ok, i cant resist the urge to make a post about it after all, especially since it's related to a post i made prior
one of my favorite moments in trimax is By Far this part in chapter 35
[ID: Two pages from Trigun. The first starts with Wolfwood thinking, "Now that I think 'bout it, it may be one of the major differences between our species." That deep rooted dear I felt on the ship…" He thinks of Vash crying blood and, swearing, wonders, "Is he the one who can save humankind? That monster?" Wolfwood is briefly shown in resolution before someone calls, "Hey, Wolfwood!" and he looks up with surprise.
Vash sits with a smile at the edge of a rooftop, backed by the Fifth Moon and its prominent crater. Vash asks with a smile, "Just coming back now? You're a bit of a night owl, huh?" Wolfwood looks taken aback and wary. End ID]
Right Here. Vash is just sitting there, smiling like normal, but he's got the backdrop of the damage he caused on the moon set Perfectly behind him. it's a glaring reminder to Wolfwood of who exactly he's dealing with here, and that TERRIFIES him.
& the fact that Wolfwood still remembers that moment of crying blood as a moment of true fear. because for all the cheer Vash shows in the average moment, Wolfwood just recently saw him nearly lose control Again (at the Dragon's Nest). the second time he witnessed it, & the third time he would know about.
Vash is a walking atomic bomb with multiple charges. even with how cheerful & kind he is, he's shown Multiple Times that he does not have full control. he is decidedly something different, something Hazardous to humans, and Wolfwood knows this very very painfully.
for all that Wolfwood loves Vash, he is also terrified of him. and at this point in the story, that terror is potent enough to nearly eclipse his affection for Vash.
leading to some of the next most iconic pages:
[ID: The next page starts with Wolfwood standing behind the sitting Vash, his expression hard and the moon bright behind him. Vash seems sad and has one eye open. A close-up focuses on Wolfwood looking down.
Wolfwood thinks, "So easy to pull the trigger. So easy to remove half the problem." Another close-up with bright lighting obscures his face but for one eye. Then Vash turns around curiously and asks, "What's up?" Wolfwood sits behind him and says "Nothin'. Come on. Let's go." Vash seems surprised as Wolfwood scolds, "Don't get yerself tangled up in every little skirmish ya see. It'll be pointless if ya get yerself killed before ya meet him." End ID]
the manga frames it like Vash doesn't know Wolfwood was pointing the gun at him, but I think he did know. he's freakishly perceptive over and over again throughout the story. he HAS to be in order to survive like he has. he'd hear the movement of the gun & sense Wolfwood behind him...
he'd know. i really think he knew.
but he doesn't do anything about it. there is zero fear in his face. he turns to look at Wolfwood curiously, a bit confused, but not afraid. he never once thought that Wolfwood would shoot him. there's full faith and trust there in that moment.
Wolfwood pretends that nothing happened, & Vash lets him. they both move on, not talking about it, because they never talk about Anything of substance like this (not until much, Much later).
overall, it's just such a great example of their relationship's development. Wolfwood's fear & Vash's trust that he won't act on it... it's just. Man.
(EDIT: people have made some good points about how Vash's expression when Wolfwood points the gun at him shows that he probably did know and YEAH that's a good point! & probably why I was so certain he knew lol, I just hadn't realized it myself)
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Jamie would 100% make Roy a dating app profile sometime after the Keeley rejecting both of them thing to try to help him move on and meet people when clearly he’s refusing to get back out there organically and he’d think he’s being so helpful and generous and the best wingman ever. He’d handpick what he considers the sexiest pictures he can find and put a bunch of shit Roy would never say thinking he’s being accurate and helpful and not even taking the clear opportunity to make a joke account to embarrass him or anything when he easily could have just made fun of him and chosen the worst pictures possible instead
And then he would be SO offended when it doesn’t go well when Roy finds out about it and is not properly appreciative at all
Roy thinks it’s Jamie’s account when he starts showing Roy girls like what do you think of her and asking him way too many questions when Roy has no interest in participating and has no idea why the fuck Jamie seems incapable of swiping without trying to get Roy’s opinions first. Meanwhile, Roy’s giving one word answers at first and then increasingly trying to brush him off when he doesn’t stop and then he’s just flat out like “Choose your own dates and leave me the fuck out of it” and Jamie’s like “Nah, this is your account. You should have a say” and instead of being grateful and appreciative and thanking Jamie for being oh so generous with his time and energy, Roy just scowls at him and growls out “You did not make a fucking Tinder profile for me” and Jamie just smirks and decides now is not the right moment yet to mention that he actually made him accounts on like three different apps because he wasn’t sure which Roy would like best
Roy barks at him to delete it and Jamie’s all whiny like “Come on, I spent a lot of time on these and you haven’t even considered it. Plus, even if you’re not ready to date someone yet, you’d still be less miserable to be around if you at least found someone to shag in the meantime”
And Roy’s like “Delete it. I don’t want a fucking Tinder profile.” And Jamie looks at him confused for a moment and then seems to have an epiphany as he goes “Oh, do you want a Grindr one instead? Hold on a second” and he flips to a different app and Roy’s too busy being baffled by the fact that Grindr is already on Jamie’s phone and that he’s having to sign out of his own account to try to make one for Roy to even stop him before he’s already trying to sign up for a new account and Roy goes “That’s not what I meant. I don’t want any dating app”
And Jamie pauses his typing and turns and looks at him so skeptically and so judgily and suddenly somehow Roy is trying to fight for his life trying to defend why he’s not looking for some random stranger to date or fuck around with
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man, but like.... why is there a contingent of jiang cheng stans who are incapable of stanning their special guy (totally justifiably! i support you!!) without shitting on jin guangyao in the process? why are these fans capable of doing deep narrative dives to understand and contextualize jiang cheng's justifiable actions re: wei wuxian and the wen remnants pre-timeskip, who write thoughtful screeds in defence of his feelings of anger and betrayal vis-a-vis the golden core reveal, but lose that capability entirely the second jin guangyao shows up?
