detectiveconnor
Detective Connor
independent, deviant Detective Connor of Detroit: Become Human.about (m.) / rules (m.)pacifist, best ending. selective. mun 21+.
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#(this is not about connor but)#reblogging to connor BECAUSE you mentioned it in the context of patrick and i've been thinking about#the way they are so. Opposed. they disagree with one another#and when connor read this - which is why it only went to the meme blog not to connor-#when connor read this. he corrected:#''Do you think about killing me?'' / ''I try not to think of you at all.''#he Doesn't Care#he's Not Wasting His Energy#and he DID still execute kamski but it was clean and to the point.#he Had to think about him. the option to ignore him was no longer there.#but he would have chosen to ignore him if he could have#........ which ... links to patrick .... some way#i lost the thought i had somewhere halfway through these tags#my point is i would pay to watch them Talk About It#and find where they disagree
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i have two (2) things i desperately want to write today it is 8:30am and i'm gonna go on a walk first but connor has been loud since the asks came in. love you guys
#connor ft. being thanked#(connor ft. being asked to tell a story from scratch)#this post is entirely me disclaiming the complete lack of spoons vs the extreme surplus of wanting to be herrrrrrreeeee
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things about connor:
the truth is the truth and he won’t waste his time pretending otherwise
if you stand in the way of the truth then Get Out Of His Way, because truth is his ‘true north’ (one more truth link there are a lot)
He wants to live in the real world. Real or bust.
(the way he Reaches for people to stay)
if he dies he dies With His Eyes Open
Cruel is his Line In The Sand
Connor is brave (connor is brave connor is brave connor is brave connor is brave connor is bra -)
the truth about connor is that he saves the fish (and the cop) (and he reaches for the Lieutenant) (and really anyone he can save)
He Calls People’s Bluffs consistently and on purpose and out loud
he knows when he is stepping into other people’s space and he does it On Purpose
Meet-Your-Eye I Dare You
Outrageously Autonomous
Connor has always been exceptionally good at Showing Up (related)
Connor Loves His Work
this lightness about dire situations, making jokes, an insistence on having a good time
He Will Apologise Once and only once
he does not play stupid games
connor does not fall, he jumps
Connor and Suffering are a pre-arranged meeting (Connor has Always Known Grief)
People Deserve To Be Looked For
He Takes Up Space Out Loud and he does it on purpose
flinching forward to help, not away to hide
(being hurt does not make somebody Less)
you’re right, he isn’t diplomatic, he’s annoyed
Paying Attention
(surprised when someone pays attention, back)
making himself vulnerable As a Form of Reaching
#oh no i am in my headcanon tag and i love him. ok#i am going back to tk i am . actually i am going back to work i'm at work rn lksdjfskdjgdlfkgjs;aldkjglfjkh
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open????? drabble???? this is in my head. no read more we die like men
“Connor, you should see this.”
Michael worked in New Jericho’s public relations department. He was a member of the regular meetings which helped to decide goals for the movement, areas of inequality that they were going to work toward resolving; he was mild-mannered, and partly shy. They’d been working together, or at least in proximity, for a year and a half. Michael had quickly conquered his fear of him; had understood the difference between Connor and ‘the Deviant Hunter’.
It was why it was strange, to see something uncertain in him, now. Michael reached out to catch him when Connor passed through New Jericho’s doors, but he didn’t quite make contact, a hovering indecisiveness they had moved past at least a year ago. Connor paused - it was a Thursday; he had work to do in his office, and it was almost certainly a backlog - but Michael pressed, “No, I mean, you really need to see this,” and Connor trusted his judgement. He nodded, for Michael to lead the way, and again there was that breath of hesitancy where Michael’s blue eyes watched him, and then - Michael turned his back on him, after all, to lead Connor down the maze of hallways into the public relations and public affairs offices. Not many people had an entire room to themselves; many had cubicles; there were rooms, but they were mainly used for interview purposes.
The Androids and humans working there stared at him (wary) all the way into the interview room Michael led him into. Connor pretended not to notice their eyes, not unsettled - there wasn’t anything he had done wrong; their uncertainty was misplaced, though he wondered what had caused it - but at least … cautious. Michael closed the door. He shut the blinds behind them, so the people in the cubicles outside could not peer in.
Michael turned to look at him. Connor looked back. When Michael hesitated a seventh time, Connor said, “You’re afraid,” because it was better to make it plain, and out loud.
“I’m not,” too quick to be the truth, but Michael seemed to bolster with the knowledge that whether or not he was afraid mattered to Connor, and he crossed to the desk to interface with the screen there. “We received a request for an interview with you,” he explained. This could not be all; Connor was asked to do interviews semi-regularly, though the media often went through the DPD rather than New Jericho’s channels. “But it was phrased more like a threat.” The screen activated, the clean white background of Michael’s workspace: he pulled up an email.
