I have read Fellowship of the Ring more times than I have cared to keep count and every time I read Boromir’s, well, possession for lack of a better word, I have read it in fear, in discomfort, in horror, indifferently.
This was, I think, the first time I read it in pity. I looked at all the plans Boromir was making, how he would save his beloved city, how obstinate he was in his belief that the men of Minas Tirith would not be corrupted when wielding the Ring against Sauron —and I felt sad. He’s waving his hands and hollering and part of him is desperate just for the Ring, of course he is, he’s been traveling beside it with no hope for months, but he’s also desperate for hope. He’s desperate for a chance to save his people, save his brother, save his city.
Moreover, every time he calls out the Elves or the Wizards, you have to remember that he doesn’t know them. All he knows is that he traveled almost a full year to get their advice and they send him on, in his eyes, a hopeless venture. The one hope they give him is Aragorn, who promises to return and help save Minas Tirith with him, but even that all changes once Gandalf dies. They come to Lothlorien and of course it’s a welcome break, but they cannot, or maybe in Boromir’s eyes will not, help his people. And once they leave, Aragorn assumes his role as leader of the Fellowship in Gandalf’s stead more permanently and suddenly even that one, brief, uncertain hope of his is gone. Aragorn will follow Frodo. And it’s almost certain that Frodo will not go to Minas Tirith.
So is it any wonder, really, that tired, desperate, hopeless Boromir, out of his realm, out of his depth, already hanging by a thread when he joins the Fellowship and having been gnawed on by the Ring for months upon months afterwards, finally snaps once it’s clear that he will have to return home empty-handed and almost certain that somewhere far away Sauron is capturing the Ring and killing the companions that he had bonded with? Of course part of the Ring is making him lust for power, but it’s also his only “reliable” (in his mind) source of hope left to save his city.
And so I read Boromir’s (intelligent and thought out, mind you) raving and I don’t feel scared for Frodo, not after reading it so many times and knowing what ultimately happens, but sorrow for Boromir.
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Glad to hear you’re alright! Everything going okay?
lol hi thank u! i had to get an organ removed because it was making rocks/stones like an oyster and almost killed me lol. still working on feeling better but ill be alright i refuse to perish because my body went full oyster mode
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I feel you, its so bad 😭, I had to go on a functioning adult human schedule for school and good god, out the house by 7am... bad bitches are not built for that..
WE REALLY ARE... and man, I can brute force myself into any schedule if there are things that HAVE to be done at certain times (like school, like you said) but it absolutely never feels "right". it feels like waking up at 3am to go to the airport type of shit.
and it is truly so annoying... to get hit with the "that's a Normal schedule, you need to Fix your schedule" okay. alright. but let me hit you with this one. is it "normal" or is it just conducive to a 8 - 5. because no matter what my sleep schedule is like, or how locked in I am, I'm more clear headed at night + more productive and energetic. and no matter what, I'm tired during the day, especially the brightest times of day when the sun is allegedly supposed to be signaling my brain to be awake and alert. and it doesn't matter how much sleep I got.
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Identity reveal shazamily fic idea:
They're fighting some big bad in a huge cave or throne room or in an air pocket miles underwater (the Rock?) and the league and shazamily are all there, every two stuck in separate areas (magic barriers? Cave ins? Enemies simply not letting them close?).
The roof is starting to collapse. Billy catches it, but with his powers divided, he's struggling. With a time limit before he falls, the battle intensifies.
Mary and her jl partner fells her opponent first, and looks across the room just in time to see him stagger under the crushing weight. She cannot reach him (in time?). They meet each others eyes. The wisdom of Solomon, or perhaps Mary batson, has an idea.
In a crash of thunder, she detransforms, in front of their enemies, and the entire justice league.
With power returned, captain marvel stands a bit straighter. The roof grows heavier. Cracks scatter across the high ceiling.
As Mary is carried to safety, the family understands what they must do.
In conjunction with the league member they were trapped with, they work to defeat their opponents, and one by one transform, each time revealing people too small, too young. The crash of thunder marks each victory. Rubble starts to fall and shake the earth as the league members pull their partners to safety, gathering together by the entrance, bandaging their wounds. All eyes are on Marvel, trapped under a great pillar of stone. (They have been working with him for years now, but each of his family has been revealed to be children. Is he, too?) Each time he raises the ceiling a little higher, and each time it grows heavier as the battles and the ticking clock destabilise the thousands of tons above.
At last, the final group win, and exhausted league members piggy back the last child hero over the rubble.
All are evacuated, but Marvel cannot move. Rapid power transfer and hours of stress have taken their toll, and he needs to transform back as well.
Finally, finally, green lantern and superman reach him, and with their help he is freed, collapsing to the side in relief. No one says a word.
With one final lightning strike, the last member of the team is revealed.
He's twelve years old.
And the league needs to take them all to safety.
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The Adaptation That Shall Not Be Named aside, I had an idea for an interesting way you could represent ART in a visual medium: it's cameras.
We know that, in any visual medium, what The Camera (be that literal in film or figurative in animation) chooses to show and focus on is important. Its the primary way the piece of media communicates to its audience, and the framing of a scene tells us a lot about how we're supposed to interpret it. What is on screen and how it's on screen convey authorial intent.
Take all that, and turn "authorial intent" into character expression (in this case, for ART). A conversation between Murderbot and ART that would traditionally be shot-reverse-shot becomes shot-ARTPOVshot, so both shots would be of Murderbot, but one would be from The Camera and one would be from ART. Even though the subject is the same, the difference between them could show us something about ART in the same way a reverse shot shows us something about any other character.
To me its like those shots from a monster's POV in horror movies, where one second you're with your protagonists, the next you're watching them from a far off angle between some blades of grass, shaky cam, ragged breathing. It's a classic, even a cliche, but it does the job of conveying the sense of unsafety, of Something Out There Watching Them, of monstrosity, of something feral and dangerous. All without needing to see the monster. What if that type of shot was all we ever got of a character?
(Also, in all honesty, some of my favourite meta about this series is how it's in conversation with the horror genre. ART and SecUnits being the type of characters that would be The Monster in another story, or from another perspective, is compelling to me, so i'm drawing on that a bit here. The idea of characterising but not visualising ART by taking pages out of horror monster cinematography? I just think it's neat.)
Anyway, you could also do all the sci-fi Augmented Vision stuff with it too. ART POV shots where we watch it pull up a feed tab over the camera feed and replay a section of audio, or check Murderbot's diagnostics, or look at Some Code Or Perhaps A Graph. ART POV shots that are broken into multiple feeds showing different things. ART POV shots that give you the sense of it being textually present without it being physically present.
You could use some of this for Murderbot itself, if you leant into how its drones are an extension of its awareness. You could even use it in a similar way to how Murderbot uses its narration, narrating less when it's upset as well as leaving out major details. What if, when Murderbot is tired of people looking at it or in a more vulnerable headspace, we get more drone POV shots without Murderbot in frame. It's still there, but present in a different way, behind The Camera rather than in front of it.
I think there's potential in using POV shots from ART's cameras to characterise it without visualising it in a traditional way. I think there's potential in using horror movie monster language on ART and Murderbot. I think there's potential in having the cinematography focus on what they're seeing in a way that emphasises the amount of Surveillance both of them are constantly doing.
I think there's potential in a show using The Camera as cleverly as the books use Narration.
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