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leclsrc · 7 months

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wanna be nearer ✴︎ mv1

genre: 18+, fuck buddies ahhhaha, smut, porn w/o plot basically...

word count: 3.6k

It seems every time you tell yourself to stop, Max comes back into your life and all sense of resolve crumbles. title from this

auds here… hiii :) req'd by SO MANY PEOPLE i can't even start compiling all the asks hahah but if u asked for this here it is! writing's been tuff for me lately but this was the one thing i could continue daily (weird) also there is a case to be made re: max's hottest pictures being like 1 pixel in resolution... hope u all like it!!!

nsfw warnings under the cut!

18+ because... sexual tension, penetrative sex, some vague sexting/a sex tape being watched, praise/dirty talk central, size kink, unprotected sex, handjob (f receiving), max being a meanie

It’s busy today. You haven’t seen him all day.

To be fair, you weren’t necessarily looking—not at first, anyways. How many days had it been since the last time, now? The one in your hotel room? Almost two weeks, you think. The real answer’s blurry in your head, especially when you count the close calls, but this should be a record for you two at this point. Neither of you acknowledge that the only reason you’ve been so good at staying away from each other is because when you’re not roped into the same media junket, you avoid each other at all costs.

The media pen is full; everybody’s shoulder-to-shoulder because a few other networks bought their way into the space for the Singapore race. Right when your mind settles back into the focus of work, though—

“Here,” he says, his voice rough and tickling your ear. You nearly stumble forward, shocked at how his voice almost vibrates through you, a low trill that ripples top to bottom.

His hand settles at the small of your back, like his verbal confirmation wasn’t enough on its own; it’s big and his thumb rubs softly at the smooth strip of skin in-between your low skirt and your top. “Passing through.”

“Sure,” you say, dry. “Sorry.” You clear your throat and cant backwards into his touch—briefly, before you step forward and allow him to pass fully. Across you, Lissie looks up from her phone and you sense her trying to gauge why you’re so close to Max.

You blink and wait for him to disappear, wondering what you’ll tell her—how, more like. How the conversation even opens. How you’d phrase the truth, which in itself is a horribly grey area. Well, Lis, if you must know, Max and I have casual sex. A lot. It’s actually not very casual. We stopped now, but—yes, Max. That Max, yes.

“What about Max?”

Your eyes snap upward and then to your left, where you can see Max’s figure disappearing into a crowd of engineers. They return to Lissie and you feign confusion to mask panic. “What?”

“You were spacing out and then suddenly said his name.” She presses the tip of her pen onto her chin, humming. She doesn’t look at you and you thank God for it—eye contact would’ve rattled the truth out of you in seconds.

“I…” You shake your head. “I was irritated with—I’ve been irritated with him all morning. It’s. Yeah.”

“Oh,” she says, nodding, looking away for a second but not pausing. “Oh, okay. D’you wanna go over this edit again?”

—

The stale air of his hotel room, alleviated only by the vaguely fragrant linen spray they use when he’s out, is what greets Max when he arrives in the afternoon.The first thing he does—the only task he’d even thought of en route here—after the door clicks shut is pull up his Messages app and type.

Just got to hotel. He tosses his phone onto the bed while he waits, tugs his cap off and rakes reckless fingers through his hair. His new stylist’s got him onto jeans that don’t “look painted on” (you once said, verbatim), but he’d rather die than lounge in denim, so he swaps them out for just his Calvins.

His mind’s lethargic, but even his version of lethargic is high-drive for others—his brain has the silly tendency to work in absolute overdrive. He itches for a drink and orders a Scotch on the telephone. He checks his phone, which is lying facedown still, and as soon as he picks it up it chimes with your reply.

OK, nice. Did u need something?

No, just wanted to let you know. He hits send, then adds another. You’re off @ 8?

Ended early, I’m in the car. He’s in the middle of drafting a response when you send a follow-up.

I thought we agreed no contact unless business

He scoffs out a dry laugh. Despite himself, he reads the text in your voice, his brain completing the image of the bossy tone with crossed arms and a wickedly arched brow. In response he types: Can’t even update a friend nowadays? I am very tired you know.

Rules are rules, he reads. Then, Get some rest.

Yeah. Got a drink.

I said rest, not drink. Even then he can hear the exasperation in your voice.

How was work? I hurt a muscle doing training. That’s why I’m at the hotel early.

Feel better soon, you send. Had some press stuff today. Boring shit

Yeah? I missed you today.

Really?

A lot. He hums and leans backward, lets his head settle into the pillow, the smell of the linen spray consuming his nostrils. He waits for his phone to buzz, vibrate softly on the hard surface of his chest. It does, after a few minutes, after he’s let his eyes shut and let himself rest them for a bit, after the room service comes knocking and gives him the Scotch he’d requested while ago.

He’s back sitting on his bed when it vibrates. He picks it up and reads: How much?

You’re awfully easy to rile up. He smiles around the rim of his glass—he knows exactly where this is heading.

So much I think I’ll watch some videos of us.

The only caveat of casual sex as two people who essentially dislike each other is the fact that it’s all under wraps—which means if you two try to sneak off together, or are even caught in the same vicinity, people raise suspicions. And that means there are weeks where you barely get to fuck.

And that means you both grow antsy for it. He makes fun of you for being needy, when you’re tipsy and palming at the denim of his jeans or when you bend over when you know he’s looking. But the truth is he grows needy for it, too, craves you like you’re all that matters—he gets extra handsy, drops another innuendo when he knows you’re listening. There is a case to be made that he’s worse, in fact, because fans sometimes skirt around his words and wonder why he sounds so flirty when you’re the reporter in the room.

It was difficult but eventually he found a minor workaround: sometimes he films the two of you. There’s none of those propping his phone up kind of stuff, he just fishes for it in the middle of fucking you so he can store it for himself. It’s locked on his phone and he only has a few (the few has grown in number lately), but God it gives him release when he needs it and you’re not there.

I’ll call you when I’m at the lobby, comes the response. It’s always futile, the attempts to stay away from each other.

He pulls up the folder and lets his eyes skate over the thumbnails, squeezes himself through his boxers. Fuck. He can’t seem to decide what he wants to watch—the ones of you sucking him off, the ones of his fingers stretching you out. He recalls the whine in your voice in each of them, the pleads that escaped you for him to fuck you harder.

So Max, for the life of him, can’t even count how many times these videos have made him cum. But there’s one he hasn’t seen yet—the one he took the night before you two parted. You’d become extra needy on this night, preceding the season, he supposes, the separation. You already were anticipating the deprivation, starved for him more than usual. He’d have kissed you pretty, given you one orgasm after another and still you’d want more. And on this night it was you who asked him to film, you who wanted all of them on tape, so you’d both have something to tide you over until he got to fuck you again.

He pulls his cock out and strokes over it. And with his other hand, he presses his thumb on that video.

In it he’s fucking you in the dark, keeping the phone’s flashlight on your pussy as he sinks his cock into you. When he pulls back out the light reflects on the slick coating his dick, makes it glisten. It looks so wet, sounds so wet, with each thrust into you. He remembers just how it feels; he imagines that he’s back in your bed, fucking you again; that his fist is your pussy, and the spit lubricating it is the wetness that’s drooling out of you on camera.

He can see how tight you are—the way your pussy grips the shaft each time he pulls his cock out, greedy for him. Just like you.

The two of you were supposed to be quiet, too. You were at a hotel, your room beside another driver’s; you were supposed to be careful not to stir anyone. But your moans are louder than he remembers; so is the way you say, breathily, between gasps, Right there, Maxie, m’so close. Max inhales through his teeth, his cock throbbing at that—that Maxie, the cute little whimper out your mouth.

He strokes himself faster, watches the way your fingers slip into frame to rub at your clit, his thrusts getting sloppier and sloppier. He can see, hear—feel how wet you are, the sound of your cunt growing wetter with every thrust. He hears his own voice again, mutter out So good for me, yeah? And your babbled affirmation in response.