Hi Michael,
My name is Annie Sanders, I write for a publication interested in the Android rights movement today. I was hoping to organise an interview with your RK800 unit, to gain his commentary on the attached footage. I’ve been searching, but I have been unable to find an official statement regarding the events pictured.
Please let me know a good time for you. I prefer Tuesday mornings, but I can make most weekdays work around lunchtime.
Annie
Attached was a brief summary of the publication, her recent articles in this space (generally well-natured; she had chosen his model number instead of his name, but that didn’t mean much), and, as promised, an attached video file. Michael watched him closely for his reaction when he scrolled down to open it.
Connor recognised the setting from the thumbnail. This was him, on top of a shipping container, listening to Markus’ speech, dressed still in a Cyberlife uniform, fighting for his life. It was the first time he had seen this footage. It was the first time, even, that he fully heard all of Markus’ speech.
The gun didn’t quite even get level with Markus. Connor watched the movements, stiff and uncoordinated, the things she had been able to demand his body into doing. Whoever had been filming hadn’t quite had the angle for it - they had been filming Markus, Connor’s fight was just background noise - but he knew the absence of his expression, the marionette stillness (not breathing; thirium pump hardly beating; rooted in place, the things he could control utterly still). He watched all of this.
It looked, on video, like it could have been… he didn’t know what. The gun barely lifted from where it was aimed toward the ground - Markus’ leg - Markus’ waist, and then Connor reanimated with a breath, and alarm, and he took a look at the gun in his hand and put it away.
The video stopped on a copyright screen, claiming the footage for Annie’s company. They had publication rights. Connor had no doubt they intended to publish it.
The cold that had crept into his chassis as the video played did not go away.
“I didn’t know what… I thought you should see it, first.”
Connor’s LED flashed, because this was a lie, “The entire PR department has seen it.” They had watched him come in, they -
“She didn’t send it just to me. Everyone who has their email details published anywhere.” Michael had just been the one who had volunteered to tell him. To ask him. Michael tried, offered, hoped, “I thought it was probably faked, I mean … the lighting’s -”
“It’s real.” And he did not know what he wanted to say about it.
Connor looked at the message on the screen, the polite information of when Ms Sanders was free to ‘interview’ (interrogate) him, and he realised how very much … he simply did not know what to say about it. Airing that footage would undo two years of work trust-building with the Android public, people who had started out afraid of him. Michael himself - Connor had worked with Michael for 18 months, Michael - had still not actually touched him, since he’d arrived. Even if he had wanted his personal history autopsied by the general public, which he did not want, he could explain precisely what had happened and spend the rest of his life being second-guessed and mistrusted. If he refused to say anything, and they pushed the footage after all? Without comment, without anything said about it?
He could lie, and he could lie smoothly. It was likely what he would end up doing. He - “I thought I saw something. A threat. I didn’t.”
“… You thought you saw something.” Disbelieving, but Connor not been at his best, when he had made that lie. He would work on it. He looked up, to find Michael’s eye:
“Who else has seen this footage?”
Michael hesitated. Connor waited - pushed his eyebrows up, just fractionally, pleading in a way that could often cloy Michael into doing what he wanted, and Michael still had doubts when he said, “I sent it to the leadership team. Everyone… it looked like you were going to kill them. Starting with Markus. Security has a copy… I think they contacted the police.”
So, everyone.
So everyone. He nodded - emptied his artificial lungs, lost a shaky breath - and rested himself against the edge of table there in the interviewing room, LED yellow and dull and far away. Michael realised, at last, “I didn’t mean…”
“No. No, you acted promptly. That was good.”
“Are you…?”
No. “I’m…” he.. couldn’t… “can I have a moment?”
Michael searched him, and took the time to disconnect from the screen and log out of his terminal there before he stepped out of the room. Connor caught a flash of several people in the next room standing up, wanting to know what Connor had had to say for himself. “He says it’s real. I don’t -” Michael started, and the door snapped closed. Connor considered locking it, behind him. Instead he stayed where he was.
Everyone.
…. Everyone.
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at work today but oooohhhh am i percolatin' those memes you guys sent. Love you love you love you
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"You said there was a way out!"
"It said 'fire escape'!" In his defense, he'd expected a way to escape fire. Connor stood, frozen on the steps which, themselves, did not even have a railing, staring out at the flat drop to the dumpsters below them: this was not a fire escape, it was a set of stairs to nowhere, with a building burning fast and angry behind them. They'd used up their one shot at finding an exit. They'd spent it on this.
The building was unstable, and fire and rescue were at least six minutes out, and twenty minutes from doing anything useful.
