Found This On Pinterest, But Count This Screenshot As A Reblog

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Aaron Horkey

🗡𝐹𝑜𝓁𝓁𝑜𝓌 𝔇𝔲𝔫𝔤𝔢𝔬𝔫𝔩𝔲𝔰𝔱 𝑜𝓃 𝒯𝓌𝒾𝓉𝓉𝑒𝓇 & 𝐼𝓃𝓈𝓉𝒶𝑔𝓇𝒶𝓂

Star Wars is making me delusional for happy endings more than ever and unfortunately I still don't have regrets. The absolute ache my heart goes through every time I stop and think about it in its entirety is phenomenal because how dare these characters from a galaxy far, far away give me pain

Sure we've got the Force and lightsabers and shiny armor and beautiful planets and I'm tickled pink by it all but no one warned me about the tragedy that threw me off the fucking rails with the speed of light

Because can you imagine cutting off the limbs of someone closer to you than a brother and a lover, the other half of your soul, and turning your back as he burns because you can't bring your lightsaber down and end his misery, you can't kill him, you spent years protecting him, fighting for him, keeping him close and not-close so he can find his happiness that the Code you are both bound to cannot give him as you willingly turn a blind eye, only to turn around and find that he has drifted too far and already completely out of your reach, and all you want to do is go back to the time when it's just the two of you, growing and learning together, watching each other's backs against blaster fire, when it was you and him against the world, not you and him against each other. You spend the next 19 years watching over the two stars that are the only parts left of the man you loved from different ends of the galaxy and learning to love them as themselves even as you see him and her in them and it makes you ache, makes you wish for simpler times as you stare down the red blade into red lenses hiding yellow eyes and you are tired, so tired with longing and pain and guilt for the monster you unknowingly helped create

And on the other hand can you imagine finding the child you thought you had lost along with the love of your life, the very people you burned the world for and you thought burned with it? The decades of anguish and anger all culminating to this moment, and instead of the joyous reunion you have always imagined in your weakest moments, it’s her familiar, beloved eyes doused in the color of the desert skies glaring at you with hate and fear as he hides his arm you ruined with your own Force-damned hands. You have loved this child from when he was just a dream whispered underneath the stars, feeling the warmth of twin suns burning in you as you imagine the weight of him (them, you are a father of two) in your arms, incandescent with the promise that you will protect the family you made, all the while forgetting the family you already had. Then you are on your back, electricity still crackling underneath your skin and robbing you of strength as you look at him with your own eyes for the first and last time, and there is forgiveness you didn't know you were looking for, and when you wake up again on the other side of the veil you hope you can find forgiveness there too

Luke Skywalker is proof that vulnerability and gentleness can be sexy as hell.

Cal wakes up from a nap. Oops, fell asleep on the couch again. He's so dozy, so comfy, maybe he'll drift off again and...

Wait.

Something feels different about his head. He stirs, brushing the blanket pulled up to his chin.

"Shhh. Go back to sleep." It's Merrin. She must be sitting next to his head. "I am not finished yet."

Her fingers are in his hair, brushing through and separating small handfuls into trios. The feeling is familiar, a distant memory from so long ago. He feels himself relaxing. "Why're you braiding my hair?" he asks, although it sounds more like "whyybraidnmuhheyh?"

Somehow, Merrin interprets his mushy words. "It is shiny. And pretty."

"S'not."

"Oh, yes, it is." There's a gentle tug as she deftly braids. "Fiery. Like my magicks."

"S'green."

"Hush, Cal. Let me finish."

Cal zones out, drifting into memories of Master Tapal patiently plaiting his braid, tying it off with the finest of thread. It never seemed possible for someone with such huge hands, and yet Master Tapal managed it every time. Sometimes he would tug on it to get Cal's attention. Other times, if he couldn't grab the hood of Cal's robes fast enough, he'd grab Cal's braid instead, and that never failed to bring Cal to a sudden and complete halt - usually before he wandered into traffic in the Brave's landing bay. He smiles at the memories, at the warmth, the tradition, the simplicity.

Merrin probably isn't going in for simplicity. Maybe he'll look like Cere did in that echo he picked up from Trilla's lightsaber. She looked so awesome with her hair like that. Could he grow his hair out that long? His pictures it - autumn reds, oranges and golds trailing all the way down his back, tied in intricate braids...

...who is he kidding? He'd sling it back in a ponytail and be done with it.

He giggles to himself.

"You are strange, Cal," Merrin tells him.

She has no idea.

A few minutes later, Merrin's fingers pull away. "Done. You may wake up. BD? You can come and look now."

Familiar feet tippy-tappy their way over. BD gives a long, slow beep of awe, and then the light of his scanner shines through Cal's eyelids.

Pretty, BD declares.

"I am not pretty," Cal grumbles.

"You are. You are a pretty princess," Merrin says. "BD, quick, make a recording."

"Excuse you, I'm no princess, I am a queen," Cal corrects.

"Forgive us, Your Majesty," Merrin says.

Curiosity wins and he opens his eyes, sits, frees his hands from the blanket, and explores his head. What he finds is a series of small, tight braids encircling his head - much like a crown. He leans forward and catches a glimpse of his reflection on the table. "Huh."

"You like it?" Merrin asks. "Cere explained to me how to do it, but it is easier to practice on somebody else."

"I do like it," Cal says. "It's really practical. Keeps it out of my eyes, too."

The hatch opens. Cere and Greez board the ship, both carrying several grocery bags. Cere clocks Cal first, nodding in approval. Greez does a double-take, puts down his bags, and moves in for a closer inspection.