You cum hard, your slick getting everything wet and shiny and Max watches himself cum next. His dick’s already spurting when he pulls out and lets himself release on your lower stomach, some of it shooting onto your tits. He blinks, anchors himself back, quickens his wrist and digs his heels into the bed to keep himself from coming. Just a second longer. He knows what comes next and he needs to see it.

Like clockwork, he watches two of your fingers swipe through his cum, bringing them up to your lips. You blink up at the camera and smile. Quit it, your lips mouth, pink and cum-slick. Put it down, Maxie… fill me up again. He releases in weak spurts over his fist, a damp, flushed grunt escaping him as he does. He feels like the air’s been knocked out of him.

His phone rings and he presses it to his ear. “Hey, angel. Come on up.”

One week later

“Vodka,” you say to the bellboy when you get to the elevator. “To my hotel room. Very cold. Please. And thank you.”

The guy scurries off to fetch it for you, and five minutes and one elevator ride later, you're wrestling himself into your room, flexing your sore foot. Japan does hotel rooms well. The leather of your Manolo digs into your foot the way it does after you’ve walked the entire day and you can feel a blister forming on the back of your right heel but it doesn’t really matter, you guess, if you’re already home. Hotel-home, anyway.

You expect to find solace lounging on your bed, waiting out the hours to your morning briefing for the race and throw back a glass or two of vodka.

Instead, you find Max on your couch. He’s sipping ice-cold vodka—your ice-cold vodka.

“Hey, pretty,” he says. “Good vodka. I got staff to wire my FIFA on the TV.”

You just stare. “My TV. What,” you say, your eyes spotting the bottle of frosty vodka by his glass, “are you doing here?”

“I hadn’t seen you all day and I wanted to,” he explains simply. “Do you want food or something?”

“Food? I—nevermind,” you shrug. You’re frozen by the door, only just warmed now from the cold air that bit at your bare legs. “Max, how long have you been here?”

“Since Will Buxton started the post-FP debrief,” he huffs. He fiddles with the remote in his grip and extends it to the TV, where FIFA comes to life. “Aw, come on, angel. I know, I know. No sex and all that. I just like your company, you know?”

“Please. Go fuck yourself,” you scoff, toeing off your shoes and wiping your hands on the fabric of your skirt. He says one thing but you expect another—it’s only natural, given all the other times one of you had failed to keep a similar promise. But still you walk yourself beside him, fix the strap of your short dress, and allow him to pour you a drink.

“You know what I’ve been thinking about lately?” He asks absently. “About how you’re always having these talks with me about… about not having sex anymore, but you never even last two days.” He raises you the glass. “What is it, relapsing?”

“Fuck you,” you mutter. “It’s only because you keep trying to get me all hot and bothered.” You recall each time: in Monaco, in Madrid, in France. “Maybe if you got off my back once in a while, we’d be back to normal.”

He shrugs. “You just don’t have strong resolve.”

“Excuse me?” You scoff, irritation scratching at your throat.

“Wanna test that out? Come play.”

Your eyes flit over to the bright screen, all exhaustion cleared from your system. An animated Kylian Mbappe kicks a football in a loop. “Fine. One round and you’re out of my room.” He throws his hands up in surrender and you make a move to sit next to him. Max puts his hands out towards you then, nodding. You mistake it for some handshake, accept them, and then he’s wrangle you onto his lap facing outward. You feel your pulse at your throat as he pulls you tight against him.

“This is cheating,” you say, your voice dry.

“You got it wrong. Teaching.”

He moves his fingers atop yours, explaining what to press, what goes where, what to do for this or that. He can smell your perfume, hear your stilted breaths, and when he peeks over your shoulder he can see where your dress falls loose, showing the lace of your bra and your tits underneath them.

If he had it his way, he’d hike your dress up and have you ride him. But he’s given you a challenge.

You play a practice round and end up scoring a few goals, fingers making quick work of the buttons. Behind you, Max watches, content, answering your questions when you ask them hurriedly—how do I do this? That? Did I just score?

You score once, then twice, then three times, and before you know it you’re scoring in quick succession. The game is fun—it’s easy. If Max was trying to give you a hard time, he failed. You grow determined, competitive within seconds (something he really should’ve anticipated), and you’re scoring goals with skill that you’d confidently say rivals Max’s.

Max. You almost—almost forget he’s there, and then you sit up straighter and you’re hit with the sensation of his dick pressing into your ass. You inhale sharply and the controller clatters to the floor.

“You okay, pretty?” His hand comes up to rest on your knee, inching closer and closer with every hitch of your breath. Your hand, now free of the controller, seizes his, stopping it right at the middle of your thigh.

“I’m fine.”

“Yeah? You look stressed.” He doesn’t move. “You were so close, too, weren’t you?” The score stares you right in the face: 4-5. “Maybe you just need to get your mind off it.” It’s so bullshit, so extremely obvious, but he’s right in your ear and his hand is so near where you’ve missed its presence.

You’re usually competitive. You can usually hold your ground. But with this and him—

“Maybe,” you breathe, loosening your grip. He spreads his legs, spreading yours in the process, and brings his hand closer, running slender fingers over the lace material of your underwear until you’re squirming. It grows damper the more he touches, your mouth hanging open with stunted whimpers.

“You always come back to me, schatz, don’t you,” he says, whispers against your ear. You wrench a moan out. “Remember the first time? You interviewed me in Abu Dhabi… you teased me the whole day and begged to come thrice in my room. The time in Monaco you touched yourself to me when I was in the next room. The time we almost hooked up in Miami…” He groans, to himself more than you. “You’re a dirty girl.” He’s curling two fingers inside of you now, grazing against the sweet spot pulls the most delicious moans out of your innocent mouth.

“Every time… you go, that was the last time.” While your mind recaps the memories he’s busy spelling into your ear, Max’s fingers are curling inside of you against that sweet spot just right, and your moans are getting louder and louder.

“Fuck,” he huffs, watching your flushed face get more and more euphoric.

“Aw, pretty, look at that,” Max laughs. He’s looking at your thighs, watching the way they tense and shake as his fingers stroke your g spot. Each pump and curl into your twitching pussy feels better and better, and your dripping walls are starting to clench around his fingers.

“Wait, I—I can’t,” you pant, lolling your head onto his shoulder and involuntarily bucking your hips upward.

“Yeah you can,” he orders. “It’s so easy to get you to cum, isn’t it? Or is that just for me? The driver you hate the most?” He laughs. “Get all wet for the guy you couldn’t care less about. Say you hate me and get my dick nice and wet the next day.” You’re grinding onto his three fingers now, shameless with it.

“Are you gonna cum?” He asks.

“Oh,” you whine. “Yeah, fuck—yes.”

“Tell me what you’re gonna do,” he says wickedly. You can hear him smile.

“I’m gonna—please—I’m gonna cum,” you pant, tension coming to a halt and then bursting all at once out of you. His other arm holds your hips down against him, and you spend a minute and another twitching, your skin sticky with sweat and slick.

It’s not long before you’re whirled back to face him, your hands making quick work of his jeans. It’s a skill you’ve both mastered, the art of the quickie—in closets, hotel rooms, with sweaty, open-mouthed kisses pressed along the column of your throat, moans swallowed.

He hikes your dress up and your panties to the side, immediately bullies his cock into you—the glide is slow, but easy. You’re so fucking wet.

“Fucking big,” you gasp out. “Jesus, Jesus—fuck.” Your head drops and presses against his; he uses the opportunity to kiss you. You moan into it, feeling the stretch, your slick wetness dragging down the length of him as he thrusts up, up, further. “Been a while.”

“Feel good, though, yeah?” Your toes curl and you nod; you’re flushed all over and you need him to hurry up. You grind downward, onto him. He does, then, fucks you hard and fast, like he’s thirsted for this for way longer than he did. You’re squirming, all wet, and it tempts him to go harder. Your face is shiny with sweat, lips drawn in between your teeth.

“Slo—slow down,” you manage, babbling; he doesn’t, speeding up his thrusts until you’re moaning his name. “Max—wait—fuck, you’re so mean,” you whine, wrapping your arms around him and letting him take control.

“You’re fine,” he grunts, pulling out almost all the way. “You take my dick so well, schatz, every fucking time. Don’t you?”

