After forty-five minutes of no word, the three of them finally decide that someone should go check on Tango. Normally, Xisuma would have reluctantly advocated for just starting without him—it’s Tango, he’d probably gotten caught up in Decked Out work, he’d apologize and laugh it off later and wouldn’t change—but he’d seemed so genuinely excited this time. He’d rambled back at them the moment Etho had invited him to join in on the wither-mining. He’d promised he’d try to show up. He’d checked the time more than once.
It’s been a while since most of the hermits had seen Tango outside of his fortress. Or spoken to him for more than about twenty minutes if their name wasn’t “Zedaph”. Or—it’s been a while. That man is working himself to death, Xisuma swears.
(It’s… not Tango’s fault, Xisuma tells himself. He’d meant to have more done by now. The whole Empires fiasco had put a damper on that. Tango’s always been the sort to fixate a little on his latest project. Besides, all of the Hermits get caught up. It’s normal to occasionally go a week or two without talking to anyone else. It’s just that it’s starting to hurt a little, to reach out and get...)
(Xisuma will make up a better excuse. It’s why he volunteered to go check on him. Save Tango and Etho a little heartache.)
(Tango had been really excited—but so had Etho.)
It’s a short enough elytra flight to the Deep Frost Citadel. Xisuma takes a deep breath. He’ll probably have to locate Tango and convince him to come up from the outside. That place is a death trap already to half the server, and Tango’s normally in the maintenance tunnels instead of the main body of the cave, which are a death trap in a unique “largely unfit for habitation by anything breathing” way that Tango seems to be the only one who knows how to navigate. He’ll make sure he’s okay, and then…
Xisuma‘a thoughts come to a pause as he approaches. There’s someone else at the Citadel, standing near the base of the hill, just past where the borders of Tango’s snowy base fade into the grassland.
A few minutes of approach later, and it becomes clear it’s Tango. He’s standing oddly, his feet braced and arms unsteadily placed forward like he’s worried he might fall. When Xisuma lights another rocket, he looks up in Xisuma’s direction, but before really catching sight of Xisuma, he turns around and winces, rubbing his eyes repeatedly.
“Hello,” Xisuma says as he lands. Tango turns to—not quite look at him? Tango is looking in the direction of Xisuma, certainly, but isn’t quite looking at Xisuma’s face. Maybe there’s too much glare in Xisuma’s visor today?
“Oh, hey X! How’s it hangin’?” Tango says.
“Oh, you know, I was just here to check on you. You’re a bit late to our demonstration.”
“What?” Tango says. “It’s—of course it has.”
“Did you get caught up?” Xisuma asks. He tries very hard not to sound disappointed.
“I—yeah,” Tango says. “Sorry, I swear I set an alarm, but if you’re here I must be later than I thought.”
“Probably nearly an hour by now.”
“I’ve been—a whole hour? Feels like longer,” mumbles Tango.
“The others agreed to wait if you’re coming, and you’re already outside,” Xisuma says. “We can get over there in a few minutes. It’s not too late. Put on your elytra and—“
“No!” yelps Tango, stepping back, stumbling, and then, eyes wide, looking around like he’s trying to find something. “I mean, uh. Not used to open-air flying right now. I was planning on taking the nether but I ran out of fireproof potions and don’t have the blaze rods to make more, so here I am. I promise I didn’t mean to be late, I just…”
Xisuma has no idea where to start. But. “Tango, you built the nether hub? You know you don’t need fireproof potions to get to the Ancient City we’re using.”
“Haha, yeah,” Tango says, and doesn’t elaborate.
“So I guess you were going to the shopping district, to get more blaze rods and their portal?” Xisuma says.
“Yeah, uh, then I realized I, uh, don’t. Remember how to get there,” Tango says. “And, well, you know how it is. Even when you have permission to leave it’s still kind of daunting!”
His voice goes high and a little squeaky. His eyes, Xisuma realizes, have had a sort of wild fear to them since Xisuma first suggested stepping further than where he’s standing. If Tango had pupils, Xisuma imagines they’d probably be darting. The rest of his facial expression does the work well enough.
Xisuma really doesn’t know where to start.
“And you’ve been stuck here for… nearly an hour?” Xisuma says.
