With every rewatch of Bad Batch season 1, I am more convinced that Crosshair was resisting the effects of the inhibitor chip when it came to his dealings with his brothers. Here's why.
In "Aftermath," as soon as Order 66 is put into effect, Crosshair tries to kill Caleb, begins to clash with every member of the squad when it's clear they are questioning the order, and even reports to his superiors that the padawan may have escaped. His frustration at Hunter repeatedly disobeying subsequent orders, and the other squad members agreeing with Hunter, continues to grow, indicating that the inhibitor chip does have an effect on him.
(As an aside: it's honestly heartbreaking to see just how earnest and frustrated Crosshair is when he's telling his brothers "Good soldiers follow orders" while they are locked up in the brig. His tone and body language there has all the energy of someone who is convinced beyond any doubt that they are right, but they don't have any other way besides one sentence to explain why they are right, and they are equally frustrated both by their lack of ability to explain further AND wondering why everyone else is so dense that there's any need to explain further.)
Still, even as he vehemently argues with Hunter and the rest of the squad, he never outright attacks them, and he begrudgingly follows Hunter's lead even when he clearly disagrees.
Until his inhibitor chip's intensity is ramped up.
Crosshair confronts his squad, orders them to surrender, and when they don't, he shoots Wrecker. Now, personally I find it noteworthy that Crosshair didn't make it a kill shot when he certainly could have - even Hunter comments that Crosshair must have shot Wrecker specifically to set him up as bait. And @miss-musings shared some very intriguing details that further indicate Crosshair might have been pulling his punches during the fight: 1) When Crosshair nearly shot Omega but Hunter pulled her back, Crosshair had a second where he readjusted his position, almost as if subconsciously bothered by the fact that he almost shot the kid. 2) When aiming at Hunter's head - the target was clearly in his sights - Crosshair took a long time to pull the trigger, long enough for Omega to act. 3) When Omega shot the rifle out of his hands, he takes several seconds before grabbing his sidearm to return fire. Maybe he was simply taken aback by what Omega had done and surprise made him freeze, but it is still an interesting detail.
With all that being said, given that there's every chance Crosshair had been told to bring in his squad mates alive if possible, maybe he was just following orders there.
Where I think it becomes quite clear that Crosshair is capable of resisting orders is when he confronts the squad on Bracca. Crosshair had initially approached Rampart with the proposal of bringing in Clone Force 99, but Rampart told him in no uncertain terms to "terminate them."
Crosshair knows his squad. He accurately predicts every move they are going to make. He knows their playbook and WILL use that knowledge against them. So what does Crosshair, CT- "I'm willing to do what needs to be done" -9904, do? He sets up an ambush, surrounds his squad, and stops to chat, ultimately giving Tech enough time to come up with a counterattack. It's heartbreaking when Crosshair ignores Hunter's and Omega's pleas and instead tells his forces to "Aim for the kid." But why is Crosshair talking to them at all? Dude could have easily hidden himself and his forces and sniped down each of his unsuspecting brothers one by one. If Crosshair wanted his brothers dead, they would have been.
Same goes for the showdown in the ion engine. It is absolutely horrifying that Crosshair would order his forces to turn on the engine in a move that would completely incinerate his former squad. And yet... His squad mates are cornered in an enclosed space with no way out. Crosshair has multiple vantage points he could take advantage of, not counting the shuttles he has at his disposal. Why would he order his teammates to be roasted instead of, you know, enacting the more certain method of shooting them while they're trapped? He even had the chance to snipe down an unsuspecting Tech when Tech was assessing the engine's opening; instead, what could have easily been a kill shot turned into essentially a warning shot. It's like he needed them to be dead, but he just couldn't make himself be the one who pulled the trigger - so he came up with another strategy that wouldn't involve him killing them firsthand.
It seems to be a well-accepted theory that Crosshair's inhibitor chip was removed or otherwise ceased to be a factor for his behavior shortly after the events on Bracca; yet even before this occurrence, when Crosshair was under the influence of the chip, it seems that there was still a limit - albeit very subtle - to how far "Good soldiers follow orders" would take Crosshair when it came to his brothers.