“I do,” you gasp out, and he’s slamming into you gain. You cry out loudly, sniffling from the overstimulation—you’d barely recovered from your initial orgasm and already you’re hurtling into what feels like three at the same time.

“For someone who doesn’t like me,” he sneers, “you sure do moan like a slut, huh?”

His words get you more turned on than you’re willing to admit, but you shake your head.

“No?” He laughs, breathy from the effort. “Maybe I should film you now. Send it to your boss, let him see his stellar reporter’s getting Verstappen’s dick wet.”

Finally, the tension building inside of you reaches a head, and your pussy starts to twitch around his dick. He notices, grunts sharply and leans forward, shuddering as he releases into you. Your moans are choked and tapering into whimpers as you release slick all over him, and you attempt to catch your breath, collapsing onto his still-clothed, now-sticky chest. You scratch at the dri-fit material and inhale him, the smell of his cologne, his sweat. You bite at his earlobe, laugh when he flinches.

“That,” you say into his skin, “was the last time.” It’s both seriously and as a joke, playing off of what he’d remarked earlier.

“Jesus, princess. I’m still inside you.”

You giggle and drum lightly along the plane of his chest. In a few minutes he’ll pick you up to shower, but now you’re content to inhale him in. Quietly you wonder why you just can’t get enough of him—if you were in better senses, you’d have realized he was thinking the same thing about you.

#f1 #max verstappen #max verstappen smut #max verstappen imagines #max verstappen fanfic #max verstappen x reader #f1 x reader

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malkaviian · 1 year

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nada que ver pero me imaginé al pequeño damian en la escuela y que le den la clásica tarea de hacer un árbol genealógico y de inocente/por pensarla mucho termine preguntando "cuál de las dos tengo que poner??" confundiendo a sus compañeritos y maestra(??

#aunque la maestra lo llamaría y le preguntaría a qué se refiere con eso #y el peque re tranqui y teniéndolo naturalizado 'es que mi otra familia está en la cárcel' sdjnfkdsnfjs #hora de tener una charla con los papis #btw eris en esa situación pondría a fred y fox porque tampoco tenía familia adoptiva #y seba siento que también tendría la duda o si tiene que poner ambas pero terminaría poniendo a sus padres adoptivos no más #porque si también pone a los biológicos le quedan varios huecos y termina muy incompleto(¿#le preguntan por sus abuelos y es como 'no sé'. le preguntan por su papá y también está 'tampoco lo sé maestra:('#le estaría faltando una media hermana menor además pero de eso sí no tiene ni idea de que existe ksnfjds #en fin; qué lindo; familias complicadas(?#oc talk

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latinotiktok · 7 months

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Propaganda:

Jake el perro

- Jake el perro, porque YO APRENDÍ JERGA MEXICANA CON ÉL que se joda quien sea que mandó a cambiar su dialecto

- El perro de hora de aventura pq Ñ ay mamacita ahora estudia derecho

Jake The Dog because there's no way he's not a latino and his name isn't João/Juan. He's even a vira lata caramelo

Jake de Hora de Aventura, el doblaje en latino de las temp. 1-4 >>>>>>>>>>>>>>>>>>>>>>>>

Jake el Perro, latinizo tan alto que los gringos le quitaron su acento hijos de perra alv

-Jake el perro porque es mexicano. Yo lo sé

Tortugas Ninja

-Miguel Ángel la tortuga ninja versión 2003 / es argentino pq yo lo digo (m identifico mucho con él es irreal) (also hizo una canción en español)

-April O'Neil de Rise of the TMNT es brasilera. ME CANSE DE QUE LOS GRINGOS TENGAN TODAS LAS TORTUGAS DENME A ALGUIEN. PONDRIA A CASEY PERO CREO QUE APRIL ES MAS "REALISTA"

-Leonardo Hamato (si, la tortuga ninja) ESPECÍFICAMENTE de la serie de 2012 mi evidencia es que se llama leo como messi y es la tortuga azul boludo obviamente es argentino es LA TORTUGA AZUL aparte ese insano tiene banda de cuchillos escondidos eso es re argentino a mi parecer, aparte es gay (delusion mia) y tiene psicosis (sorprendentemente canon, alucina a su viejo muerto a veces) aparte tiene 15 y mide 1.54 lol esta chiquito

-Michelangelo the ninja turtle. (any iteration tbh) SPECIFICALLY THE 2012 ONE THO. HE IS PERUVIAN. HE JUST IS

-Miguel Ángel, de las tortugas ninjas 2012. Ese pana es peruano.

-Las tortugas Ninja pero la nueva pelicula Mutant Mayhem pq hacen referencias a shakira y pura pendejada y media, tambien usan frases mexicanas te amo tanto toblaje de las tortugas ninja, tambien le dicen rafita a rafa MWAH

-Las tortugas ninja, son Japoneses y tambien son Latinos. Acaso necesito decir más???

-Las tortugas ninja. Porque si probaran la pizza de acá en comparación con la de NYC emigrarían de inmediato

-Casey Jones. Ya fue. Cual? El que parezca mas latino(EhemehemARGENTOehem), busquen en sus corazones... el de 2012 ya es mexicano asi que no cuenta pero necesito mas personajes de tmnt latinos

-Yo digo las tortugas ninja, que aunque yo preferiría que sean los 4 porque son gemelos/hermanos. Ya que la gente dicen específicamente a Miguel Ángel yo digo Leonardo porque si, y también porque en la nueva película "Caos Mutante" el actor de voz de el en el doblaje original, tiene raíces Mexicanas.

-eu también pongamos a raphael la tortuga ninja (serie 2003 y 2012) / es argento (<- proyectando). m da risa mi headcanon d q si se enoja t lanza 90 insultos como el meme ese "escuchame una cosa hijo d remil-" (no sé cómo era pero le habían hecho mod d friday night funkin AJDHIAAJAJ)

#canonize your blorbo as latino tournament #polls #round 2

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nctrnm · 6 months

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In Medias Res By Nctrnm From the album EN GARDE Listen on Spotify https://open.spotify.com/track/4oWjw4w2DJUbbn5xYEena1 site: nctrnm.com

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blubffsd · 1 year

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— WORLDS COLLIDE PT. 3

summary: The lie you believed your whole life just fell apart, the person you loved the most let you down once again. Why did you think this time would be different?

previous chapter

note: i really don't know what song to recommend for this part, just play your favorite sad song lol. please pretend that on social media it says "Mia" instead of Y/N, i edited it like 3 times and it never saved so i gave up.

@http-isabela love u 😚💞

Indignation.

That's what Mia feels now.

She has a hard time believing what she sees, but unfortunately it is real.

They backstabbed her in front of miles of people.

It wasn't until she arrived in Argentina that she found out about their tweets, all thanks to Anto, who had found out from Jorgelina Cardoso, Di Maria's wife.

After Mia found out, the players of the Argentina team found out too, Lio told them what happened after Anto told him.

Most are completely outraged by the audacity of her brother-in-law and his wife to make such comments.

All of them are still euphoric for having become world champions less than 2 days ago, and even more so now that they are waiting in Ezeiza to celebrate with the Argentines at the Obelisk.

So right now they do and say things that they wouldn't do at another time.

And Mia too.

Will she regret of this? Yeah.

Does she care now? No.

Obviously people suspect that the tweets are for Melissa and Jirès (especially those of Enzo and Julián).

If Kylian and Mia's names was a trend before, now there are even newspaper articles speculating what happened between them.

And as if that weren't enough, now she has his boyfriend's fans attacking her on twitter, just like when he said he's dating her.

Jirès even had the audacity to reply to her tweet.

Mia knows she were wrong a lot, but is all that necessary?

It's okay that they're mad at her and she understand it. But why increase the hate she is getting?

Why are they treating her like this if two days ago they had dinner with her and told her how grateful they are to have her in their lives?

Did they lie to her or were her attitudes so bad that they changed their opinion drastically?

Even if it hurts Mia keeps seeing the tweets out there about all the drama.

Wonderful.

