Ok so it's like.
The motorcycle scene: Touga is obviously imitating Akio and failing miserably. Represents an attempt at achieving maturity and adulthood through adopting empty symbols of power. Gives the impression of movement and progress, but in reality is going in circles. It gets faster and faster, there's a sense of danger and agitation. Touga is driving and Saionji sits in the sidecar, they're not on the same level and Saionji disapproves. Seems like they're heading towards some destination, but they're going nowhere.
The bike scene: A reference to their shared memories. Represents clinging to the past and trying to return to the time of childhood. The wheels may be turning, but the bike stands in place. It get slower and slower as Touga gets more tired until he finally stops completely. There's a sense of nostalgia and emotional fatigue. Touga is the only one pedaling, but Saionji doesn't comment on it (meaning that perhaps Touga being in control wasn't the problem in the first place. Maybe it was always about wanting to restore their lost connection and equal footing). They're facing opposite directions, but at the same time leaning on each other.
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it makes sense that ART password-protected its backup copy of itself using the name it calls murderbot, but it is batshit bananapants that murderbot actually tried said name as a password. and yes there were like five totally rational reasons for murderbot to make that guess, but in another sense murderbot sat there and went hmm i wonder if ART compressed itself into this extremely vulnerable code bundle which it then protected with my name. just my name, just the name it calls me. i wonder if ART made it so that the "local feed address hardcoded into the interfaces laced through my brain" (verbatim page 130, babey!) is the key that would allow me and only me to either resurrect or utterly destroy it. i wonder if ART chose to hide itself in such a way that it could only be found by the invocation of the name by which it calls me. and then instead of going haha no that's batshit bananapants, murderbot tried it. and it was right! the trust, the intimacy, the compatibility...but most of all, the ability to imagine oneself as important to someone! bat! shit! banana! pants!!!
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So seriously: if you have a serious recoil/disgust factor at uncommonly eaten parts of an animal being in any kind of food context (eg: whole fish being served at a table) and you want to work on minimizing that reaction, I really really recommend eating "normal" versions of those unusual foods, like for example deli-sliced tongue. I know I'm talking out of my ass here, but things like liver and haggis (organ meat), tongue (tongue), and probably a whole lot of others I've never had can be pretty easily made into forms that taste real good and don't look much like a weird lump of flesh you can recognize, and being able to get from "that's weird and gross but I want to get it" to "that's weird but it tastes really good and I want to get it" will probably make building up momentum easier when you move on to less "common" pastures.
Good luck, by the way. I believe in you.
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I don't think I'm ever going to 100% complete the BG3 achievements. No judgement to anyone, but I really, really don't want to romance the squid.
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The problem with becoming friends with people while all of you are going through some awful trauma is that if you're not careful you won't know how to keep being friends without it. Growth is a good thing, but that can be easy to forget when every step forward you take makes you worry those people won't be in your life anymore and you subconsciously feel like you have to manufacture some kind of ongoing crisis so you guys have something to talk about. Friendships formed in the face of hardship are strong and fierce things, and the relationship fading as your lives improve doesn't mean it wasn't real. It just served its purpose. You all made it out alive, and that was why you found each other in the first place. This is a hard and shitty lesson to learn.
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