“Yeah. Man, I got permission to leave and everything,” Tango says again, which, okay, very concerning phrasing, Xisuma’s just going to put that away for the time being though, because there are a lot of other things to unpack here. “And like, I wanted to see the Withers and a Warden fight! Who would win, right?”
He still hasn’t moved. As Xisuma’s talked, he’s gotten closer to looking Xisuma in the eyes, but it’s more like he’s very confidently looking at Xisuma’s chin. He keeps squinting and blinking when his eyes aren’t wide with a wild, lost sort of panic.
He’s also still rambling.
“Probably for the best I don’t leave, though. I mean, I held you all up, I’d hate to hold it up further because I got caught up. I can just go back; best to keep doing my duty after all. Sorry about that!”
Tango turns back towards his base, as though making that excuse was the excuse he needed to go back towards safer ground. Maybe another time, Xisuma would have let that be, but the thing is, Tango and Etho had both been so excited, and Xisuma can hear the disappointment in Tango’s voice. He doesn’t want to be making this excuse either. Xisuma has no idea what, but something’s wrong.
(Well, Xisuma has some idea, but while he may be a derp, he’s pretty sure it’s rude to ask someone whether they’ve gone blind, developed agoraphobia, gotten possessed, or multiple of those things at the same time. If someone doesn’t bring it up it’s not Xisuma’s business, right? Right.)
(He’ll just…)
“…no, we want to do this with you,” Xisuma says. “Do you need help getting to the cave we’re doing it in?”
Xisuma can see Tango warring between the pride that stops him from asking for help and whatever it is that had paralyzed him the moment he’d tried to step past his base’s borders. He can see Tango war between how easy it would be to claim he didn’t have time and how much he’d wanted to see the wither mining.
“It’s all going to be underground?” he says.
Weird question. File that away. “Yep! Inside an ancient city!”
“And I got permission to leave,” mutters Tango. “So it’s going to be fine once I actually get there.”
“I can even grab some fireproof potions from Cub’s shop when we’re done,” wheedles Xisuma.
“…fine. Lead the way. Uh, and, if you could hold my hand. It’s… very hard to know where I am outside of my base when it’s so bright,” Tango says, voice a little small, and okay, so a mix of all three. Xisuma really should pry, but he’s got what he came here for, and it’s not really his business, is it? He’s sure Tango’ll work it out in the end. He’s a smart guy.
“Gladly, my friend. Let’s go die to withers sixty times.”
Tango laughs shakily. “Yes, let’s!”
Xisuma laces his fingers around Tango’s hand and, suddenly aware of just how many things there are to trip on, starts walking towards the Ancient City.
Gosh, but this is going to take an hour, isn’t it? He sighs and pulls out his messenger to tell the other two. A thought strikes him.
“You know, next time you have this problem, you should text ahead. You can use text-to-speech, you know.”
Tango barks a laugh, louder this time. “Yeah, sure, that’s going to be on my mind. Yeah. I’ll do that.”
Well, good enough for Xisuma!
They make their way to the Ancient City together.
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i was thinking more about characters Performing Gender, but not necessarily Transgressing Gender. I wound up focusing on Ned and Sansa bc I feel like I understand them the most but-
Sansa as a hostage is imo the most obvious (bc it’s so well done) moment of someone clearly Performing Gender but not being transgressive in that performance. Which isn’t to say it’s not a complicated performance; it’s a fine line Sansa walks between weaponizing her gender to protect herself without seeming too fake. She’s trying to placate the Lannisters by playing the perfect, dedicated, air headed betrothed because it’s the only defense she has - if she outwardly rebels, she will be punished in a likely violent and/or sexual way (which isn’t even conjecture - when she says “or maybe he’ll give me yours” Joffrey has her struck with an armored hand). She’s not quite successful in being convincing but that’s because it’s a rather extreme situation; despite no one believing her, she does make herself seem meek and stupid enough that no one suspects she’s plotting to escape with Dontos until she’s well away from KL. The fact that she even has Dontos to confide in is because of Sansa’s relationship with gender! When she saves him, she covers her rebellious slip by playing up Joffrey’s intelligence & his role as King; she reaches for “tools” of her gender AND of ~proper manhood~ to save a life and herself from another beating. Her retreats into the godswood and silence are very much Sansa attempting to recharge from these draining interactions, the same way a knight would need to stop and eat and rest after a fight. She is fighting, constantly, by forcing herself to stay within the narrow confines of a specific type of gender performance as a way of shielding herself from harm.