Now they are relating the songs of her favorite singer with her love dramas.

THEY EVEN MAKE A PLAYLIST. (it's real btw)

Mia lets out a laugh when she saw the songs they chose to "cry over your divorce".

At least they are not criticizing her or judging her actions.

It doesn't make Mia feels better, but she doesn't feel worse. That's okay.

She wants to believe that's okay.

Mia arrives at her father's house hours after arriving in Argentina.

Anto insisted so much that she stays with her and the children but Mia refused, she needs to talk to her dad, she miss him so much.

Mia knocks on the door of the house while she sees the Argentine flag hanging.

Her father opens the door for her in a matter of seconds and when he sees her he smiles and hugs her.

Mia smiled slightly as she felt his arms around her.

It feels good to hug him again. And that he is the one who took the initiative makes her happy.

Although deep down in her heart she knows that he is hugging her because Argentina won the World Cup and not because she came home after 5 years.

He invites her in and she enter his house.

Everything in the house was the same as when she left, but it felt different.

—Sentate si querés (Sit down if you want) –he says pointing to the couch in front of Mia.

She nods and sit back watching him do the same.

There is an awkward silence between the two of them until Mia speak.

—Y... ¿cómo andás? (So... how are you?) –her father turns to look at her and smiles widely.

He's going to talk about football.

—Estoy re bien, hija. Me siento tan feliz, nunca me había sentido así en mi vida, te lo juro. (I'm fine, daughter. I feel so happy, I have never felt like this in my life, I swear.)

He doesn't have to swear for Mia to believe him, she knows he's not lying. He was never this happy.

—Qué alegría, pa. (What a joy, dad) –she smiles slightly not knowing what else to say.

Mia wish she were as happy as her dad, but she can't knowing what she did.

She can't get Kylian out of her mind and how he must be now, a few hours away from his birthday.

She knows she have to explain everything to him but she doesn't have the courage to do it.

What excuse could she make for having abandoned him after not having achieved what he dreamed of all his life?

Mia comes back to reality when she feels her dad's touch on her shoulder.

—¿Eh? ¿Qué pasó, pa? ¿Me dijiste algo? (What happened, dad? Did you say something?)

She hears her dad laugh and sees how he shakes his head.

—Te pregunté qué dice tu noviecito por haber perdido (I asked you what "that guy" you're dating thinks about losing) –a mocking smile appears on his face.

"That guy you're dating"? Is that the way he intends to name her boyfriend?

—No sé, todavía no hablé con él. (I don't, I didn't talk with him yet).

—¿No quiere hablar con vos todavía después de haber perdido? Qué idiota. ¿Cómo se llama? ¿Kyle? ¿Kylan? (He doesn't want to talk to you after losing? What a idiot. What's his name? Kyle? Kylan?)

The mocking smile doesn't leave her father's face and that can't bother Mia anymore.

He doesn't even know his name.

—No es ningún idiota y su nombre es Kylian. Me sorprende que no sepas el nombre de mi novio, con quien estoy hace 4 años. (He's not an idiot and his name is Kylian. I'm surprised you don't know the name of the guy I've been in a relationship with for 4 years.)

Her father laughs mocking Mia's words.

—Kylian, nombre de perdedor en las finales (Kylian, name of a loser in the World Cup finals) –he laugh again.

Mia frowns. He's acting like her boyfriend hasn't hattrick or won a world cup yet.

He's trying to humiliate Kylian and she is not going to allow it.

—Te recuerdo que "ese perdedor" ya ganó un mundial y en su primer intento, y también casi gana su segundo mundial por su cuenta (I remind you that "that loser" has already won a World Cup and in his first attempt, and he also almost won his second World Cup on his own).

Now her father is the one who frowns, surprised by her words.

—Dejá de defender a ese tarado, ese chico no vale la pena, te lo dije millones de veces. Estás haciendo lo mismo que hiciste en 2018. (Stop defending that dumb guy, that boy is not worth it, I told you millions of times. You're doing the same thing you did in 2018.)

Mia takes a deep breath trying to calm down, what is happening cannot be real.

—Te hacías la que querías que ganáramos nosotros para que acá en los medios de comunicación no te dijeran nada, pero seguramente querías que gane ese estúpido que tenés por novio. Y sí, no querías que te pase lo mismo que en 2018, que lo apoyaste a él cuando estaba jugando contra tu país y me hiciste quedar como un tarado. Me traicionaste y me dejaste de lado por tu novio, lo elegiste antes que a mí y no tuviste ni un poco de consideración conmigo (You pretended that you wanted us to win so that here in the media they wouldn't tell you anything, but surely you wanted that stupid boyfriend of yours to win. Of course, you didn't want the same thing to happen to you as in 2018, that you supported him when he was playing against your country and you made me look like a stupid. You betrayed me and dumped me for your boyfriend, you chose him over me and you didn't have one bit of consideration for me).

Mia can't believe what she is hearing.

—Ese chico te va a dejar por la primera chica que encuentre, no sé cómo duró tanto con vos. Todos los futbolistas son iguales. No me sorprendería si me decís que prefiere el fútbol antes que a vos (That boy is going to leave you for the first girl he finds, I don't know how he lasted so long with you. All footballers are the same. I wouldn't be surprised if you tell me that he prefers football over you).

That was the last straw.

—Entonces estás diciendo que Kylian va a hacerle lo mismo que vos me hiciste a mí (So you're saying that Kylian is going to do the same thing to me that you did to me?)

Mia feels her dad's stunned look and her let out a sarcastic laugh.

—Según vos él va a elegir el fútbol antes que a mí ¿no? Y me estás advirtiendo. Qué considerado, no querés que pase por lo mismo que me hiciste pasar vos (According to you, he is going to choose football before me, right? And you're warning me. How thoughtful, you don't want me to go through the same thing you put me through).

Her dad gets up from the couch completely angry.

—¿Qué decís, nena? Si a vos te di todo lo que pude para que no te faltara nada (What do you say? If I gave you everything I could so that you didn't lack anything).

Mia sighed completely frustrated, he doesn't get it.

Obviously he doesn't get it.

—Ya sé y te lo agradezco. Pero siempre hubo algo más importante que yo, no te importaba qué pasaba conmigo ni nada, nunca fui tu prioridad (I know and thank you for that. But there was always something more important than me, you didn't care what happened to me or anything, I was never your priority).

She feels how a lump forms in her throat and tears appear in her eyes.

Her father keeps glaring at her in front of her, as if she just insulted him.

—Siempre había un partido más importante que mi cumpleaños, una práctica más importante que mi graduación. Cuando nací mamá me dijo que te quejaste porque tenías que jugar un partido ese fin de semana y no ibas a poder por tener que cuidarme a mí. Y tenés el descaro de venir a advertirme de Kylian. (There was always a game more important than my birthday, a practice more important than my graduation. When I was born, mom told me that you complained because you had to play a game that weekend and you couldn't make it because you had to take care of me. And you have the nerve to come warn me about Kylian).

Her father does not take his eyes off her.

—Bueno, y decime entonces, ¿dónde está tu noviecito ahora? ¿Te buscó o algo por lo menos o no le importas lo suficiente como para querer saber dónde estás? (Well, and tell me then, where is your boyfriend now? Did he look for you or something at least or does he not care enough to want to know where you are?).

That hurt Mia.

Kylian hasn't called her.

But she didn't call him either and she should have.

—Él al menos no me llamó gritándome que soy una traidora, que no merezco vivir y que dejé de existir para él como tú lo hiciste (He at least didn't call me yelling that I'm a traitor, that I don't deserve to live and that I ceased to exist for him like you did).

There isn't a single hint of regret on his face, her father looks at her seriously, as if telling her that if he had to do it again, he would.

—Estabas apoyando al enemigo (You were supporting the enemy).

Mia remember Hiba's words to her during the match.

"You're wearing Kylian's jersey and sitting next to his family as you clap for the enemy."

This whole situation is so similar to 2018 but feels so different.

—Kylian necesitaba mi apoyo y estuve ahí para él. (Kylian needed my support and I was there for him).

Her father laughs sarcastically.