is it because jin guangyao is mean to jiang cheng while trying to not get murdered as his whole life collapses around him? jiang cheng is a big boy, jin guangyao's carefully calculated spiel to provoke him during the guanyin temple confrontation doesn't even make the list of top ten most traumatic things to happen to him, he'll be fine.
feral jc stans should be friends with feral jgy stans because nobody else likes us 🥲
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today I have:
edited two chapters (8k in words)
stuffed 7 hooves with soaked kibble, mashed banana, and yoghurt and put in freezer
stuffed 5 Kongs and put in freezer
did one session of relaxation protocol (task set 2 modified)
did pattern games with Toby
did walk / loose leash walking training
groomed Toby (he needs this every day in the two weeks leading up to his actual groom)
put away grocery shopping
marked some art as posted (i sold some art! yay!)
...ate quite a few Maltesers as well
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justice of toren collecting songs and one esk/breq constantly humming/singing them is such a good detail and ann leckie does so much with it. an incomplete list:
justice of toren's eager collection of songs is part and parcel of its violent destruction of cultures: these songs are cultural artifacts that it only learns because of its presence on those worlds during their conquest, and in many cases breq is the only one to remember them because their people have died out due to that violence. JoT preserves cultural artifacts for its own use at the same time it directly contributes to the need for that preservation in the first place.
the matter-of-fact way in which this is narrated to us gives us information about JoT's stance on respect and imperialism - that is, contrasted with other characters who look down on the conquered cultures, JoT does actually seem to appreciate their value. and yet it communicates to us no sense of remorse over its role in their genocide.
singing can be a communal activity. this allows us to feel the difference between one esk's multiple bodies singing together in harmony/in a round vs. breq singing alone. this has emotional weight, is an evocative image, and illustrates quite nicely some of the logistic considerations of having one vs. multiple bodies.
the constant humming/singing is extremely notable and idiosyncratic according to other characters, which is a dangerous combination for someone who's supposed to be undercover, so it adds a lil bit of fun suspense for us.
the fact that no one ever figures out breq's identity despite this giveaway tells us something about the other characters' attitudes towards artificial intelligences (though see below about seivarden).
the fact that it's so idiosyncratic also tells us something about the ability of individual AIs to have personalities that distinguish them from other AIs, and the fact that one esk sings constantly but two esk doesn't tells us something about the ability of different ancillary decades that are all part of the same AI to have distinguishing characteristics. this is very relevant to, and illustrative of, the series' thematic throughlines around identity, personality, continuity, etc.
the fact that breq personally has a bad voice also serves multiple purposes. because breq and seivarden both believe that the medic could have chosen a body with a good voice if she had wanted to, we can infer something about how ancillary bodies work, how much the AI (and, by extension, its medics) knows about the individual capabilities of those bodies while they're in suspension, and what kinds of things the AI can and can't control once it has unfrozen and taken over a body.
we can also draw conclusions about the medic that chose that body and about intracrew relations on that ship.
breq's bad voice creates moments of humor and irony in the narrative, such as when breq's constant singing - aka the most obvious clue that she is one esk - is precisely what makes seivarden so sure that breq can't be one esk, because no esk medic would use a body with a bad voice for an ancillary.
constant singing/humming imposes itself on the shared soundscape, meaning other people can't easily avoid it and it has the potential to annoy them, especially if the voice itself has annoying qualities. the reactions of other characters to the frequency and/or quality of this verbal tic tells us something about the level of affection those characters have for one esk or breq.
because singing involves words, the meaning of the lyrics being sung can be used to advance the plot, communicate things about specific characters, create irony in juxtaposition with what's happening on the page, etc.
i especially like what's done with the lyric "it all goes around". it's woven throughout the story in such a way as to manifest its own meaning (the repetition of "it all goes around" is, itself, an example of something going around). by repeating the lyric, breq is the one making it true, and i would argue that her repetition of this particular lyric about things orbiting other things contributes to, and/or is a sign of, her growing understanding of the necessity/reality of interdependence and her place in that framework/her role in constructing it, or in other words, the extent of her own agency and the rights and obligations it confers upon her.
because the singing/humming is a constant, background, automatic action, it only ceases when breq is experiencing a strong emotion. from this we are able to infer things about the emotional state of our famously-omits-details-about-her-emotional-state narrator based on other characters' comments about whether or not she is currently doing this thing.
we also aren't even aware that breq is doing it constantly until another character says so. on a narrative level, this serves the dual purpose of making sure we know about how much she hums AND of reminding us that she's not telling us everything.
the humming is not mentioned constantly even though it is happening constantly - this helps us forget in between mentions that it's going on while also simultaneously reinforcing just how constant it must be, so constant that to mention it every time it happens would be like narrating every time she breathes in or out. whenever someone brings it up, we are reminded anew that something has been happening all along that we forgot about. this means that ann leckie is able, by leaving information out, to hammer home to us how much we are not being told.
through this one character trait, ann leckie efficiently and elegantly communicates not just aspects of character but also of setting, plot, tone, theme, and narrative. there's no extraneous exposition just to tell us about the song collection or singing; everything that tells us about it is serving other functions in the narrative as well. the ways in which she manifests this one character trait in the universe and in the narrative contribute to and exemplify both the story itself and the method of its telling.
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