they are doesn't mean he has to be..
His only path is to accept that he has no answers, and owes no answers. For someone who holds himself so responsible, who thinks he has to fix whatever he comes across, who hates that someone had to hurt for his existence...this seems impossible. To accept that he doesn't have to fix anything.
That there is nothing he can do for what he has of Valentine. That he can't take a dead man's anger away.
That he has nothing of the man he remembers being.
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Since I'm talking about 2023 reads with the Fortnight of Books wrapup, I thought I'd show you the Penguin Clothbound Classics style covers I designed for two of my favorite obscure old-enough-to-be-classics books I discovered last year: The Good Comrade and Desire by Una Lucy Silsberrad.
I chose yellow as the main color for The Good Comrade, because it seems to fit the mostly-sunny adventurous vibe of the story, and it offers good contrast for the blue daffodils--the image that had to be chosen because of how the plot centers around Julia's scheme to solve her family's financial problems by getting her hands on a rare blue daffodil.
The cover for Desire required a bit more thought. Red and gold seemed like a good color scheme for a book focused on questions of wealth and romance and finding your passion--and for the autumn season when I first read it. I settled on plates for the imagery because the plot centers around Desire helping Peter to run his family's pottery business, which finds a new process for making plates. The silver platters symbolize Desire's wealthy background--she had everything in life handed to her on a silver platter. The more rustic plates are in gold, because the simple, but good, work is where Desire really finds fulfillment.
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u know, in terms of Frigga Discourse:
There is clearly no throne for a queen (or any other consort) there, nor is there space for one. She'd have to sit off to one side, in a much smaller chair that's less... well, that's just less generally, and while I will ignore that (and have!) for fic purposes I think it's interesting anyway.
(It might be Historically Accurate, though possibly by accident? Cos English consort queens weren't usually crowned in the Viking era, as far as I know. Queens are just the king's wife back then, why would you give his wife a throne of her own that's just madness right guys?)
So if - as seems reasonable from what we know - Frigga's been acting as regent while Odin's napping, she gets to sit on The One Chair to do that? (Though having said that this film hasn't heard of regents so maybe she's just King Frigga on those occasions. Why not!)
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