"Well?" Cal asks, moving his head to really show it off.

"I love it!" Greez gushes. "I mean I really love it. I want it. I want that style right now."

"When you have more hair, I will teach you how," Merrin says.

He grins. "It's a deal. You heard it here, folks, Greezy is officially growing his hair out."

When cats hold each other >>>>>>>>

I will never shut up about how Kingdom Come: Deliverance is the most tenderly written game served to the most loutish horde of jackasses. I think it is possibly one of the greatest pieces of popular fiction made about feudalism in recent history, even if it's not always the most historically accurate.

And that's because the whole damn thing is about the profound, authority-enforced inhumanity that self-propels feudal order... but this time, it's written from the perspective of, for lack of better word, "humanity undermines, and humanity wins."

Love wins, if you want to be cheeky.

This was originally meant to be a reply to @feelinungry's excellent post on the subject, but it outgrew itself and got super bloated, so I'm plopping it in its own post to not be obnoxious...

KINGDOM COME: DELIVERANCE MAJOR SPOILERS BELOW

And the reason all this about humanity and love is so important to the core of the story, to the very backbone of the narrative (even beyond the plot), is that it exists in opposition and to the impairment of the feudal system. Kingdom Come: Deliverance means to teach us, by way of deeply dramatic plots following individuals, how feudalism works and why it worked the way it did. And why and how that system fails.

The vehicle by which the game does this is by showing us, over and over, how the stratification of feudal class is eroded and sometimes outright dissolved (either in general, as with Henry and Hans, or when it matters most, as with Radzig and Henry) by plain and simple love.

Feudalism, like most class-stratified systems, relies upon 1. dehumanization of those beneath one's appointed status; 2. fealty (mock-love) to those above one's status, their title-appointer class; and 3. the maintenance of a deep separation between these artificially bestowed statuses, as enforced by church (as in word of clergy, not word of god) & state (legal rules and law). Those words and laws existed to propel the system by divide-and-maintain (of the workforce populace, placing it firmly below the next class in line, etc.) in the service of unify-and-profit (for the ruling class).

Sigismund & his invading army are wholly separated and adherent to the feudal theory, even if they have flouted codes of warfare & inheritance; they are presented to us as the main dehumanizing force of the story world, a wave of Order that indiscriminately burns opposition flat rather than an individual leading a royal coup, a cyclical destruction that paves the way for the next flavor of rule to continue the feudal system ad infinitum. They're thoroughly separated from the story even when they are burning down a village in front of our eyes and generally move as one, with Markvart occasionally stepping out of that mass of Feudalism and its antihuman nature to give it a face. They're more a force of nature than an individual as far as the narrative goes.

And we are meant to understand that in sharp contrast to the "close" story, the cast we get to know and watch as they attempt to answer this force of nature. And the second we see these characters get close enough to each other, by raw proximity, to poke a pin into the wineskin of feudal order as dictated to them by authority, it bleeds--everywhere. Not in the sense of ruination but in the sense that a tiny wedge of empathy cracks open the dam and leads, yep, to rehumanization--and love, the most human driving force there is.

And that changes everything, for everyone. Not just internally, as with a character's personal development arc (i.e., Hans learning why his duties, which he resented and viewed as an impingement on his freedom when dictated to him by authority, are incredibly important for real people who experience pain) but externally as well (as @feelinungry so elegantly points out in the original post).

Over and over, at every stage of the story, it's the rehumanization of and by these decision-makers (at a family level, at a community level, at a regional level, at a national level) that cracks the feudal cycle, even if in very small ways. Hans really brings this back home in a petri dish in late game, after the siege, when he complains to Henry about the noble's code (letting Istvan go) potentially leading to pain and disaster for the common people Istvan's machinations are likely to harm in the future. He chafes--and we chafe, and so does Radzig, and so does Divish--against feudal stratification because he has learned a general empathy through loving an individual, and that has in turn reshaped the way he sees the world.

And that's exactly why and when feudalism begins to fail, and why it thrashed itself the way it did, from the enforcement of sexual mores (though this wasn't exactly like it is in movies) and gender law to terror upon its own populations.

And it's the crucial understanding I think we begin to forget after being exposed to so much Hollywoodification of history, where the oppression always exists for cruelty's sake alone rather than in active and deliberate service to a political construct.

And I think it's why we've "lost the plot" so horribly when it comes to understanding that people in history were still people, not monolithic one-mind entities (as the feudal system demanded they be). And why we somehow forgot that such people fall in love, in all kinds of love, in a way that has never given a damn about authority. And that this in turn undermines supposedly supreme authority, even divine authority, and will always continue to do so, as long as people are people.

This is what it always comes back to. Always. From Henry's parents and their mysterious bond with Radzig informing the protagonist's journey from "the past"--to Henry & Hans falling into stupidly fierce soulmatehood with each other in the present--from Istvan & Erik's destructive fuck-the-world romantic love on the "enemy" side--to Divish's humbling, humanizing realization that he loves Stephanie in some way, he really does, despite the chasm of age/gender enforced upon them by their adherence to feudal order that doomed their romantic love to failure.

People will always love each other, even when the world orders them not to, even when faced with death and worse. People will always, given proximity and shared experiences, learn to see each other as human again. KCD reminds us of that. It's why the "slow" storyline exists and why it works.

And that is why this game is so fucking fantastic, and why the genpop fandom has utterly failed it.

Viggo Mortenson does not get enough credit for delivering lines like "not idly do the leaves of Lorien fall" with a complete sincerity and gravitas