A Careful Fire
Careful.
I see your eyes and tears aflame,
Green like smoke, blue like ash,
Red in twisting rivers and screaming throat
I want to warn you, I want to stop you, you keep going and going and going and going,
It’s going to be the end of you
…
Maybe it’ll be worth it.
Burning down like a candle, a pyre, a house, a forest
Like darkness being torn apart, intimate, cruel
Careful fingers along the pulse
Deep and gouging and gentle, gentle
You know where to draw the line
I see you draw the line
You draw it too far
Your teeth are white, white, white and gleaming
Hard and sharp and jagged and charming, oh so charming
They could take me anywhere
Take me anywhere
Please, dear god, take me anywhere
I won’t go on my own
I need to I can’t
Please
Please
I am watching you, I am watching you
You destroy yourself and I am jealous
Jealous I don’t have the guts,
Jealous it’s not me ripping you open
Instead of staring and watching ‘til my eyes begin to water
My eyes burn but they burn coldly
I am standing still, a stone in a river
Wishing I could be ripped away from the earth and flung away, far, far away further and further and deeper and deeper
But the water runs slow
It wears me away instead
Careful,
I tell you, and there is hate on my tongue
You are being reckless, you are being stupid
This will kill you
My heart is carrion, my bones are trinkets
I wish I could sell them
But they are worth nothing
And they taste foul
I only want to keep you safe
I only want to watch you burn
Why must my eyes be for seeing and yours for screaming and crying and laughing and loving and dying and burning, burning, burning
You are a fire and I am a stone
You can’t hurt me, I am solid, I am steady,
I wish you would, I wish you could
I don’t want to watch anymore
Please don’t make me watch you anymore please
I am falling apart
I love you
I hate you
I need you
Gods devouring above and rotting below I need you
So hold me and hurt me and teach me to burn
Burn like the green of your eyes and the red of your throat and the pounding of your heartbeat
I want you
I am you
You don’t need me
It hurts, it hurts
I am too far away, and when the line was drawn, I was too far away
I don’t know how to cross it
I can taste the ash and the smoke and the fire but it does not belong to me
It is yours, it will always be yours
And I will never be, and I will never feel
Your fire on anything but the wind
I wish you would keep that in mind while you burn so recklessly
Careful.
I will not follow in your footsteps, wherever they lead
I will not laugh and cry and love with you
I will not cross that line you set
I will not feel your heat
Or taste your ragings
Or set your fires
Or burn
For when you burn away you will burn away alone
And though I will not be close enough to save you,
I will be close enough to watch.
4 notes
·
View notes
sits up in bed. so lana and ema definitely thought they were responsible for edgeworth "choosing death", right?
(the rest of this post was supposed to go in the tags, because it's not very well organised or written, but it got too long so. here are the slightly edited tags for your reading pleasure (or otherwise)):
i was going to make this solely about ema because she's the obvious one with her open adoration of edgeworth, but the thing about rfta is that it goes to great lengths to emphasise the connection between lana and edgeworth as well.
the sl-9 incident showed that lana grows attached to people deeply, hence angel starr's comment on how, when neil marshall died, 'she (lana) felt like her own brother had died.' with edgeworth, i think it was similar but worse. because he's not just a coworker or subordinate who's dear to her. he saved her life. and it cost him his own.
at the beginning of the case, edgeworth says he was mistaken for thinking that lana was always looking out for him post sl-9 (a statement interesting on its own because that's when everyone else says she grew distant), and, later on, he brings ema fingerprinting powder because lana asked him to. then, of course, there's the 'lady luck' comment he makes.
similarly, on lana's side, you obviously have the end of the trial when she says he did well, but there's also that additional moment post-trial where she's the only one to notice — in a group comprising her, ema, phoenix and gumshoe — that he's 'hiding', listening to their conversation. point is, there's enough to suggest that she might have been the nearest thing edgeworth had to a mia; his 'chief prosecutor' to phoenix's plain 'chief'. they're as close as two people can be in a relationship where one of them is constantly lying and the other is von karma's star pupil.
rfta is pretty straightforwardly depicted as the case which solidified edgeworth's resolve to do what he did; i don't think i have to prove that. rumours about him have reached new heights, his car and knife were involved in goodman's murder, he makes an unprecedented mistake in court by failing to connect the evidence room and carpark incidents, thus forcing the chief of police to enter the trial to do so himself, and he's publicly revealed to have relied on falsified evidence to secure a conviction in the sl-9 case, all of which only happened because of lana. jake marshall even claims that from the beginning — that if you trace edgeworth's rumours back to their source, you end up meeting one person: lana skye.
and it gets worse because at the end of rfta, she thinks he's fine!! she literally says, 'i was afraid the pressure would break you, but you rose above it,' and reminds him he's nothing like gant because he's not alone. she leaves the case thinking he will be okay. and then, what, like a week passes, and she finds out that he wasn't, and that he's gone, and it's her fault. even after she was freed from gant's control, even after she had finally stopped lying, she couldn't prevent herself from claiming another life. so much for 'lady luck', i suppose.
and the game reiterates this multiple times. gumshoe states at the start that edgeworth's ties to those higher up in the department have made him the subject of constant rumours, and phoenix says (in front of ema) that he shouldn't be held responsible for the forged evidence because that was all lana's doing, which then leads to edgeworth commenting (again in front of ema) that he feels as though 'something inside him has died.' it all goes back to lana. we can argue and say that it was technically gant's doing that caused all of this, but lana still took actions that led to it. even her complicated friendship with edgeworth isn't spared; it's that closeness between them that exacerbated those rumours. how could she not feel responsible in some way?