"We're going to have to jump!"
@ofyorkshire
#ic#ijdfldsjflkdsjflkdsjf this is#this IS definitely a#silly post#but it made me laugh aloud when he said it so here we are
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i rbed some memes, pls consider sending some my way if you have spoons and inspiration for it, love you guys be safe be well <3
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i rbed some memes, pls consider sending some my way if you have spoons and inspiration for it, love you guys be safe be well <3
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Life Savers
for muses who do it for a living, just happen into doing it more often than they don't, or who just happened onto the opportunity to save a life that day.
dialogue!
"You saved my life."
"Oh my god. That was amazing."
"I could have drowned."
"I almost died."
"I brought... it's a thank-you card."
"Whoa. Did someone send you flowers?"
"How are you always in the right spot at the right time?"
"You came to save me."
"You could have died."
"I'm here! Hey, I'm in here!"
"Help! Please, I need help!"
"When I opened my eyes... you were there."
"Weren't you scared? The building was on fire."
"If you didn't know First Aid, I wouldn't be here."
"Can I hug you?"
"Hey.... Seriously. Thank you."
actions/situations!
[shock] -> for one muse to wrap the other up in a shock blanket
[free] -> for one muse to give the other something 'on the house' as a thank-you
[explain] -> having narrowly escaped death today, one muse has to explain to the other exactly why there are people actively trying to kill them
[find] -> for one muse to find the other after they've been critically injured
[water] -> for one muse to share their last supply of water with the other in a life-threatening situation
[introduction] -> for our muses to have just survived a life-threatening event together -- and now that they've survived it they can actually learn each other's names
[patching] -> for one muse to have just saved the other's life, and now on top of that they're sitting there patching up any injuries gained by either one of them, in the process
[celebration] -> having narrowly escaped death today, our muses go out to celebrate
[sex] -> having narrowly escaped death today, our muses stay in to celebrate
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"OH SHIT, WE'RE TRAPPED!" PROMPTS
* assorted dialogue, adjust as necessary
looks like we're stuck here.
we'll never find a way out in time.
have you tried the door?
try jiggling the handle.
that's it. i'm smashing our way through.
i'm not going to die in here.
we've tried everything.
it's no use!
well, we're not getting out that way.
that was pointless.
do you have any other bright ideas?
this is all your fault.
i can't believe i listened to you.
this is what i get for trusting you.
everything's locked.
there must be another way.
it's pointless. there's no way we're getting out of here in time.
maybe we could try yelling for help?
wait, did you hear that?
i'm sorry. this is all my fault.
they tricked us.
i'm going to break the door down.
maybe we should just wait for someone to rescue us.
they'll notice we're gone. they'll come looking for us.
i wish i had a better idea.
of all the people i had to be stuck here with, it has to be you.
don't give me that look. this is all your fault.
wait! do you see that? light!
that's it! we're getting out of here!
hold your breath!
i found us another way out of here!
can you still hear me?
i'm gonna get us out of here.
keep your eyes fixed on me.
did the wall just move?
it just shut behind me!
that was our only way out!
tell me a story to pass the time.
they'll find us. they will.
once they see we've gone, they'll come looking for us.
i don't see any other options.
try using your shoulder to break the door down.
does anyone have a match?
i still have my flashlight!
how long have we been trapped in here?
feels like we've been down here for days.
you told me there was a way out!
everyone stand back. i'm going to try something.
let's see if this works.
well, we're fucked.
i'm not giving up just yet.
you're just wasting energy!
all right, sound off!
i can't see anything.
ow! you just stepped on my foot!
well, it was a nice try.
not sure what you were trying to accomplish with that.
that's your bright idea?
we're all gonna die.
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THE MANY MEANINGS OF "HEY.": A PROMPT LIST.
i often have these ideas that have no real origin, but i can actually tell you precisely why my brain wanted this: i was listening to "hey, soul sister" by train on a loop and i got thinking abt the fact that we really do just say "hey" for so many reasons. and i wanted to make that your thought of the evening! so happy november, bon appetit, wrap up warm, DO NOT ADD TO THIS LIST, and enjoy your writings!
[ GREETING ]: sender says "hey" as a greeting to the receiver.
[ ATTENTION ]: sender, having just noticed something strange or remarkable, calls for the receiver to get their attention.
[ REASSURE ]: in a bid to steady the unsettled receiver, the sender lightly says "hey" to help them calm down.
[ ANGER ]: the sender sharply snaps "hey" at the receiver, clearly angry about something the receiver has just done or had done in the past.
[ IDEA ]: having been presented with a predicament, the sender suddenly unravels a solution, introducing it to the receiver by saying "hey…".
[ GUILT ]: having just done something that they know the receiver won't be pleased with, the sender sheepishly greets them once they arrive to see the damage.