—¿Y por qué estás acá conmigo y no con él? Si él tanto te necesita (And why are you here with me and not with him? If he needs you so much).

Mia looks at her dad and then at her bags.

He's right, for the first time since she were born.

Why is she there with him if the one who really deserves to talk to her is Kylian?

Why did she think her dad would change this time?

Why is she there with him and not with Kylian? How could she get so carried away?

Mia takes her bags under the stupefied look of her dad and take one last look at his house.

The walls still have the same photos of her dad when he played football, it makes Mia a little sad to remember when she asked him why he hasn't photos of her there.

"It's just that I don't care enough about you".

After saying it, he laughed, implying that it was a joke.

Mia opens the door and walk out of her dad's house.

Maybe it wasn't after all.

note: HELLOWODOWODO

taglist: @nightlockcornucopia @melliflulu @mad-die45 @bifici @woozarts @neymarsrealgf @meanwhilesomewhereelse @psgkm7 @matthiashelvarsgf @krillfromsky @ashley-leclerc @mxgvmiii @like3dbypierregasly @httpspedri26 @aerangi @berryhtrs @lena-03 @gash167 @claaau5 @notanenthucutlet @okayline @noodle81937

#kylian mbappe #kylian mbappe fanfic #kylian x reader #mbappe imagine #mbappe x reader #mbappe one shot #mbappe #football imagine #worlds collide km

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vvatchword · 1 year

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In Defense of BioShock Infinite

Although I had preordered BioShock Infinite with all its bells and whistles, I did not actually play it until January 2023. And lordy, I had me another Experience with a capital E. How the hell a bunch of urban Yanks could capture my experience as a queer democratic-socialist atheist struggling with her roots as a rural evangelical-cum-fascist is kinda magical, honestly. As to the game itself, it didn’t hurt how good it looked—the kickass skyhook gun battles—that novel setting—the complex characters—that delicious historical setting—that bloodthirsty critique of America—and to top it all off, they had pulled yet another Cassandra. Hell, speaking of which—not only was the game fun, it was fucking smart. It was intelligent, memorable, and meaningful in a way I hadn’t experienced in video games for years.

Now, back in 2013, when I had realized that I would be spoiled for Infinite, I left the BioShock fandom. After completing the game, I headed to Tumblr to re-engage, wagging my whole body like an excitable golden retriever, only to discover that BioShock Infinite was remarkably absent, and when mentioned, brutally derided.

“I hate BioShock Infinite and all my friends do, too,” someone said in the tags under a post.

I was utterly befuddled and deeply sad. I wanted to talk about BioShock Infinite! I wanted to dig into it, uncover unexpected ideas, learn new things, talk shit, make new friends—the full fandom experience. And instead I kept stumbling into hateful diatribes and super-charged disgust.

Obviously, I first looked at myself and my own judgment. Had I missed some obvious problem or misread some theme or dialogue? This wouldn’t be the first time I’d snapped down on a hook. But the more I thought about it, the angrier I got.

There are two parts of BioShock Infinite that are unquestionably terrible: the fridging of Daisy Fitzroy and the false equivalence of violence between haves and have-nots (lol what are the have-nots supposed to do, ask nicely?). Additionally, one could look at the use of real Native American tragedies as tasteless. Personally, I do not—in the same way that I don’t find it tasteless that real war victims were used as inspiration for Splicer deformities. This is what really happened; this is commentary on events that really happened to real people.

At this point, I’m sure I don’t have to explain why two of these themes are Unequivocally Bad.

Anyway, I thought that perhaps these were the reasons BSI had been condemned to Super Hell.

I was wrong.

How Criitcsim Werk

This wasn’t the fandom I’d made friends in over 2010. Hell, this wasn’t the fandom of 2013. This was a fandom made up of Babies. They were making their first coltish stumblings into media criticism and with it, dredging up the same brain-dead bullshit from Tumblr circa 2008.

Suddenly I was brought face to face with people who seemed to think that if a character couldn’t be likable or good that the story itself couldn’t be likable or good; that one bad element means the story is unsalvageable (lol u pussies); the implication that one is bad for liking it; the destructive juvenile insistence that media accurately measures its fans’ moral qualities en masse like an astrological sign. This goes far beyond simple like or dislike and plunges head-first into Puritanism: praying loudly on street-corners instead of quietly in a dark corner where God might hear you.

At one point I had a kid go off about how they wouldn’t take time to understand Booker DeWitt’s perspective because he had (fictionally) taken part in a genocide. (That same person said the Native American element had been employed for shock value, a thought that sometimes keeps me up at night, because it is legitimately one of the dumbest criticisms the game has ever received.) At another point I saw someone acting personally offended that (fictional person) Dr. Suchong’s (fictional) data was being stolen (in a fiction) by a (fictional) racist who would (fictionally) take credit for (fictional person) Suchong’s (fictional) inventions “while calling him slurs”. Sure, a better question would have been, “Why would the creative team opt to do this” rather than assume intentional racism from a Jewish creative director with an in-office multi-ethnic team in the year of our lord 2013, but why not handwave the choice with prurient moral dismay so your audience won’t beat you to death with bats?

It was as though fans were treating these completely fictional characters as real people whose personal gods had opted to torment them, and that their tormentors merited the kind of censure that psychopaths should receive. As I hope all of you understand, this is fucking madness.

More than once I saw people posting about hating the studio or the creative director in ways that seemed intense, unreasoning, and excessive—notably an “I Hate [Irrational Games creative director] Ken Levine” stamp (rofl the more things change amirite). People get so performatively moralistic about it that I started wondering if I missed something big along the way. Was there some secret Voxophone I missed swearing fealty to baby Hitler or some shit?

Double Standards

At the same time, I was utterly confused. BioShocks 1 and 2 both featured some absolutely ghastly bullshit based on real-life horrors and a thick mix of complicated human beings—many of them victims who have become monsters. The fact they are grounded in historical tragedies is a huge part of their appeal. Hell, I don’t think those games would have had half their meaning without World Wars I and II and the threat of a third.

A gay man who feels so cursed by his orientation that he is incapable of intimacy and systematically destroys his ex-lovers—including the man he loves the most. A Korean who survived Japanese occupation and a Jewish Holocaust survivor repeat the violence and traumas exacted upon them and their people, subjecting a new generation to agonies unthinkable. Chasing the shadows of Bolsheviks, a Russian citizen becomes the brutal tyrant that he loathed. A rich lawyer with an easygoing drawl designs a concentration camp and systematically harvests hundreds, if not thousands of political prisoners, selling them out to medical testing for a quick buck.

But a Native man who destroys his own people and class to ensure his own survival and social acceptability is too far? This character is where people drew the line, so much so that the entire game is disavowed? Hell, if you’re just talking about Booker (rather than Comstock), he doesn’t have anywhere near the largest bodycount. If we were to judge on the metric of human misery alone, Booker wouldn’t even hit the top ten.

Keep in mind that the most-discussed BioShock game on Tumblr is BioShock 2, and that one of the biggest fandom favorites is Augustus Sinclair—the easy-talkin’ Georgia lawyer who sells your character into horrors past all human comprehension, as he sold hundreds before and after you. Sinclair is a motherfucker so vile that BioShock 2 gives you no choice but to murder him. But Sinclair is also pleasant; good-looking to some; spends the whole game making sweet love to your ear; is one of the only true positive experiences you experience in a horror story. Unlike DeWitt, a man who is brutal and awful from step one, Sinclair is smooth and sweet. Unlike DeWitt, Sinclair’s victims are faceless, completely fictional, and carry no political or social baggage.

People fuckin’ ship this guy with Subject Delta, his explicit victim. He’s usually described as a squishy cinnamon roll. In most fanfiction, he often gets to escape to the surface and fuck Delta while helping raise Eleanor as Dad 2. It is rare that I find fanfiction that acknowledges his monsterhood in all its glory. In fact, I can only think of two.

