#A Delicate Balance

[kaeda-the-wolf]

It was a simple enough deal. A few rules bent, a blind eye turned.

Simple.

Until it's not.

She shouldn't be surprised. Not really, anyway.

Any good cop -hell, anyone with even a shred of common sense- should know that making a deal with a cartel boss is risky business.

Diego Jimenz x Lauren Wolffe (OFC)

MASTERLIST

Chapter One: The Cynic & The Bleeding Heart

Chapter Two: Burgers & Bail

Chapter Three: Burning Bridges

Chapter Four: Deals & Devils

Chapter Five: Logic & Lust

Chapter Six: A Means To An End

[trygrievousbutgirl-blog]

Miss Pauling is like a forty year old man in a suit with spots of grey and the appearance and attitude of both an alcoholic and a wet cat, but for girls!

[twentyfivemiceinatrenchcoat]

hot take maaaybe but imo the core tragedy of satoru is that he’s not a god, he’s literally just a normal guy who got godhood pushed onto him by other people . a god would be able to handle eternal solitude no problem but satoru isn’t one so he suffers for it

[achluos]

old tim art from months ago.. he's skatin

[luxaofhesperides]

For ghostlights: baby Ellie + tired Danny + Duke the baby whisperer?

He has no idea how his parents did it. 

Babies are exhausting. Toddlers more so. Any infants in the strange stage in-between? Doubly so. 

Ellie is wonderful and sweet and cute and such a terror that Danny genuinely has no idea how his parents managed to raise not one, but two kids. For all their eccentricities and absent-mindedness, he and Jazz turned out pretty well. Ignoring the whole halfa thing because that’s more his fault than theirs even if Jazz says they shouldn’t have created the dangerous environment in the first place.

That environment is exactly why Danny refuses to let Ellie go to his house in Amity Park. His parents say they’ve disabled all the weapons and ecto-sensors since he’s had to reveal himself as Phantom, but he knows that things slip their minds and if they can’t guarantee that the house is safe, then Ellie isn’t going in there. Simple as that. 

This means that they live somewhere else now. Danny had thought about it, during the hours Ellie was asleep and he was awake, exhausted and worn down to his bones, and took Jazz’s advice to accept Vlad’s offer of buying a house for him. Except he argued Vlad down to an apartment in a city of his choosing where he wouldn’t stand out too much and he would be safe, or as safe as he can be, from anyone trying to hunt down ghosts. 

So here they are. Standing in the empty living room of their new apartment in Gotham. 

Gotham may not be very safe as a city, but it’s good for two ghosts trying to pass as normal. 

Danny sighs yet again, and looks at the space he’ll need to fill. At least Vlad is footing the bill. It’s the least he can do for creating Ellie. Frostbite was the one who was able to stabilize her, though it was almost too late and resulted in her reforming as a baby, just one and a half years old. Jazz is the one who’s choosing most of the furniture, thankfully, so it’s something that Danny doesn’t need to worry about it.

It’s a new start to their lives and it feels so empty. So overwhelming. How did his parents do it? How do any parents do it?

Ellie smacks a small palm against his cheek and babbles lightly.

“I know, Ellie,” Danny says, giving her a tired smile. “Don’t worry, we’ll have this place looking good in no time.”

He adjusts her in his arms, then heads towards the bedroom. It’s the only room that has any furniture, and all that’s there is a bed, a crib, and a bookcase. There are a few boxes on the floor, labeled ‘bedroom’ and ‘clothing’ and ‘books’. Most of it came from his bedroom in Amity Park, but he’s pretty sure he caught Jazz sneaking a few things in before they closed the boxes and loaded them up into the car. 

“Can you be good for five minutes?” he asks Ellie. 

She babbles again and smacks his shoulder.

“I’m taking that as an agreement. Just let me open these boxes and start unpacking before you start causing trouble, okay?”

Ellie makes another sound, but it seems agreeable so Danny carefully lays her down in the crib and gets to peeling off the tape on the boxes. The opens the one labeled ‘bedroom’ first, finding blankets and sheets folded and stacked in vacuum sealed bags. One of them is his old childhood blanket, the one he carried around everywhere that was faded with age, barely blue, with white bunnies decorating it. 

He was so small when he had this. It makes him oddly emotional to unpack it and pass it on to Ellie, draping it over her so her pudgy little hands can grab at it. 