[ GOSSIP ]: the sender turns to face the receiver conspiratorially, clearly eager to share some new gossip with them.
[ URGENT ]: the sender rushes to the preoccupied receiver, desperately shouting "hey!" to get them to focus on a far more pressing matter.
[ SOOTHE ]: after finding the clearly distressed receiver, the sender pulls them into a careful embrace, gently murmuring "hey…" to try and soothe them.
[ SMILE ]: the sender (who hasn't been smiling up until they actually see the receiver in front of them) lights up with a smile as they greet the receiver.
[ TEARS ]: the sender greets the receiver while very clearly in tears.
[ FAKE ]: alternatively, the sender (who has just been crying in private) hastily wipes away their tears and tries to greet the receiver casually (to varying degrees of success).
[ WARNING ]: when the receiver begins to say things about subjects that are off-limits to the sender, the latter gives them a warning by saying "hey…".
[ LAUGH ]: having found the receiver to be decidedly unhappy, the sender lightly catches their attention before doing something to make them laugh, or at the very least, grin.
[ PROTEST ]: after the receiver does or says something that the sender deems to be unfair, the sender tries to exact justice by saying "hey!".
[ BREATHLESS ]: having clearly just sprinted down to the receiver, the sender tries to catch their breath while greeting them.
[ SAVE ]: after just saving the receiver's life in a very heroic fashion, the sender smoothly greets them while helping them escape.
[ FLIRT ]: the sender meets the receiver in a social setting, and attempts to flirt with them with the very traditional pick-up line: "hey.".
[ APOLOGY ]: the sender, having recently done something that hurt or upset the receiver, reunites with them and addresses the elephant in the room by greeting them with a sincerely apologetic tone.
[ AWKWARD ]: after a particularly rough first encounter, the sender meets the receiver again, and awkwardly greets them with more than a touch of embarrassment.
[ GENTLE ]: having found the receiver in an emotionally compromised position, the sender closes the door and approaches them carefully, gently saying "hey…" to try and get them to communicate what has upset them.
[ HARD ]: preparing to deliver what they both know will be bad news, the sender tries to prepare the receiver by quietly greeting them in a solemn tone.
[ WAKEN ]: walking into the receiver's bedroom, the sender gently shakes their shoulder to waken them, and whispers "hey." to encourage the process along.
[ WHISPER ]: the sender gently whispers "hey" to the receiver to discreetly get their attention without drawing the attention of others.
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skdjfls was not prepared for. i asked connor "would you be attracted (sexually) to this guy (if you weren't already taken)?" and connor said, "No. I think I'd break him 🤷♂️"
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send him the abused silent children who are too afraid to do anything and act out to check if the people near them leave again. let him be gentle for them. he's really good at it
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hm. if you would like some back-and-forth tonight maybe press the like button. this does not have to be from connor i will take any of my muses (aaaany? squints at the doc), but i will try to tag you in a thing. if you're a multi please specify
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A distraction. Way out as much as invitation, life and living anchored in an ice-cream cone.
Connor appraised him for a moment, thinking about Patrick Jane in another life where he had never had cause to find out where his edges were. What cliffs there were people could fall off of. how sharp the rocks at the bottom were.
That Patrick Jane was a ghost. This Patrick Jane wanted ice-cream, and wanted it with his friend.
"Let me lock up," he said. A second ago his answer had been no, but he found that actually -- he rather liked the idea of encouraging ice-cream cones.
Something almost like (fatherly?) pride briefly crossed Patrick’s expression, blink and you’ll miss it, but there. If Connor had asked him, Patrick would have told him what he thought, and that was that the dream was likely meaningless. He didn’t put much stock in ascribing meaning to dreams. You might have more nightmares while stressed over work or after a fight with a lover, but they were not the mystical window into the inner-workings of the mind and soul that some people wanted them to be. No, the meanings that the dreamers decided for themselves was far more telling. Finding your own truths would always be more useful than listening to someone else’s.
So. Patrick was proud. He’d expect no less from Connor. Whatever answer he found, he hoped that he might find peace with it.
“You’re welcome,” Patrick returned. He meant it. “I think I’m going to step out for fresh air while the boss isn’t looking.” A craving for ice cream, that was Patrick’s truth right now. Whether ‘the boss’ saw him leave didn’t matter; he would not be stopped from wandering where and when he pleased. “Would you like to join me?”
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People Matching Artworks: An Unusual Photo Series By Stefan Draschan
People Matching Artworks: An Unusual Photo Series By Stefan Draschan More info: Website | Instagram…
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"Those two girls... They just wanted to be together. They really seemed... in love."
"They can simulate human emotions, but they're machines. And machines don't feel anything."
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