Literacy Comes in Levels

My problem with the over-the-top hatred of BioShock Infinite is along the same lines as my confusion at Twilight and Harry Potter hate: there is so much worse out there (how much do the haters actually engage with media if they think this is that bad—yes, even considering the shitty creators themselves!), the hatred far outweighs the sin committed (in BioShock’s case, the truly bad bits are not central enough to derail the larger narrative), people don’t seem to hate it so much as they want to be seen hating it, fans want to enforce an unspoken rule hating it (bitches this is poison. Stop this), and there’s something about the hate that stinks of poor reading comprehension.

A great metric for general literacy is the newspaper. In journalism, you’re writing for the lowest-common denominator, which for years here in the USA has been about a fifth-grade reading level (about 10-11 years old, for my non-American readers). The AP posted an article a couple years back about how the general reading comprehension of Americans needs to be dropped to a third-grade one (8-9 years), and baby, I’m here to say it’s true.

Most of the problem is that the American education system is shitty as fuck. The rest of it is from an extremely American disdain of intellectualism and the arts. People are not taught how to interpret art or literature—a difficult and subtle skill which involves accepting such truths as “multiple contradictory readings can exist and yet be simultaneously correct”, ��the author can be a complete tool and still be right about things”, “the author can be a great person and still write horrifyingly incorrect bullshit”, and “worthwhile works can be ridiculously long and it really is your fault for not having an attention span”.

Media criticism must be learned through trial, error, asking questions, confidently swaggering into a public space to announce your brilliant insight only to have your ass handed to you (usually by your older self ten years later), being willing to admit you swaggered confidently into a public space to state bullshit and then amending your bullshit only to produce more bullshit, and otherwise making a complete and utter cock of yourself. We are taught to fear and flee pain and failure, despite the fact this is how we learn and improve. Because we judge our value by whether or not we are “smart,” we are afraid of displaying that we don’t know something or might be mistaken–better not to try at all than to reveal ourselves to be fools. And yet the best way to learn is to crash up against someone else and be proven wrong!

American parents are terrified of hurting their children to the point that they spare them cognitive dissonance of any kind, disavowing difficult art—without any appreciation for the fact that art is how we provide safe spaces to explore key human experiences, better preparing us to face those difficult subjects when there are real-world consequences (sex, gender and social expression, grief, violence, predation, illness, interacting with people of different ideologies, whatever new issue is pissing off some smooth-brained old motherfucker somewhere).

If parents and teachers aren’t teaching us how to interpret art, we’re probably never going to develop the skill at all, or crash unsubtly into it in a piecemeal fashion (hello it me). Another unfortunate side effect is that these readers tend to be blitheringly superficial: they are literally intellectually incapable of reading deeper than the uppermost layer of a text. The curtains are always blue.

And let’s not forget the role moral performatism plays in media criticism, which although faaar from new, has reached hilarious levels in the age of social media. What’s important isn’t understanding something, it’s finding something to symbolically burn at the stake so everyone knows God loves us: please keep loving me, please don’t hurt me, please don’t throw me on the fire—for performatism is not for outsiders. We long for human connection so fucking much that it’s more important to destroy what might point out our fallibilities than it is to let ourselves stand in the furnace and burn out the dross.

What do you think the point of BioShock Infinite was?

Emotional Machines

Let’s face it. Human beings give a lot more credence to how something makes them feel than they do its complex invisible reality. We are not logical creatures; we are emotional ones. Our logic is too new a biological mechanism to override something as powerfully stupid as our primal lizard brains.

Knowing this, let’s take BioShock’s most popular characters. The first two are Subject Delta and Jack Wynand, the protagonists of BioShocks 2 and 1, respectively; and why not? They’re the characters we play. In the first two BioShocks, whether or not you kill Little Sisters determines the ending you receive. In other words, Delta and Jack can only be as “wicked” as the players are.

How do people want to see themselves? As good. What do people want to see around themselves? Good. (What is “good”? Uh, well,,,,,,) What do they want? Simple moral questions with simple moral answers. And in the first two BioShocks, what is moral is obvious: don’t kill little girls. It’s actually kind of insulting once you say it out loud.

In-fandom, Jack and Subject Delta are almost never painted as murderers or monsters, but as victims and heroes; I saw someone musing about putting Subject Delta on a “gentle giants” poll and I nearly choked on my own tongue. I only saw that musing because someone put Subject Delta and Jack in a “Best Fathers” poll. Nobody in-fandom really considers the “evil” or “complicated” endings as canon choices, despite those versions being fully understandable alternate readings, with a story that doesn’t make sense without them. (I don’t believe Burial at Sea is necessarily canon; in fact, I would bet good money that it is a huge middle finger lol, mostly because a number of brain-dead motherfuckers won’t take unhappiness for an answer.)

Most fandom art and writing is gentle, sweet, good: the symbolic healing of the damaged, the salvation of innocents, the turning of new leaves. These things are not just saccharine sweet—they tend to be unrealistically sweet. Now, far be it from me to demand these works cease. There’s a reason they exist. People write them because they need hope and happiness; I have enjoyed them greatly myself and intend to enjoy them in the future. But if y’all get to have your dessert, I demand the right to have my dinner.

The Colours Out of Earth

Let there be media where the opposite can also be true: where everything is unbelievably complicated and unforgivably fucked-up. Let there be characters who slide slurs into their speech without thinking. Let there be characters who destroy themselves in a thousand different ways, not all of them obvious, some of them horrifying. Let there be well-meaning people struggling with all their mights to do what is right only to destroy everyone around them and then completely miss the fact it’s all their faults. Let there be wickedness painted as goodness, superficial appearances accepted over essential and inherent values, denial of change and transformation, failure to accept that what is old must die and what is new must live, human stupidity and short-sightedness and cruelty in all their flavors. Let’s smash it all together and see how it plays out.

Oh, badly? No shit! But “badly” isn’t the point. How does it play out?

Let there be a world of gradients—a place I can float from color to color, hue to hue, value to value, while attempting to figure out where, why, how, and by whom they transform—to taste concepts in a hundred different ways, test their textures by a hundred different mediums, insert them into a hundred different contexts. I need to understand why I feel the way I do; I need to understand morality in all its hideous, fragmentary glory. For I have been sold to a ideology of blacks and whites, and let me tell you: it prepares you for nothing, and it will always destroy what is most precious about human life.

I can no longer believe in a world where what is lost always returns, because that world does not exist. I have a reflexive need to come to terms with Finality: what I have lost, what I have destroyed, what will never return, what will never be better. I have a reflexive need to understand Transformation: what I am now, what is as of the present, what has risen shambling from the ashes, what turns to gaze upon me in the darkness. I need to understand what is wretched about me as much as I need to heal myself. How can I heal if I can’t understand how I have hurt and been hurt?

I need to shine a light in the dark. Not to remodel it, not to destroy it—because I also can’t believe in a world where the wicked is destroyed forever—but to behold it, to learn from it, to view my own impact upon it, to accept how it has become a part of me, to learn how to do my best (because that’s all one can do). I must learn to love people more than causes, I must learn to love people rather than the act of winning, I must learn to love people rather than battle. I need to stand in that endless black with the lamp off and my eyes closed, letting the agony roll over me, burning with a fire that throws no light, rolling back and forth from an intense self-loathing to a fury at a society that destroys what is most valuable because it didn’t make them feel the way they wanted.

The Unforgivable

I believe that there are only two differences between Booker DeWitt and his equally cursed cohorts.

In the Hall of Whores: The Unmarked Slate

First, unlike the previous two games, where you enter the world as a tabula rasa and might roleplay as what you perceive as a good person, you are explicitly put into the shoes of a monster, and nothing you do can save you.

With other shitty BioShock characters, you are passively watching other people, and you are able to hold yourself apart. Sure, everyone else is crazy as fuck from using biological Kryptonite, but you’re too smart to end up a crazy fucking asshole like them! Sure, you are now technically a mass murderer, but those fuckers deserved it, damn it!

“Look at this crazy bastard!” you say, rolling your eyes at the Steinmans and Cohens and Ryans and Fontaines. “It sure is a great thing I’m not a crazy bastard!”

