a very interesting (and endearing, at least to me) detail about jean's character is how he tends to fix himself during a confrontation. (long post ahead)
despite the fact he looks just fine, he does it to self-soothe more than anything, because he knows he has no control over the situation. so if he can't get through harry, at least he's in control of how he looks. and he can look BETTER, more put together than harry, so he makes sure to show him that. every time.
constantly readjusting, correcting, dusting himself off every time he's confronting his former partner because i think he has a severe inferiority complex (since harry outranks him and refuses to accept any promotion, which makes jean perpetually stuck as a satellite-officer, tied to a self-destructive man who's also good at what he does + harry has had a chance at a love that's so redeeming that he pictures her as the game's equivalent of God, a love that jean desperately yearns for so he hates harry for blowing it, and hates himself for never finding such a love despite the fact he's more put together than harry, or so he claims) that flares up every time harry's in the vicinity. i don't think jean has problems asserting himself when harry's not around, though. we've seen that here.
jean's perfectly capable of being authoritative, and has power over his colleagues, contrary to popular belief on this website. of course, provided harry's not there.
because he'll start slipping every time. his body language is also incredibly stiff, i'm assuming it's to seem like he's composed, but that falls apart when you notice how many times he struggles with his breathing, how many times he has to collect himself.
naturally, since kim also outranks him, jean behaves the same way with him although less emotional. he loses the spite, turns a little more submissive, though his pride doesn't completely disappear, like authority indicates. i also believe it's because kim didn't address him properly, therefore jean didn't feel the need to extend more than basic respect towards him.
it's very interesting to see, since he seems to have this ongoing inner conflict between his pride and his self-hatred. believing he's better than harry, yet crumbling at his presence. laying down and taking it, then suddenly revolting. being in control until the reason you're forced to take control shows up, then suddenly you're not in control anymore and you have to fix your hair and your tie and dust your suit and cough to look like you have your shit together. to prove that you're better. jean's trying to tell harry that he's BETTER than him! that's why he does all of that shit! he's terrified of ending up like that! he's even more terrified of the fact that despite being the mess he is, harry IS better than him! HELLO!
241 notes
·
View notes
SOLA — Her Innocence, Sola— the anti-innocence— turns to face you. In the distance, you hear the tattoo of propellers, turning, sucking all the air. A strong wind whips her long, dark hair around her face. Her simple black gown billows behind her. The same gown she wore the day she resigned.
She has your eyes.
“Hi, Kim,” she says simply. “You don’t look well.”
PAIN THRESHOLD — Her voice is so familiar, and yet the moment she stops speaking, you cannot recall its sound, no matter how hard you try. And you have tried. Innumerable times.
AUTHORITY — What makes her think she would even *know* the difference between you looking well or unwell? She’s being presumptuous. She doesn’t even know you.
INLAND EMPIRE — She never will.
“I’m doing great, actually. Never been better.”
“Hey, I’m trying my best.”
“I’m *not* well. I’m so fucking unwell. I can’t take it anymore. Please, help me…”
“I’ll live.”
SOLA — “Hm…” She smiles apologetically. “Well, that’s all we can really ask for anymore, isn’t it?”
EMPATHY — She wishes more than anything that this was not the case. That you could ask for the world and have it.
RHETORIC — She tried to give it to you, and this is how you repay her? You’re gonna be in *deep* shit trying to explain that insignia you stitched onto her jacket.
“Um, about the jacket. It’s not what it… well, no, it *is* what it looks like. But I don’t— it’s— there’s nuance.”
“Is that really all you have to say to me?”
“I don’t know what to say to you.”
“Where are you going?”
SOLA — Her Innocence looks away from you, toward the wind. “Away,” she says, her voice distant and strange. “Yes… I’m stepping down, you see. The world doesn’t need me. It never needed me, really. It’s best for humanity to think for itself. No… it already *does* think for itself.”
She turns back to you with a small smile. The thought brings her peace.