This is no time to cry, though! He forces himself to focus and makes his own bed, shaking out the sheets and fluffing up the pillows. He’ll worry about washing everything later; Vlad made sure to get an apartment with an in-unit washer and dryer, which means he was actually sensible while apartment hunting for Danny. 

He doesn’t mean to flop onto the bed once it’s made, but he ends up there anyways. He’s barely gotten a full six hours of uninterrupted sleep since Frostbite deemed Ellie healthy enough to leave his care. The drive up to Gotham was long and wore him down to his bones.

He doesn’t mean to fall asleep, but he does, drifting off as he wonders, distantly, when Jazz will be back from getting them dinner.

Ellie wakes him up at dawn with a loud cry. Danny jolts awake, heart pounding in his chest as he panics because Ellie isn’t here, she’s supposed to be in his arms, where is she? And then he sees the crib, where Ellie is staring at him through the bars, and he nearly collapses with relief. 

“Morning, El,” he says, voice rough from sleep, as he picks her up. She just stares up at him, then leans forward and rests her head against his shoulder.

It’s quiet moments like these that make his heart melt. Ellie’s had a hard life already; he wants to give her a better one, this time around. 

A quick check of the time on his nearly dead phone shows that it’s barely past six in the morning, and Jazz texted him a few times. All about furniture, saying that she didn’t want to wake them and that food is in the fridge. 

It’s only the mention of food that makes him realize how ravenous he’s feeling. Danny makes a beeline for the kitchen, ignoring everything else, and pulls out the boxes of take-out Jazz left stacked in the fridge. He devours it like he’s been starving for weeks, then gives Ellie her Ecto-Jello, the only food she’s allowed to eat until Frostbite gives the okay for solid, human food. 

Once he’s got her burped and cleaned up, Danny looks out of the kitchen and realizes that Jazz was very productive while he was asleep. The living room isn’t empty anymore; a dark green couch is against the wall, a low, rectangular coffee table made of dark wood in front of it. Two armchairs are on both sides of the couch, and a television has been installed, fixed into the wall. 

Jazz is asleep on the couch. Her legs hang off an armrest and she’s drooling slightly. 

Her phone is charging on the floor, so Danny takes it and snaps a picture of her for later teasing, then sends it to himself and writes a note to her that he’s going out with Ellie to explore the neighborhood.

He’s finally feeling more settled, energized from sleep and food.

In the warm dawn light spilling in through the windows, Danny looks down at Ellie and thinks that they’ll be just fine after all. 

. . .

Four months ago, Danny had hope. He was optimistic. 

Gotham was a fresh start, a new lease of life for Ellie. It is Danny’s attempt to be a single parent, sacrificing college for Ellie, and he’s planning to go out and beat the gangs black and blue if they start anymore shootouts in the next year.

He had just gotten Ellie to sleep. She was actually peacefully taking a nap.

And then a drive by shooter raced down the street, gunshots echoing down the road, and Ellie work up crying. She still hasn’t stopped, despite how Danny rocked her, soothing her as best he could.

They had been outside when Ellie fell asleep, her head on his shoulder. He had been catching up with Sam and Tucker when the car drove by, people ducking and crying out to avoid the bullets. Danny instinctively covered Ellie and made them both intangible, saving them from any stray bullets, but they ruined her nap and he needs to make them pay for that. 

“Shh,” he soothes, “You’re okay. We’re both fine. It’s okay, El, it’s okay.” 

Her little hands clutch at his back, twisting the fabric of his shirt, and she lets out a heartbreaking wail. He pats her back, hurrying down the street to get back to his apartment building, ignoring the looks people were giving them as they passed by. 

“I know it was scary, but you’re alright. You’re always safe with me, El.”

Ellie’s cries down down a little, but they don’t stop. She whimpers, burying her face against his shoulder as he finally reaches their apartment building.

The door’s locked, which wouldn’t be a problem except Danny can’t get his keys from his pocket. He knows he has them! But his pocket refuses to relinquish them and he has to stop every few seconds to pat Ellie’s back, trying in vain to calm her down. 

“We’ll be inside in a second,” he tells her, trying to keep the frustration out of his voice, “as soon as I can get these freaking keys!”

“Hey, you alright?”

Danny startles, whirling around so fast it makes Ellie go quiet, clinging to him so she doesn’t get flung into the air. There’s a guy standing before him in a gray hoodie, looking at him with clear concern. It speaks to Danny’s level of constant exhaustion that he hadn’t clocked someone sneaking up behind him. 

The guy offers an awkward smile. “Sorry, didn’t mean to scare you or anything. Um, do you need me to open to door? I live here too.”

