The Lord of the Rings - The Two Towers (2002) Deep Space Nine - Shattered Mirror (1996)
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The Lord of the Rings - The Two Towers (2002) Deep Space Nine - Shattered Mirror (1996)
Andrew Robinson as Garak in Deep Space Nine, S4. E19 - Shattered Mirror (1996)
(save me little freckle on Crowley's neck, save me)
Also exist pre-blending:
Art tag list under the cut, tell me if you want in or out
Shattered Mirror
"I'LL MAKE YOU SAY HOW PROUD YOU ARE OF ME."
I think this is officially my peak for a while. This piece was made in dedication for my girlfriend. She's had a hard time the last few weeks and I wanted to cheer her up so I decided to make art of one of her favourite songs from one of her favourite games of all time. I hope you all enjoy it as much as I enjoyed making it. And of course. Rest in Peace Divide. This is also made in your honour and your legacy. Fly High.
“I don’t want your fear, I want your love”
It’s easy to write this off as “haha psychosexual obsession!” or narcissism but I see it as a crushing moment of vulnerability.
Who else will understand her? Who else could she possibly trust with her heart? Who else could she let down her walls around?
Who else won’t be afraid of her?
We see it in her later infatuation with Ezri Tigan. She wants someone who won’t be afraid of her. Just one person who isn’t afraid of her.
But she does it to herself. She scares them. She pushes them away. Sisko. Kira. Bareil. Ezri. She squeezes too tightly, acts out in fear of losing control. Needs to be in control.
Because if she’s out of control for just a second, the Klingons and Cardassians will seize their opportunity to do away with the uppity Bajoran who bursts in and demands their respect.
And she refuses to die.
To survive she needs power, must always chase power.
But what she wants is love. True, pure, loyal, passionate love.
But she has to be feared and in control, if she isn’t she’ll die. And it hurts the people she loves. It hurts them each and every time. And it breaks her little by little. She could kill them for their “betrayal”, but she can’t bring herself to do it. Even when she gets close, she can’t do it. Every single time, she lets them go.
She even spares the son of a man who deceived her with her lover’s face. She has no reason to, but she does it.
And she keeps trying to find love, and she keeps losing them, keeps pushing them away.
The void stays unfilled.
Even her other self, the one who should understand her the most, should be the key to everything she’s ever wanted from a lover, turns away.
Because she even scares herself. Maybe even fears herself, just as she claims Kira does.
She tells herself she has no taste for violence. As soon as her anger rises, that lie is laid bare. And if some part of that claim is true, she’s gotten very good at silencing that little voice in her head that doesn’t want to kill. At the same time, she revels in institutionalized revenge against the people who occupied her world. At the death of an “efficient overseer” who may have been her only friend, she’s even ready to kill the mirror of herself she’s fallen in love with.
But no matter how many times they encounter one another after, she never does.
Holding on to that faint hope for love.
Maybe the only thing she has left to hope for.
“When you take someone’s life, you lose a part of yourself as well.”
How much of herself has Intendant Kira managed to keep?
So much has changed, yet remained the same.