PAIN THRESHOLD — But what does it bring *you?* She’s leaving you forever. Abandoning you for lofty ideals.
AUTHORITY — Let her go. Let her see how little you care. Don’t give her any satisfaction.
HALF LIGHT — Stop her. You won’t be able to live without her.
VOLITION — You have already lived almost all your life without her. You don’t need her. You have *never* needed her.
“What if the world *does* need you? Who are you to make that decision for the entire world?”
“Fine. Go. It’s none of my business.”
“So you’re just going to leave me behind again.”
“Please, don’t go. *I* need you.”
SOLA — “What else is an Innocence appointed to do?” Her smile turns wry. “You see? This is why I’m stepping down.”
Distant propellers turn and turn in endless circles. She glances toward them.
YOU — “Fine. Go. It’s none of my business.”
SOLA — “I suppose not.” Her voice and her face betray nothing. No sign of remorse.
YOU — “So you’re just going to leave me behind again.”
SOLA — “That was never my intention,” she says softly. “Surely you know that.”
INLAND EMPIRE — You will never truly know. No one will.
SOLA — She stares out at the horizon through the tendrils of hair that almost seem to threaten to swallow her. Her expression is strange and ambiguous, shifting every time you try and look directly at it.
YOU — “Please, don’t go. *I* need you.”
SOLA — She looks at you, and her eyes are full of what might be genuine sadness. But they could also be full of anything else.
“Oh, Kim… You must make do with what you have. I don’t know what else you want me to say…”
RHETORIC — What?! There are a million other things she could say! Forty-one years worth of possibilities! She could say *anything!* Anything at all… Even if she’d only left you a single word, it would be better than this…
VOLITION — It’s pointless to wish. Please, no more of this. It’s too sad.
“You could say that you’re sorry.”
“Say that I turned out all right.”
“Say that you’re proud of me. That you love me.”
SOLA — “Then I’m sorry.” She closes her eyes. “It was terrible of us to leave you alone.”
Her voice is utterly calm and emotionless.
PAIN THRESHOLD — No… Wrong, all wrong…
YOU — “Say that I turned out all right.”
SOLA — “You’re a good man despite it all. That is all I ever hoped for you.”
Again, there is no warmth to her words. No conviction.
VOLITION — Lieutenant… Please, don’t do this to yourself.
YOU — “Say that you’re proud of me. That you love me.”
SOLA — “I’m so proud of you and everything you’ve accomplished. You wear that jacket well.”
Her eyes have nothing behind them. A pair of two millimeter holes in the world.
“I love you.”
PAIN THRESHOLD — Your lungs seem to constrict at her words. Your chest hurts more than it’s ever hurt. This wind is hard to breathe in.
YOU — “No! Don’t you fucking get it?! You don’t love me!”
SOLA — “Then I don’t love you.”
YOU — “You should be *ashamed* of me!”
SOLA — “Then I am ashamed.”
YOU — “I betrayed you! I betrayed everything you stood for! I’m a fucking cop!”
SOLA — “Then I am betrayed.”
She proclaims it as dispassionately as she proclaimed her love.
YOU — “For god’s sake, *say something real!*”
SOLA — She just looks at you. The propellers keep on turning.
DRAMA — She can’t speak for herself, sire…
LOGIC — Of course she can’t. Of course…
PAIN THRESHOLD — Your lungs feel like they could collapse. Empty, crumpled, dark. Hot tears prick your eyes for the first time in what feels like a long time.
SOLA — “Do you understand now?” she asks gently.
LOGIC — She cannot speak for herself because you do not know what she would say.
There are many memories that you have been slowly recovering, little by little. Your mother will never be one of them. Her, the revolution, the aerostatic brigade— they all died before you could even comprehend loss.
AUTHORITY — You did not become a detective so that you could find your lost mother. You became a police officer because you did not want to end up like her.
VOLITION — She can neither forgive you, nor condemn you. She is dead, Lieutenant. She can only be what you make her.