Danny wonders for a moment if this someone dangerous, someone hoping to hurt Ellie, but she starts to cry again and he steps to the side. “Please. I can’t get my keys.”

“I’m Duke, by the way. I don’t think I’ve seen you around here before.”

“Danny,” he replies, watching as Duke pulls out a large key ring, jangling with the amount of keychains on it, and easily opens the door. “I’ve been here a few months, but I’m usually inside. Or walking around in the mornings with this little monster.”

“That would explain it,” Duke says as he holds the door open, letting Danny in first. “I’m usually in classes at GCU, but I decided to take a mental health day after my lab, so here I am.”

Danny walks in and waits for Duke to follow, making sure the door closes properly behind them. “Thanks. How is GCU? What do you study? I was thinking of going there myself once she gets a little older and can go to school.”

“Oh, I’m majoring in English and Human Services.” He goes to say more, but Ellie wails again and Danny winces.

“I’m so sorry. That drive by woke her up and it’s really rattled her.”

“Hey, no need to apologize. I get it, Gotham is rough to kids.”

Danny tries rocking her back and forth, but it doesn’t help. He resigns himself to another hour of her crying before she exhausts herself, and makes for the stairs, going up to the fourth floor. Duke holds open the door again, then follows after them. It makes Danny wonder if Duke is planning to do something to them, then decides he can beat Duke in a fight, so it’s fine.

Duke doesn’t try to hurt them or steal Ellie away. He opens the door to their floor and stops before they do. “I’m in here,” he says, “If you ever need me to open more doors.”

“Thanks. Um, actually, I might need help opening mine?”

Duke just smiles and makes his way back to them, following them farther into the hall until Danny stops in front of his apartment. 

“If I could just get my keys,” he starts.

“Here, let me hold her for a second so you can get them,” Duke offers. Danny wants to insist that it’s fine, but Ellie cries directly into his ear and Danny, at the end of his rope, passes her over. 

Like magic, Ellie settles as soon as she’s in Duke’s arms. She sniffles and hides her face away, clutching to Duke’s hoodie, but she stops crying. They both go still, surprised, and stare down at her. 

“Seriously?” Danny says as he finally pulls out his keys, “Are you trying to say that I’m the problem?”

Ellie babbles lightly, and Duke turns his head to futilely hide his grin.

He grumbles as he unlocks the door and pushes it open. Ellie is acting as if she’s never been upset before a day in her life, making herself at home in Duke’s arms. 

“I can’t believe this. Betrayed by my own blood.”

Duke laughs as he follows Danny into his apartment, lightly patting Ellie’s back. “It’s always the smallest, cutest ones that do this.”

“Yeah? Do you work with a lot of kids or something? Used to being betrayed by the little ones?”

“I don’t work with kids per se,” Duke says, “But my foster family is a hot mess and the youngest of them likes to keep us all on our toes.”

“Family,” Danny says in a tired, fond tone.

“Family,” Duke agrees.

With his door open and Ellie calm, Danny’s ready to just lay face down on the floor for the rest of the day and not deal with anything else. He moves to take Ellie back, holding his arms out, and Duke tries to pass her over.

The key word being tries. 

Ellie tightens her grip and kicks at Danny. She refuses to be taken away from Duke, making him awkwardly try to pry her off his hoodie. Danny really hopes Duke doesn’t notice how she goes slightly intangible to make his hands fall through her arms and legs. It shouldn’t be noticeable, but it’s hard to focus on anything but a kid that clings to you, so Danny holds out for Duke’s goodwill and silence.

“As nice as it is to meet you, you need to go back to your… parent?” Danny nods when Duke looks at him in askance. “You need to go back to your parent. Okay? Come on, kid, he’s waiting for you.”

Ellie shakes her head, makes a frustrated noise, and then turns and reaches out a grabby hand towards Danny. 

She still refuses to be taken from Duke when Danny tries to pick her up again, so he settles with just letting her hold two of his fingers. 

“I’m so sorry about this,” he says to Duke, face burning. This is why he hasn’t been going out and being social since he moved in; Ellie is a handful even on the best days, and Danny doesn’t want someone to judge him as unfit to parent her and have her taken away.

Duke shakes his head, stepping closer. “It’s all good, man. I don’t mind. It’s not like I had any plans today. I’m already skipping my classes, might as well spend it with you two than sleep all day.”

“Are you sure? I’d be happy to invite you in, but I know Ellie can be a lot and not everyone wants to spend their day off with a baby.”