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what are some phancoded songs?
hiiii omg thanks for the ask!! i absolutely love talking about songs i associate with my interests!! (autism has been activated to the highest degree so this will be a long post, you have been warned)
here are some of what i think are classic dnp coded songs:
Guys by The 1975 (i see this as more about the phandom than about dnp tbh but its very very dnp coded no matter how you interpret it)
That's So Us by Allie X
Still into You by Paramore
The Only Exception by Paramore
i have a whole ass 100 song long playlist about dnp but let me give you my favourites that aren't the usual classics:
Eighteen by Pale Waves
This city depresses me
But you try to be everything I need
We sat on the corner kissing each other
Felt like I could finally see in colour
I was 18 when I met you
Poured my heart out, spilt all my truth
I finally felt like I could feel for the first time
When I met you
i mean????? thats 2009 dan and phil????? dip and pip??? hello!!??
also fun fact!!: this band is from manchester and this song was written by their non-binary drummer and lesbian lead singer (who lowkey gives lesbian version of dan). you should rlly listen to pale waves. idek if theyve heard of dnp but theyre true phannies to me.
Starlight by Muse
this song, man. never heard of muse until i got into dnp and then i this song was the first one is listened to.
Hold you in my arms
I just wanted to hold
You in my arms
i feel like it says sth about the expectations of being in a relationship while also presenting yourself on a massive public platform. wanting to be authentic and produce content^tm vs. being closeted and wanting to protect your relationship. 'I will be chasing a starlight, Until the end of my life, I don't know if it's worth it anymore'. Is worth it to constantly push the content out while feeling like a fraud for being inauthentic about your identity? 'And our hopes and expectations, Black holes and revelations'. the future may seem very dark and hopeless sometimes, it may not turn out how we expect or hope, but only once we face instead of fight it (embrace the void etc) we will forgive our past selves and see that the future really is bright. so yes, very dnp coded.
Anniversary by Autoheart
Years of nothing have subsided
We have fixed each other up
Giving you up? What are you on about?
I'll never give up believing in us
Giving you up?
Now why would I do a thing like that?
No I’m not giving you up, no way
I will never stop when it comes to you
this song is not only dnp coded (kind of an october 19th theme song) but also has gained a new meaning since the return of dnp games <3. they didnt give up on us. they came back. and we really helped each other get here <3. think about it like that when listening and i guarantee you will be sobbing. the song also has some marriage themes bc theres wedding vows during the bridge so i will just let you live with that <33
Where the Lines Overlap by Paramore
Tracing patterns across a personal map
And making pictures where the lines overlap
No one is as lucky as us
We're not at the end but oh, we already won
Call me over
And tell me how
Well, you got so far
Never making a single sound
I'm not used to it
But I can learn
we werent ready for their comeback / we're still learning to get used to it / just look at them / boiling frog theory / hard phaunch / do i need to say more
Yellow by Coldplay
this song became part of my playlist when phil didnt know a single coldplay song. unfortunately i cant take it serious anymore after dan was turned into a golden pig, then was literally glowing golden during a book event all while #pissyourself4dan was trending and every phannie on twt made their pfps yellow. i will curse your mind to with the lyrics and mental imagery: (im sorry but im also not bc this is how my autism thinks humour works)
Look at the stars
Look how they shine for you
And everything you do
Yeah, they were all yellow ✨✨
Your skin, oh yeah, your skin and bones
Turn into something beautiful ✨✨✨
And you know, you know I love you so 💛
✨✨✨
(im sorry again)
Safe & Sound by Tonight Alive
Dan in BIG: "for the first time since I was a tiny child I actually felt safe."
Nothing compares to what we share
I don't have a care in the world
Cause even if it all came crashing down,
As long as you're around,
I'll be safe and sound. 🧡
ending it with a nice one because its beautiful and sappy and its so them afterall. they really won rpf.
thank you for this ask, i enjoyed answering it!! (im sorry for taking so long. im on day 11 of a cold so ive not had much energy.)
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uhhh you asked for asks???
srry i feel so self conscious rn
clingy human john!! do with that what you will :D
i love ur writing so much btw, like three of ur works are in my comfort fic bookmark collection 💖💖💖
WHAT IF I CRIED SJHFfj. thank you so much ;_; your art srsly sustains me 💖💖
and thank you for the ask AAAA! this was really fun to write out!! it got... a bit away from me length-wise. but i just really love clingy human john <3
He senses the hands poised and waiting on each side of him before he even opens the fridge.