You are able to escape acknowledging that you, too, in certain circumstances, might be the crazy bastard. You are being challenged to stand in the body of a person who has committed unforgivable sins. Imagine if you yourself committed those sins. Imagine what sins you have already committed. Imagine what brutalities you cannot take back. Imagine what horrors you have wreaked just by breathing.

“Ahhhh!” said players, probably. “What do you mean I’m not allowed to be good?”

Because that’s what the game was designed to do. Because “good” is a fucking cop-out and if it’s how you live with yourself wait until you find out you’ve been doing horrifying bullshit all your life without question. You can be evil by association through no fault of your own.

Original Sin

Second, the plight of Native Americans is a sin that non-Natives will always carry, and the socially conscious are aware of this even if they don’t know how to put it into words. The state of affairs being what it is, it is unlikely that First Peoples will ever be treated humanely, much less have their land returned. They must struggle for scraps of what is rightfully theirs while we lounge on their corpses. We cannot help but benefit from their destruction; we are made unwitting partners with our forebears; we steal the fruits of their lands and make mockeries of their faiths and identities. We have destroyed part of what made this world fascinating and unique and most of it can never be returned. Even if everything were to be made right tomorrow, their genocide is a sin that we will carry until we die, because the only reason we could be here at all is because they were killed.

The obvious solution stands before us, but the powers that be are so much greater than we that we are effectively powerless, and achieving anything less than total restoration smacks of anticlimax.

This is unbearable.

How can one think of oneself as a good person if one sees the good that must be done, but cannot achieve it? If one’s actions are meaningless? Goodness without action is pretension.

We are all Booker DeWitt. We have all set fire to the tipi. We swept the ashes away, we ignored the sizes of the bones, we built a CVS on their graves, and then we made statues and holidays commemorating Native Americans like the world’s cheapest “Thinking of You” card. We have de-fanged them, transformed them into cardboard cutouts, and set them up as cute little side characters in our sweeping American dream.

Booker is not a man. Booker is America and Americans—and America and Americans are monstrous: one part hypocrisy, two parts incessant violence, three parts constant peacocking, and four parts dumb as a stump.

The Monsters We Make

Outside of the message about “choice,” an enormous part of BioShock’s thematic ensemble is the creation of monsters. How are monsters created? Who or what is responsible for creating them? What do the monsters think made them the ways they are? Can a monster be saved? How? Is it enough to acknowledge you did wrong and want to be a better person?

Maybe most people are aware on some instinctive level of what facing one’s own monsterhood means. No one wants it. It’s not fun. It hurts. It’s embarrassing. It’s destructive. It’s admitting you don’t have it all together and might never, ever—that despite your best actions, you can have it horribly wrong at any point. In an age where we demand moral perfection, it demands vulnerability: you must admit that sometimes you’re the racist, the transphobe, the sexist, the nationalist, the classist, the homophobe, the violent, the wrong, the dumbfuck.

Human beings are not built to be moral; human beings are built to survive. We so rapidly learn how to deal with our contexts at such young ages that we don’t have the time or capabilities to question why those contexts are the ways they are or why it is demanded we perform the ways we do.

In a very real way, BioShock Infinite demands vulnerability of us. It demands you look in the mirror and see what is monstrous in you—how you have been created—manufactured—a tool, a machine, a trained animal. It asks you to recognize that you can be a monster simply by association. And if we can’t look into the mirror and truly acknowledge that monsterhood, we run very real risks of becoming or enabling those monsters in one way or another.

Worst of all: perhaps monsterhood isn’t optional. Perhaps the monster was inside of us from the very beginning. It’s not a matter of if you become a monster, but when, under what circumstances, by whose hand. What is more, believing the “right” moral stances will not save you. Monsterhood can afflict anyone, in any ideology, any political stance, in any social movement, in any faith. The only element that can save you is to truly love other people, and even then, you can fail, for there can be states where there is no winner and ways to misread how best to treat another person.

Environment and Society: Context Will Not Be Denied

BioShock 1’s original ending is Jack-as-monster, regardless of how many children he saves, regardless of your feelings as player. He passes through the gauntlet of Rapture, but he has supped of its poison. And he wasn’t poisoned when he entered Rapture the second time��he was poisoned the minute he was conceived. He was born of it. He had no hope of ever escaping it—he never could have—he’d never had a choice to begin with.

No matter what choices you make in BioShock Infinite, Elizabeth will always kill you. Why? Because she has seen every world—every context—every limitation—every boon. And there is no way to stop what has been; there is no way to undo what has been done. The minute you have committed to a decision, you have split the universe; there is no telling what kind of person it will make you. In fact, there’s no telling which of your decisions will matter at all. Only Elizabeth can see because she is the unlimited future: your offspring stands before you, judge and jury, and you will have no choice but to accept her verdict, for despite your name, you are incapable of controlling how you are interpreted.

Elizabeth sits across from you in the boat and stares without blinking. She sees a million million similar Bookers. Some are a little bit taller, some a little bit shorter, some a little heavier or lighter. Some more-resemble one grandparent or another. They have different colored ties. This one blinks when rain hits him in the eyeball. That one took a brutal beating back on the airship and one eye is swollen shut. That one can’t stop shaking; this one is unable to speak at all; one hasn’t yet lost hope, although even he doesn’t realize it.

They all lowered the torch to the tipi.

The baptism determined Comstock; what determined Booker?

Why Booker Is

In BioShock 1, characters are often stand-ins for larger concepts. Thus Ryan stands in as Ayn Rand’s Objectivist Ubermensch; Bill McDonagh as Andrew Ryan’s conscience; Diane McClintock as the citizenry of Rapture; Captain Sullivan as law and order; Frank Fontaine as the truest expression of Objectivism in its distilled form.

Who is Booker? Most importantly: why is he?

Booker is a fictional character with a brutal background based on historical events, alternative and true. Booker might be Lakota; Booker might have undergone forced Anglicization; Booker might have been ripped from his parents; Booker is a product of violence, perhaps literally. Booker is American exceptionalism distilled. Booker is the past in constant judgment of itself, unable to live with itself and unable to die. Booker destroys what is best in him and around him in exchange for belonging. Booker has sold the future to absolve his sins. Booker has sold his daughter because he is a fictional character in a work of fiction who needs to be propelled.

Booker is a shell, a sluice, an environment. Booker is the broken shape you are meant to fill, horrified. His internal shape should torture you as it has tortured him: the messy slaggy soul of a shitty tin soldier.

Does Booker take the baptism and become Comstock? If so, it might be his second one. His last name literally means “the white.” His first name can mean “author.” It is most likely his second name: an attempt to rewrite himself. And when he was unable to rewrite himself the first time, when the cognitive dissonance boiled at the edges of his skull, he found there was only one way to cleanse himself the second: to remake the world entirely. To force transformation on everyone else. To take vengeance on a world that could never love him, never want him—to create a world that has no choice but to love him. If he can’t change the world’s mind, he’ll change the world.

Note what he opts to do: to take the fight to the environment–to the unyielding universe.

Context Is Everything

It is no mistake that BioShock Infinite occurs in 1912: the sinking of the Titanic is often credited with ending an unfettered optimism, a period when the Western world believed technology had brought the human race into a golden age. With World War I—which would follow a mere two years later—came modern warfare and all the horrors thereof, not the least of which was the realization that humans had created a kind of war that could destroy the entire world. World War I also seeded the rise of the United States: much of the wealth of warring Europe—itself fat on the blood of subjugated peoples and stolen lands—would rattle into America’s coffers.

It is also no mistake that BioShock 1 directly follows World War II. With WWII came a heightened terror—that this war is not the last war, that there will never be an end to war, that war will go on expanding and expanding until it has consumed us all. World War III would not be denied: prettily packaged in the ideals of its children, it simply followed the utopians down to their underwater tombs. According to BioShock 1’s original ending, World War III is not a matter of if—it’s a matter of when.

But even more important than the history in the BioShock games are their settings. Mute leviathans, Rapture and Columbia determine all of your behaviors: from where you can exist in space to all of your desires and goals to how you choose to present yourself to how you opt to behave. Isolated in extremism—whether that extremism is the crushing depths of the ocean or the unbearable lightness of the air—most of their power is that they simply cannot be escaped. You can’t outrun them. They are everywhere. They are everything.

