one of the things about having an unstable parent is that it can so easily ruin your future. you want to get out, but getting out takes having agency. it takes the resume and the grades and the stellar community service history.
but you have to choose your battles. you know if you sign up for an after-school activity, it'll be okay for a while, so long as the activity is parent-approved and god-fearing. over time, like all things, it will become an argument (i can't keep carting your ass to these things) or a weapon (talk to me like that again, see if you get to go to practice). sometimes, if you love the thing, it's worth it. but you also know better than to love something: that's how they get you. if you ever actually want something, it will always be the center of their attention. they will never stop threatening you with it. telling you of course i'm a good parent, i came to all of those stupid events.
you learn to balance yourself perfectly. you can either have a social life or you can have hobbies. both of these things will be under constant scrutiny. you spend too much time with her, you should be at home with family is equally paired with you're acting like this because you're addicted to what's on that goddamn screen. you cannot ever actually win, so everything falls within a barter system that you calculate before entering: do you want to learn how to drive? if so, you'll need to give up asking for a new laptop, even though yours died. maybe you can work on a computer at the library. of course, that would mean you'd be allowed to go to the library, which would mean something else has to bleed. nothing ever actually comes free.
and that bitter, horrible irony: you could be literally following their orders and it still isn't pretty. they tell you to get a job; they hate that your job keeps you late and gives you access to actual money. they tell you to do better in school; they say no child of mine needs a tutor. they want you to stop being so morose, don't you know there are people who are really suffering - but they revile the idea you might actually need therapy.
you didn't survive that fall the way other people would. you've seen other people scramble and get their way out, however they could. maybe you were made too-soft: the answer didn't come to you easily. it wasn't quick. it was brutal and nasty. some people even asked you why didn't you just work hard and escape during school? and you felt your head spinning. why didn't you? (they control your financial aid. they control your loan status. they love having that kind of thing). maybe in another life you got diagnosed sooner and got the meds you needed to actually focus and got attention from the right teachers who helped you clear hurdles to get up out of here - but for now? here?
the effort of trying. the effort of not-dying. that kind of effort was absolutely agonizing.
2K notes
·
View notes
Okay, my brain refuses to think about anything other than Murderbot, so I looked at every use of the word "friend[s]" in TMBD and... created some pie charts. Normal human activities.
Some Thoughts™ I had while putting this together (under the cut):
In All Systems Red, Murderbot notes that the PresAux crew are all close friends (twice! and goes on to explain their internal relationships which I think is very cute). This is pretty much the only use of 'friends' in ASR, except for when Murderbot says that SecUnits can't be friends with each other.
It seems that this may be one of the first times Murderbot has ever really been around a group of friends before? Murderbot notes that this is not the norm for its contracts and admits that the fact that they are all friends and the way they interact with each other make it actually enjoy that contract (before!!!! the hostile attack, so it already enjoys this contract before they start seeing it as a person etc ghghhhh). [Inference: Friendship seems enjoyable.]
The first character that calls Murderbot its friend is ART in Artificial Condition. Murderbot immediately refutes this (and then goes on to call ART its friend to its clients for the rest of the book). [Inference: Maybe ART is Murderbot's friend. And maybe that is... agreeable]
Rogue Protocol has more than twice as many instances of the word 'friend' as any of the other novellas. Why? Miki. Friendship and its implications for non-humans are a central theme because Miki is friends with everyone. Murderbot initially scoffs at the notion that Miki and Miki's humans are friends. At the end of the book, after witnessing how desperately Don Abene tried to stop Miki from trying to save them, and her grief after its death, Murderbot has to admit that she had in fact been Miki's friend. [Inference: Humans can be friends with bots and can sincerely care about them]
In Exit Strategy, Murderbot tentatively uses the word "friends" for its humans for the first time (several times actually). It questions whether it can actually call them its friends or not and later realizes that it had been afraid what admitting that the humans are its friends would do to it. At the end of the book, Mensah tells Murderbot the PresAux crew are its friends, which is the first time a human has directly said that to it (at least on-page). [Inference: Humans can and want to be Murderbot's friends]
In Network Effect, Murderbot seems to be more habituated to the word 'friend', confidently calling ART and Ratthi its friends, like it is no longer just trying the concept on unsure if it fits. There are many instances in which other characters refer to MB as ART's friend or the other way around and Murderbot's humans refer to Murderbot as their friend several times. Generally, there seems to be less hesitancy, because yes, all of them are Murderbot's friends, why wouldn't they be. [Inference: SecUnits can have friends. This SecUnit has friends. They care about it a lot.]