John was never one for subtlety. He was crafty, certainly, and intricately aware of his own innate cunning to get what he wanted, often to the annoyance and detriment of everyone around him. Manipulation by default carried its own brand of skillful deception, an artform of hiding partial truths in favor of what you wanted others to believe instead. But rarely did it require him to be totally discreet in those aims - and even now when he had grown so far beyond the king he used to be, his lack of remaining subtle in every single act grew with him.
"John," Arthur says slowly. "Can I open the refrigerator, please?"
Those arms wrap around him before the sentence is even fully out of his mouth. John holds him loosely as he comes to stand just behind him, draped like so much heavy wool, the differences in their heights never more apparent than when he rested his chin atop Arthur's head.
"I don't know," John muses thoughtfully, "can you?"
Arthur sighs, fighting helplessly against the curve of a smile. "It's only been five minutes since I got up," he recalls. "I told you I was coming back soon enough."
"Mhm," comes the indifferent hum. His breath stirs a few wayward strands of swept back hair. John's own long black curls had spilled over his shoulder, tickling the side of Arthur's cheek. "I missed you, though."
"Five minutes," he emphasizes, attempting and failing to reach up and grip the refridgerator's handle. "You couldn't wait for me that long?"
"I got bored," says John nonchalantly. "It's too cold in there."
"What do those things have in common, exactly?" he asks airily, giving into a grin.
Rolled eyes go unnoticed as John hugs him tighter, chest pressed against his back. "The heating is out," he clarifies as though it were the most obvious thing in the world. "I was impatient waiting for you to come back. You're the warmest thing in the house right now, ergo, I came to find you."
"I see." He nods sagely. "Ever the survivalist. Wouldn't want you to freeze to death. May I have my hand back, please?"
"Can I have it when you're done?"
"Yes, John, Jesus Christ," Arthur laughs, the sound dancing joyfully around the tiny kitchen. "I just need a moment."
With a grumble, he relents, releasing the left hand only. Arthur's other remains solidly trapped under the reach of John's left arm, fingers brushing the backs of scarred knuckles absentmindedly. It grounds as much as it distracts, and when he's finally able to open the door and stand sightlessly in front of the cool draft wafting out, he forgets entirely what he was going to make.
"What are you looking for?" John asks him, unconsciously mirroring the thought. His chin hasn't moved. Every miniscule movement of Arthur's he matches, the two of them swaying imperceptibly in place.
"Something to eat, clearly," he says drily. "Any suggestions?"
John shifts briefly to put both palms on either side of his waist, feeling the curve there. "Something fattening," he recommends. "It's still like grasping a slip of tissue paper."
Arthur huffs, but doesn't give in to the gentle ribbing. "I'm trying, alright? I’ve a lot to make up for."
"Try harder. More of you means more for me to hang onto."
It had been this way ever since they'd gained him the body both had worked so hard to achieve. From day one John had clung to him like someone starved of affection his entire life - and in all aspects of the phrase, he very much was. Out in public they tended to keep a lower profile, relying on the indiscretion of linked pinky fingers when walking or shoulders bumped playfully against one another, but rarely did it satisfy their longing for the comfort of simple touch. At home, safe from prying glances and safe in each other, John followed him almost everywhere he could. Usually his excuses were believable enough for Arthur to concede to them, but after a while John gave up pretending altogether.
In complete honesty with himself, Arthur would never have turned him away, false reasons for wanting to be near him or not. He would drape himself over Arthur's neck while he played piano, something he knew tickled him enough to lose focus; he cared very little about this, only lamenting the stall of music. He would lay his head in his lap while John described the movie they were watching, eyes fluttering shut when wandering hands played with his hair, losing the plot entirely. A bed empty on one side soon became the two of them slotted neatly together, neither looking for anything more than someone to breathe next to, hold through the small hours of the morning.
All those eons alone, Arthur thinks to himself as he reaches for the bread. All that time spent denied any tangible adoration or connection, unable to consider what that could even mean, too large in the scope of his unending dominion to conceive of something so plainly momentous as two hands coming together. No wonder he was ravenous. It must have felt like finally being let inside after staring for so long through the glass.
All that history behind him, and it only made him want to feel loved. In this, Arthur could resonate well.
"John?" he asks, setting the bagged loaf on the counter. John follows behind him, still wrapped. Arthur could have stood on his toes and had him walk them both across the room if he wanted to.
"Hmm?"
"What's it like?"
John blinks drowsily. "What is what like?"