RHETORIC — You’re asking your own echo for answers…
SOLA — “Humanity must think for itself,” she says again, turning again toward the wind. “What point is there in asking me where to go from here? I’m a failure. We all failed…”
RHETORIC — The revolutionaries failed their children, and the children are failing their parents, and all of them are dying, dying, dead… What’s the point in any of this anymore? I cannot argue in favor of any of it.
VOLITION — There is a point. There is a way forward. But you won’t find it here, Lieutenant.
“I hate you. You made me everything I am and then you just *left.*”
“I miss you… How is it even possible to miss someone you never met? It’s like someone ripped a part of me out and all I can do is bleed.”
“I don’t know what I am. I need you to tell me what I am.”
SOLA — One last time, she turns back to you. She slowly bridges the gap between you and reaches out a hand to cup your cheek. Her fingers feel like your own.
“You are whatever kind of animal you choose to be,” she says, so quietly that you don’t know how you can hear it over the distant roar of engines. “I cannot make that choice for you.”
EMPATHY — She died hoping that you would grow up with the freedom to choose to be whatever you wanted. Instead, the world that raised you hardly let you dare to want anything.
VOLITION — But you can still make a choice. Humanity can still think for itself.
254 notes
·
View notes
thinking abt how harry, klaasje and lely are all the same person. theyre each other's past, present, and future.
so harry, klaasje, and lely all have the substance abuse problems and the stink of sad on them, and the same capacity for cruelty and violence. lely and harry are violent men, lely obvs did horrible things as a mercenary, no need to repeat his brother's story abt his war crimes, but harry was (and still could be, depending on player choice) a violent, out of control cop, just read the case file for "the unsolvable case"
and klaasje herself doesnt seem to mind lely's violence
god, theyre all so fucked. in the same exact ways. the only difference is, for lely, it is far too late to do anything abt it. but it may not be too late for harry and klaasje. i think its interesting that its harry who gets to decide if its too late for klaasje or not. he can choose to condemn her, or let her go. he can look at this fellow disco-ghost, infected by the sad, not yet ravaged by the substance abuse, but getting there, and decide her fate like shes another version of him.
89 notes
·
View notes
I feel like it is not appreciated and explored enough how flawed and not exactly healthy could Kim's and Harry's relationship be if they really got together.
They are two middle aged man whose lives are quite sad and miserable for completely different reasons and overall they are not really even very compatible.
About Kim we are told that he is possibly even more emotionally repressed than Harry. His entire life is so deeply connected to his job which is the only part of his life when he feels like he has some power and control over his place in the world, but also he's burnt out and he keeps going forward day after day only thanks to mechanical repetition of routine which keeps his days together. He is lonely and he does not even know how to connect with the other people, he does not even admit that it is something that might be missing in his life until he meets Harry who does not really take a no for an answer, who makes him reveal things about himself and bonds with him over stuff and even shares his terrible sense of humor - which all in the end tends to be the main argument why he would even be interested in Harry.
Harry is alcoholic and drug addict and both mentally and emotionally unstable not to mention he just suffered full retrograde amnesia, so, yeah, in theory there could probably not be a person less suited to have any kind of healthy relationship, not now, not at any point in foreseeable future. Also, one could question how much is Harry even able to love someone in healthy way - considering his tendency to deify object of his love. And there is already enough adoration towards Kim Harry can canonicaly express that no one really even have to write metas trying to prove Harry's possible romantic interest in Kim as no one really questions it, and the halo imaginary and, well, the fact that all we ever learn about Kim is filtered through Harry's eyes.
And there is so many other things I did not mention but last but not least how can one even try to have normal relationship when you are a cop in a city under totalitarian regime bracing itself for revolution.
And it's fair wanting to hope in better future for both of them and wanting them to get better together and to finally find a happy ending. And who cares if it's realistic one can enjoy the media any way they want.
But also I always love to see exploration of all the more dysfunctional aspects of it. And maybe their relationship would not be straight out unhealthy but either way it is likely to be far from perfect.
70 notes
·
View notes