Conclusion: The Murderbot Diaries tell the story of a construct that does not seem to consider the possibility of friendship for itself and is fine with that - until it accidentally starts caring a little too much and suddenly more and more people annex it as a friend (ew) to the point where it can no longer deny that this is happening and has to begrudgingly admit that yes, it has friends now and maybe that is actually not a bad thing.
744 notes
·
View notes
I'm once again thinking about the missed opportunities to have Klaus and Kol bond more. Part of Klaus' whole motivation as a vampire is to get his werewolf part back and to finally be stronger than Mikael (sort of, I'm simplifying) both of which can be obtained by breaking his curse. But Kol? Kol is the only other original that can relate to having a fundamental part of themself ripped away from them. Klaus might not have known he was a werewolf until he killed, but he likely still had a connection he couldn't explain, as evident by him going to watch the wolves transform. And something he'd never been able to explain was now gone. He might only be able to realise the connection afterwards through its absence.
Kol though. Kol had grown up with magic, a connection to nature and the world around him in a way the rest of his siblings supposedly didn't have. And then he gets turned. And not only has his baby brother died, his father has just murdered him and the rest of his siblings after forcing them to drink human blood, which he'll later learn. Now, not only does he have to deal with the grief of Henrik's death and also his own but also the loss of his magic. A loss that's likely only worsened by Kol being a self-proclaimed child prodigy.
Kol is pretty much the only one who could understand what Klaus is going through with the binding of his wolf. We know Kol searched for ways to get his magic back/carry on practicing magic in the same way that Klaus was looking for ways to break his curse. While Klaus likely could still feel his wolf there despite being bound, Kol has no access to his magic anymore. I just think they should've been able to bond or connect over their shared loss of an intrinsic aspect of their selves at the hands of their parents
58 notes
·
View notes
Since a minor theme for today's posts seems to be Voice of the Opportunist thoughts...
You know, I actually quite like the guy. He's nowhere near the top of my list of fave Voices -- in fact, he'd probably be in my bottom three -- but I've grown to sincerely love all of them in their own ways.
Paranoid
Cold
Contrarian
Hunted
Hero
Cheated
Skeptic
Broken
Opportunist
Stubborn
Smitten
Like, that's probably my rough order of Voices? But I really love Stubborn and Smitten too at this point, like a lot. And Opportunist... really interests me. I don't feel as bad about him as I think a lot of people do.
(Thoughts under the cut!)
I think what gets me about Opportunist is that, while he can come across very badly for sure, I think there are two main things he wants that drive all of his (very bad) ideas: He very badly wants to be liked, but that's secondary to the fact that he wants to survive. He's just geared strongly towards survival in a way that's more... social than physical.
He wants to side with the people he thinks are the most powerful without actually upsetting anyone, until he gets to a point where he feels like we have enough power to be able to wield it. And as one of the Voices, he is actually very "we"-focused -- he talks about looking out for number one, yes, but you're all kind of a collective "number one" and he maybe makes that most clear in The Wraith chapter, where he never wavers from vocally trying to make the situation better for himself and Hero and Paranoid. He never threatens any of the other Voices either -- and not even, iirc, the Narrator, though he does turn his back on the Narrator when it becomes clear he's something of a paper tiger -- just the Princess, in situations where she has proven how dangerous she is, and not even always then. (Again, in The Wraith, he's not even pleased to have overpowered her if you decide to toss her into a bottomless pit.)
He does want to be liked, too, that much is clear and seems to be completely sincere. He likes traveling (or at least the idea of it) because he thinks it makes him "relatable." He totally unnecessarily tries to smooth everything over with you and the other Voices in a way that doesn't always, to me, feel like him just being mealy-mouthed in a self-serving way; the example of this that stands out to me is in The Moment of Clarity, when Stubborn and Contrarian are tired of Skeptic's philosophizing and he jumps in to reassure, "They're good questions. Great questions, even. But they don't have any answers," and there's something oddly... gentle/reassuring about the delivery.
The way you get him usually shows how he's geared to your (collective) survival and why he doesn't trust the Princess: In the first chapter, if you don't take the blade but then use it to kill her, that's your only chance to get him. But you get him in one of two ways: Go back upstairs for the blade after talking to her, in which case the Protagonist has probably legitimately decided that things aren't adding up and she's actually secretly more dangerous than she's letting on (and because she is "a creature of perception" she then reveals that to be true!), or trying to kill her after the Narrator possesses you, in which case there's that clear "hierarchy" of "the Narrator is too powerful if he can just choose to control us" (and also makes his trying to appease the Narrator in the later chapters make sense).