"Being able to touch, I mean. I know you had my hand, of course, but with your own body I imagine it's much different to experience humanity through."
John considers this as he watches the sandwich forming, not bothering to help as Arthur struggles to grab a plate over John's cemented grip. He'd mulled it over on multiple occasions, tried numerous ways to explain it. All his eloquence went out the window when faced with such a question, simple on its face but possessive of an entire linguistic ocean underneath.
His mouth opens, a half formed sentence lingering there, before promptly closing. Arthur winces at the tap of his jaw against the top of his head.
"Ouch?"
"Sorry."
He can't find the words. Perhaps he didn't need to. This source of physical consolation and the way he coveted it would have to be enough to make him understand. The sensation of fresh cotton clothing, skin warmed by the sun casting its narrow beam of light across the kitchen floor, muscles and joints and a collection of scars all silhouetted into a body he had once lived in, and now knew as well as his own: it's a humbling wonder.
But Arthur sighs, and this description too leaves him. So instead he settles.
"It's nice," he says quietly, reveling in the sturdy softness within his reach that he would be forever grateful to share. "It's nice."
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honestly, it's really interesting thinking about how the events of the desert dream in 1998 would get blown out of proportion in the coming years ; hell, it already kinda is twenty-four hours later. not only does the fbi get involved ( and they get involved quick ) but the entire thing is immediately labeled as 'the desert dream massacre' which is ... simply not true. if tyler doesn't kill joyce and michelle isn't shot then the total body count is four cops, with two on life support from the motel burning down. this is literally confirmed in game!
events get labeled as massacres if there's a huge body count, or if it's violent enough. the desert dream killings were neither. all the victims were shot, usually at a distance, or they suffered from burns ; which, while violent, it was more of an escape attempt on the holts' part than anything else. i also find it telling that, even if the holts kill a hostage or two, agent bradley doesn't bother mentioning that in private. all he cares about is the cops lost to the standoff. it's no surprise that killing an officer will get you a more severe punishment then if you kill a regular person, that it can sometimes send you straight to death row on its own, but the fact they don't even care about the deaths of any of the hostages ... it sure is something.
especially since the only hostage deaths in the desert dream can turn the only two kids in the game into orphans. or on the flip side, if the holts didn't harm a hostage, there's no mention of that either. or how the hostages were treated, which compared to usual hostage situations, they got it better than most. it's just the fact that they killed cops ( who were under the thumb of a corrupt sheriff, by the way ) that made this into a massacre. though i wouldn't be surprised if to the public the force would then heavily focus on any other victims, that's usually what happens normally, after all.
anyway, point is, classism does play a role in how cases and crimes are treated -- especially back then. the holts were poor, notoriously so, and they were a family full of drop-outs with nothing to their names. the very second they escape the motel, their names are plastered all over the country and their fates ( including jay's, who's merely an eighteen year old who was an accomplice at best ) are decided : they're going straight to death row. even if jay tries to do the right thing and come clean to agent bradley, tries to turn on his family, said guy immediately goes to pin all the murders on him, for seemingly no reason at all! it's very unjust, and ah ... shady!
the news and papers hype up their crime spree and i wouldn't be shocked that within a couple years, the holts would be presented as bloodthirsty rednecks who were simply greedy rather than a family that didn't have any help and got in way over their heads. the narrative would be twisted so much, especially if three of the holts were never found. there'd be no word from their side, no mention of the thugs who were threatening to kill them, just a true crime story where they were at the forefront of a very unfortunate situation and got away with it. leaving gossips to fill in the blanks as they please, and considering the police's and the fbi's behavior towards this case, they would only fuel the narrative that the holts were a family who did all this on purpose and relished in the aftermath, a family who loved doing the crime.
anyway, it's just something i love thinking about for post canon stuff when it comes to my adf muses. how wildly inaccurate the story's become in time, simply because people got bored or because of the classism back then that was so woven into the broadcasted crime that it's become impossible to separate the two. they'd paint the holts out to be wildly dangerous, cruel individuals and probably spin tales about unsolved murders and robberies and how it could be the work of a holt who had got away. their entire motivation would be obscured and would've gone unsaid, leaving random civilians and a force who hates them to speak for them instead. it'd be a whole thing! and the desert dream was dramatic, sure, but by the time everything is said and done you'd probably barely recognize what the media was talking about had you actually been there.
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