Like Lovecraft before it, BioShock acknowledges the greatest horror of all: you cannot escape your context. Your context does not only involve your immediate surroundings. It is also historical; contains zeitgeists from various cultures and subcultures; is filled with pressures both personal and impersonal, human and nonhuman. Many of these forces can hurt you. Many more can destroy you. What you do to survive depends very much on where, when, and with whom you must live.

Human beings are not built to be moral.

The Death of the Future

In the film Operation, Burma!, a soldier asks Errol Flynn: “Who were you before the war?”

“An architect,” says Flynn.

Who were you? Because that “you” doesn’t matter now. That “you” is irrelevant. So you’re an architect. What the war does to you; what these deaths mean to you; your past, your education, your loves and desires and forward motivation, the you that could have been outside war, the you that slogs alone into the brutal future—all completely irrelevant. Your forebears don’t care so long as you can bleed.

Children are the manufactured tools of their creators—helpless before the enormous strength of their elders and the zeitgeists that enclose them, poisoned by their parents’ insecurities and flaws, utilized like weapons regardless of the cost—often with great love.

Consider something more than the traumatized culture: consider the society filled with traumatized children; consider the traumatized society. Consider channeling children through that trauma over and over and over again, if you can. Poisoned—poisoned—poisoned—all of us poisoned. Poisoned by those who loved us most. Poisoned by the people we trusted. Poisoned by the people who meant to make a better world.

I believe it is notable that creative director Ken Levine is Jewish; I have read from multiple accounts that the European Jewish diaspora was uniquely traumatized from the Holocaust and passed that trauma down upon their own families. I sometimes wonder if he saw that firsthand.

The fathers eat sour grapes; their children’s teeth are set on edge.

Choice: Player Expectations and Entitlement

For players who experienced BioShocks 1 and 2 with their multiple endings (Good, Bad, and “ok bye then I guess” respectively), it must have been jarring to suddenly reckon with being a monster. How often I see players grousing that nothing they do will change their wicked pasts! These players completely miss that the only meaningful choice had already been made, that it had nothing to do with the player at all, and even if they had been there, DeWitt was still unforgivable. The only way to go on was to bow out and allow the future to redefine herself.

Nobody was ready for that shit.

Like it or not, BioShock 1 had set a precedent. Not everyone’s going to read up on creator intentions. If any keyword came blaring through the noise, it would have been “choice.” Most players only recognize choice by the ability to make it, not the absence of it, and most of them weren’t equipped to recognize that its lack was the point. The meaningless choices were commentary, and they were as much about the player as they were about DeWitt himself. Not every choice will be meaningful, will it? And there will be choices you make that will be momentous, but they will seem very small when you make them.

Because most players had experienced what they thought was a basic moralistic tale in the first two games, and would see Infinite not as reflection upon America’s destructive personality, its obsession with a meaningless Good/Bad duocracy, and the infinite, cyclical nature of violence, they saw Booker’s death as corrupted artsy claptrap.

“I did the good schuut,” they say. “I want the good schuut end. Where happy end??? Where treat :(”

Bitch the future is here.

Time to die.

It’s Not Me, It’s You

Generally I despise essays that end with, “But the real fault lay with the clueless motherfuckers who played the game!” Often, if enough people complain, there’s something to it; the message has been obscured somehow. Details or explanations weren’t clear or intuitive enough, some mechanism isn’t working somewhere, some character needs to talk more or less, some setting needs to be transformed. O artist: stop whining and get cracking. If everywhere you go smells like shit, it’s time to look under your shoe.

But sometimes it’s true that a piece of media is on a level folks aren’t equipped for. Think of every literature and art class you’ve ever had, if you’ve been fortunate enough to have one. There’s always someone scoffing in a back row, like here are all these jokers making more of something than they should. Similarly, some of you have been arguing with me this entire time, saying: “I just wanted a video game. I just wanted to shoot something and feel better and instead I get this bullshit ending that makes no sense.”

First of all, smart bullshit (and even fucked-up attempts at smart bullshit! Hi BioShock 2) gets to exist on this Earth along with Gmod and Roblox or Schuut Big Tits 84 (there are 84 tits and you must shoot them all. They explode into smaller tits) or whatever-the-fuck-else you think is a worthwhile gaming experience. Second of all, miserable bullshit also gets to exist, and what did you fucking expect if you played through either BioShocks 1 or 2? When you hear a football player quavering out in the darkness for his mom to pick him up, how’d that make you feel? What did you think was going to happen to Jack after pounding back the entire Plasmid library, the cancer cocktail that explicitly destroys the fuck out of its users? Third of all, if you missed the smart bullshit going on in BioShock 1 and didn’t think BioShock Infinite might be larger in scope in more ways than one, that’s on you. Fourthly, if you were simply satisfied with saving like, 15 kids from a violently-perishing city of thousands and call it good, I mean… is that really where your thoughts end? Are you really that fucking small?

It’s Not You, It’s Me

You ever meet those motherfuckers who talk shit about Shakespeare or modern art? And you’re just left there staring with dead eyes at this poseur who mistakes playing devil’s advocate for intelligence, cheek resting on your fist, thinking about the fanfic you’re writing, wondering who it’s for, remembering that all your smut-writing friends get ten times the viewers, and considering throwing yourself in front of a bus.

Yeah, there’s a personal element to this: the fact that BioShock Infinite is the kind of art I like and long for and want to make myself, the fact that the game was successful and yet the studio was closed, the way its DLC was so rushed that the story plopped out like half-baked mystery meat—realizing that the same forced rush was at 2K’s behest for BioShock 2, as well, and wondering how good art can ever be made in this unforgiving capitalist hellscape. The game was weirdly niche and I’m not 100% sure I’ll ever experience anything quite like it again. And with the whiners in this fandom, the loud ones controlling the narrative, some fresh brain-dead exec in some brain-dead publisher might be like: “We must keep it safer and simpler for these fuckin babby adult!”

Nah bitch nah. Naaaah. Cry some more while I enjoy me my fucking dinner. I’ll eat it while making loud smacking noises and keeping unbroken eye contact. Come here. Let’s look at each other. It’ll be like Lady and the Tramp but we want to punch each other. What truer form of love can there be here in the modern world?

I keep having to remind myself that this response isn’t new. I keep having to remind myself of my place. I keep having to remind myself why I write, why I read, why I like to experience art to begin with. It’s not for the reasons other people do it. Oh, I want the same emotional release as everyone else, I want the same rollicking plots, I adore the same tropes. I seek out everything and anything for a good time; I’ll read Moby Dick today and a smutty 5,000-word abortion with the world’s most suspect grammar tomorrow. I don’t give a shit if it’s low- or high-brow; there are all kinds of ways to have fun and there are all kinds of ways to engage with art, and lord knows I’ve done my share of smooth-brain criticism. The problem is that I’ve always wandered off by myself, sunk into an all-consuming reverie, on tracks that no one else ever seems to be on, and then looked up to talk excitedly about something only to realize I’m alone. And whose fault is that?

By the same token, maybe I haven’t talked enough. Maybe I spend too much time with my mouth shut. Maybe I haven’t stood up enough for things that are worth our time, worth talking up, worth setting on pedestals.

I tell you, BioShock Infinite will stand the test of time. It’s too good for this. It’s too good for you, warts and all. Some of you will grow to understand that; some of you won’t; many of you will shrug and go on with your lives (and this is fine; it is only a video game). But I’ve truly not seen anything like it. I can’t believe a mainstream video game was allowed to be so fucking brutal about the American juggernaut, and what’s more, that it sold like hotcakes. Plus, I can’t think of any works in recent memory that have struck me so close to my own heart. No creative work has made me start beating a monster’s face into a washbasin for ten hours only to lift her by the scalp and see my own eyes looking back.

Look into those eyes. See your own stupid impulses pouring out. Your own stupid excuses, your violences, your sins—your claws, your teeth, your costumes, your hilarious attempts at interpretive dance. The beast doth protest too much.

O, monster—behold thyself—and tremble.

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