and with ema, it's rather obvious, isn't it? if she hadn't gone poking her nose into things, none of this would have happened or come to light. and, of course, she'd never choose anyone over her sister, not for anything in the world — it's simply not a question, but that's the problem, isn't it? it's not a question. it's not some hypothetical moral dilemma. it just is. she may not have killed neil marshall, but she still has one king of prosecutor's blood on her hands. and now she has to live with that. she just. has. to live with it. no matter if he chose otherwise.
moving on from that a little, i think it's actually wild how much of ema's journey to becoming a forensics investigator is paved with bad memories. neil marshall's death and her subsequent inability to testify are what drives her to begin pursuing it, her first proper investigation results in her idol's "death" and when she finally graduates, the person who saved her sister has been disbarred, and she can't even help because she isn't allowed to. all that pain and constant pursuit of her goals, and she's still the same ema skye, still that girl shrouded in darkness, always one step behind the truth, one step a little too late. no wonder she was angry in aa:aj. i would be furious.
109 notes
·
View notes
i need to share the absolute fucking Experience i had playing minecraft tonight. i'm gonna be emotional about it for days
so me and my friends like to play on this server that's pretty much just a bunch of minigames. one of them is Murder Mystery - of a group of - i think its 13/14 people - one person is randomly selected as the murderer (spawns with a sword), the other as the sheriff (spawns with a bow). the rest are innocent. the innocents can gain a bow by collecting coins. no one knows anyone's status unless the player shows their sword/bow. i'm doing a quest where, in order to get points, i need to kill the murderer.
so as the game start countdown begins, me and my pal are checking out this Red Link skin. it's pretty neat! we're all crouching and punching at each other, as one does. i feel a connection form with Red Link. we're buddies now. we're in this together.
so we're all running around the map. every time i see Red Link, we crouch and punch at each other. the game is going fine, we're having fun. i'm delighted that i've made a one-game friend.
then my friend says that Red Link is the murderer, and i literally have a hard time believing it. Red Link? my Red Link? no, they must be mistaken. we were together at the start. they had ample opportunities to kill me. it can't be Red Link. but whoever the murderer killed was the sheriff, and i needed to complete the quest - picking up the sheriff tombstone grants me the bow.
so i run, trying to find it, and i turn the corner.
there Red Link was, standing at the end of the hall, by the tombstone, with a sword in hand. i froze. i was so upset - not Red Link! not my dear companion! i was so sure that was it.
but i walked forward anyway, thinking that maybe if i dodged around them, grabbed the bow, and turned and shot fast enough, i could get them. the thought was actually distressing! Red Link didn't put the sword away. they watched me slowly approach. we stood on either side of the tombstone, and i expected Red Link to cut me down. i was well within reach of their sword.
Red Link calmly, still looking at me, moved to the side and past me. i panicked and grabbed the bow, ran to the corner, turned and drew - Red Link was already at the other end of the hall, running away. i didn't want to shoot, but i needed the kill - who knows when i'd get an opportunity to complete the quest again. it's a tough one.
i missed, thank fuck, but man. i was in shock. i thought i was a goner.
then, after the game where awards are given - the murderer, who killed them, who collected the most coins - i went up to Red Link and crouched. they crouched back.
then they left the game.
70 notes
·
View notes
i've been thinking a lot about the word "representation" and what it means and how it's changed over the last few years, particularly when it comes to the writing/publishing landscape but also in movies and tv shows… and i really don't like it anymore. to be clear, of course i think it's important to have diversity in your work, i'm not saying i hate the concept of representation. but i do really dislike the way it's used now, and i really just hate the word itself
in a broader sense it's just become a marketing tool. i'm not impressed by any publisher or author who just describes their book by listing all of the minorities/identities the characters represent as if that should be enough. it feels very gross, very exploitative and disingenuous. it also really bothers me because it's always marginalized identities- which i understand Why, but it feels very othering to me (and again. Very exploitative as an advertisement). you would never list out "cishet able-bodied white man" as a character description to pat yourself on the back over. so why do it to everyone else? why insinuate that one is the "default" and the other one is "special"? (and when i say this i'm mainly talking about advertisements/marketing. i understand why people would specify about characters in descriptions with the plot, but i don't like to see an ad that's just "this book has gay people!" with nothing else)
which then leads me to my other point, which is that a lot of people treat "representation" as if it's "too hard." like "oh i don't know enough to write about that, i don't have that experience, etc" which is a fair way to feel! however… it's weird that people only say this about writing trans characters or characters of color. i'm writing a story right now with a character who is really into motorcycles. i personally do not know that much about motorcycles, so i researched what parts are what & what different kinds of models there are & what basic bike care looks like. i guarantee Most people will have to google something at some point in their writing process. so what's the problem? it also, again, feels very othering when authors treat certain groups of people as "impossible" to write, "too hard" to understand. they are just.. people. you write them as a person. and then you figure out the rest later.
and i think part of the refusal or fear to write something outside of your experience is because of the way representation is treated as So Special. these characters are So Special that they aren't allowed to be anything other than "representation." they're Not allowed to be characters with complex emotions and interesting motivations, they have to just be Trans or Gay or Disabled or whatever. they're not allowed to be people. which means, at the end of the day, we loop right back around to where we were at the start….
there is bad representation. there are depictions of certain marginalized people that are harmful and that are damaging, i'm not trying to minimize that or argue against it at all, in fact we should all be mindful of that while writing and reading. but i also think it's possible to swing too far in the opposite direction as well and put certain groups of people on a pedestal and not allow them to do anything at all but be Perfect Representation, if that makes sense.
269 notes
·
View notes