And he is like the Witch, and honestly, in some ways I think it's understandable that he's resistant to changing even when she does. She is the one who changes based on our perception, and if I'm at all right that the Voices are the pieces that break off of us because we can't change like that but they represent her perception of us, well. The Protagonist and the Witch can choose to change and break the cycle in a way the Opportunist has a harder time with. But he is much like her: "This dangerous person killed me last time, we need to maneuver this situation in a way where we can kill her without her killing us again."
And a big problem with him is that he is 100% wired into that survival instinct even when it's not necessary! He wants to betray the Thorn even after she hands us the blade back! But he also just came from a chapter in which we handed her the blade trustingly and she immediately stabbed us, which doesn't excuse it but does I think explain why when he talks about slaying her right then and there he says something along the lines of "we have power right now and we may never get this chance again" -- he's still expecting this to go very badly for us.
The other ways you get him in the various Chapter IIIs also back this up, I think: In The Razor, you try to "appeal to her better nature" after she's already killed you twice (and maybe a lot more!), which is again just him trying to survive long enough to turn the tables on a threat. To get him in The Wild, the Beast first has to eat you alive, but then you stab her to death instead of letting her escape or just killing yourself, taking advantage of being close to vulnerable organs to take her down with you. (And I will say, while I adore Contrarian, I find him much more obnoxious to have in The Wild chapter.) To get him in The Wraith, you have to take the blade in The Nightmare chapter but agree to free her, then slay her either at the door when the Narrator locks it on you (again, the Narrator showing he's more powerful than he should be) or after Paranoid straight-up says "if I absolutely had to choose I slightly prefer that we kill her" -- and then, oddly, he does spend the entire Wraith chapter trying to soothe her and get her to forgive and hire/protect not just himself but the Protagonist, Hero, and Paranoid (and is actually like "this was a bad decision, there's going to be no way to smooth this over" if you do choose to toss yourself into the void with her). And in The Moment of Clarity, he is oddly gentle with the other Voices for the most part and also advises just letting her out because it'll all be okay for them if they do.
All of this is just to say that, like... Yeah, he can be mealy-mouthed and backstabbing and obnoxious. But I also don't think he's a backstabber for fun. He wants to be either at the top when it comes to "who's the most powerful," or at the right hand of whoever is at the top, but at the same time I think that stems from him just wanting to feel safe -- and what's safer than no one else having power over you? Especially when that power's been used to steal your autonomy or kill you so, so many times? In some ways he's low-key like Hunted and Paranoid: "What will keep us alive?" and "I don't trust anyone but us (unless I feel like I have to)" are kind of an undercurrent to everything he says and does.
...That also means that if he got his own body I think he'd be in an interesting position. He might have some issues at first with being more "look out for number one now means me and not us," or at least having some instinctive feelings in that direction -- but at the same time he might feel more at ease having complete control over his own body, since the Protagonist losing that control seemed to low-key freak him out more than once in the Construct and his smooth-talking might have had a lot to do with how he felt his words were the only power he had since he wasn't in control of the body. So there's a chance he'd struggle with staying quite as group-oriented at first, but there's also a chance that he might be able to relax at least a bit.
91 notes
·
View notes
Arlecchino's whole deal is unbelievable
Arlecchino: Huh I wonder what's causing my weird powers? I can't really worry about that right now tho, I've gotta become King and then kill my "Mother".
*Kills Clervie and "Mother"*
Arlecchino: Huh I wonder why I was able to defeat a Fatui Harbinger when I'm like 17 or so? I can't really worry about that right now tho, I've gotta be in jail and become a Harbinger.
*Is in jail for a while and becomes a Harbinger*
Arlecchino: Huh I wonder why I am-
Pierro: Hey what's up hello, anyways you're descended from the Crimson Moon Dynasty of Khaenri'ah. I'm sure that this is a lot for you to take in so-
Arlecchino: Ok.
Pierro: ...You're just cool with that?
Arlecchino: IDK maybe? I can't really worry about that at the moment, I'm a father now. This orphanage full of children I love (who also are child soldiers and are not allowed to leave or else I'll execute them except maybe now I'm just gonna wipe their memories IDK I'm morally complex) isn't gonna run itself.
*Runs the orphanage/spy recruitment initiative*
Me, the fucking player: WHAT DO YOU MEAN YOU ARE KHAENRI'AN? WHY WASN'T THIS BROUGHT UP IN YOUR FUCKING QUEST?? OR ANYTHING ELSE????
Arlecchino, talking to me through my phone: I honestly don't know why you care, I'm too busy to give a shit. Anyways, I'm gonna go fight fate itself I guess. I'm sure that I don't share any thematic parallels with any other Khaenri'an characters (particularly as it relates to acting and family angst) and that I haven't made the idea of 'curses' on Khaenri'ans and what they entail even more complicated than they already were. See ya.
28 notes
·
View notes