Ned yelling at Cat is another big one, and I’ve seen the scene referred to as Ned using his patriarchal power to scare Cat, which is a great description. It feels like a Performance because Ned is putting on this terrifying Lord Stark mask in an attempt to get Catelyn to stop asking about Jon (and Lyanna). This is not how he usually acts with those he loves! When Ned is with His People, he is welcoming of questions, curiosity, emotion, even transgressive thought (to a point! the idea that Ned is a feminist because he lets Arya learn to fight is Not accurate but you can’t deny he allows significantly more flexibility wrt gender expression than most of the fathers we meet in this series. the bar is in hell tho). Yet when Cat asks him about Jon’s mother, Ned scares her so well she stops asking & still remembers the moment bitterly over a decade later. And if that snippet we see through Bran’s eyes of Ned praying that Cat will forgive him does come after she asks (like it’s suspected), it’s clear not only that this is a performance he’s putting on & weaponizing against Cat, it’s one he does not like using as a weapon against someone he is close to. After using the power his gender gives him to cause harm, he retreats to the godswood and silence to pray and rest, much like Sansa. A spiritual cleanse, the way a soldier may pray after battle, to reset and reconnect Being A Proper Man to Being A Kind Man.
I think there’s something interesting in that two of the characters most widely defined by how well they adhere to Westerosi gender norms both dislike feeling like they had to weaponize their gender. They are exhausted by the performance, because it’s a performance. This isn’t Sansa getting excited over tourneys, or Ned teaching his sons to fight; it’s toxic masculinity, it’s structural misogyny. It’s something they’re good at, excel at, and connected to something they enjoy but when it’s paired with violence, whether done by Ned or done to Sansa, it crosses over in their minds from an innate part of themselves (The Gender) to a performance necessary due to survival (The Gender Role). And that after these performances, both retreat to nature & god as a way of resting and cleansing from the experience.
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Ok, this is mostly bc I realized we've only seen Sally being passive, but how is she able to hypothetically rip apart larger puppets limb from limb? (if the captions with Howdy hold water with other puppets)
(Slight Mutilation Warning Ahead: Puppet Edition)
they absolutely hold So Much water! it's a combination of a couple things!
a) Nightlight!Sally is really Strong. i'd liken to her to a chimp, as much as i hate them. despite being smaller than people, they're absurdly powerful. when it comes to Her, this comes from a mix of hysterical strength and something Else i've been pondering but don't want to solidify yet, so shh dont worry bout it. it's also much easier to tear fleece & cotton/stuffing than, uh, Biological materials.
b) none of the puppets are really prepared for violence? they've lived in an idyllic world where true, visceral violence likely hasn't even been a Thought in anyone's minds. like, you watch videos of people get attacked by like... raccoons or rats and they visibly Lose because they panic! they aren't prepared! they don't wanna fight! so the much smaller creature wins. They Don't Know How To Fight, Or Fight Back.
b.1) also, Nightlight!Sally is still... Sally. she's still their dear friend. i know that if a close friend attacked me, i'm not sure i'd be able to bring myself to do much other than defend/flee. i wouldn't wanna hurt them even if it meant protecting myself. hence why Wally avoids all confrontation with her & can't protect his friends from her. he can't hurt his neighbor.
b.2) there's also the shock factor. imagine you wake up from a pleasant dream to an absolute nightmare reality. Boom, automatically thrown way off your rhythm. then one of your close buddies looks Fuckin Weird, Are You Okay? and other crazy shit is happening! you're freaking out!! then your Close Friend Who's Off is suddenly slashing at you and BOOM, your arm's gone & your entire brain is scrambled from shock and fear and "?!?!?!?!?!". plus, i doubt the puppets know they're full of stuffing. seeing yourself sliced open and white fluff spilling out has gotta be just. so Unpleasant on principle.
c):
CLAWS BABEY! RIP TEAR AND SHRED! those sharp grippers are perfect for piercing and ripping! puppet fleece is Paper to her!
her fighting method is attack wildly until the threat stops making noise! it's very hard to defend oneself from it! imagine those cartoon bits where a cat attacks someone and its just a Flurry of Unbeatable Violence
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