“I’m sure. Besides, I’d just be down the hall anyways. It’s no skin off my back, man.”

“Well,” Danny says, stepping to the side to give Duke full access to his open doorway, “Come on in, then.”

Ellie keeps them connected, one hand in Duke’s hoodie and the other holding Danny’s fingers, and though her cheeks are still red from how hard she had been crying, she’s calm now with her eyes shining with mischief. 

As the door closes behind them, Danny realizes that this is the first time someone he’s not related to has been inside his apartment. Not even Vlad has come in, always choosing to invite Danny and Ellie out for lunch instead. 

It should make him nervous, but Duke is calm and easy going and kind. 

He’s making silly faces at Ellie to make her laugh, completely at ease with her in his arms, as if he’s done this a thousand times before. 

Gotham is a second chance at life for Ellie. It’s a sacrifice for Danny, to be alone and without friends or family around. He’d been ready to give up everything for Ellie, to focus solely on raising her, but with Duke filling his apartment with laughter, he thinks that he can make a life here too.

All he needs to do is take that first step, reach his hand out, ask Duke to stick around.

He can do this.

[blighted-lights]

stares into the distance. thinking about my "ravage lives" au again where both ravage and megatron are dealing with their own frames failing them. megatron having been rebuilt time and time again and is now in a body that is no longer his own, that he doesn't feel connected to, that has no bite. ravage having a body that no longer serves its original purpose- what purpose does a cassette serve without a host? and when did ravage start seeing his frame as something that needed to have a use rather than just being him?

there are sections of megatron's frame that he cannot feel anymore. the very ends of his fingers, a joint here, a panel there. his plating feels loose against his protoform; there is no connection between his spark and his shell. and ravage dealing with the aftermath of being torn in half by tarn. his legs and spinal strut were rebuilt, of course, but it's not the same. none on the lost light are specialized in the care of a cassette's frame. sometimes his spine is stiff, sometimes his legs lock up, sometimes he aches. and sometimes he can't move at all; forced to depend on those around him and despising the dependency of it.

idk im rambling. i just think about them a lot.

[majosullivan]

Completely measured response in my opinion. I actually think Siren should do worse :)

[hagofbolding]

well well well... if it isn't the consequences of my own actions

2 page Fairmeadow update today! Start here

[gingermintpepper]

One of my biggest pet peeves is the assumption that something has to be sad for it to be tragic.

I've always been a big believer of the 'Apollo has an awful love life'/'Apollo is plain unlucky with love' line of thinking but it does bother me that the general reasoning for that statement is given to the concept of 'Apollo is somehow undesireable and thus rejected' (Cassandra/Daphne/Marpessa) or 'his lovers die young and thus their love is unfulfilled' (Cyparissus/Hyacinthus/Coronis). I personally think that's a very unfortunate way of looking at things - not only because it neglects the many perfectly cordial entanglements and affairs Apollo has had, both mortal and divine - but because it presents a very shallow interpretation of the concepts of love and loss and how loss affects people.

Apollo can still grieve lovers that have a long, healthy life. The inherent tragedy of an immortal who knows his lovers and children will die and cannot stop it does not stop being tragic simply because those lovers and children live long, fulfilled lives. The inherent tragedy of loss does not stop being tragic simply because someone knows better than to mourn something that was always going to end.

What is tragic is not that Apollo loves and loses but that loss itself follows him. Apollo does not love with the distance of an immortal, he does not have affairs and then leaves never to listen to their prayers again. He does not have offspring and then abandon them to their trials only to appear when it is time to lead them to their destinies. He raises his young, he protects the mothers of his children, he blesses the households that have his favour and multiplies their flocks that they may never go hungry. He educates his sons, he adorns his daughters and even in wrath he is quick to come to his senses and regret the punishments he doles out.

Apollo loves. And like mortals, there will always be some part of him that wishes to protect the objects of his affections. Apollo, however, is also an emissary of Fate. He knows that the fate of all mortal things is death. He knows that to love a mortal is to accept that eventually he will have to bury them. There is no illusion of forever, there is no fantasy where he fights against the nature of living things and shields his beloveds from death. Apollo loves and because of that love, he also accepts.

And that, while beautiful, is also tragic.

[whenthewallfell]

sharing a wip because I'm really pleased with how it's looking, but also I tried to incorporate some native american patterns with a capitol flair (headcanon is art nouveau) into Katniss' design and idk how well i've managed it...please lemme know if anything is massively Wrong

[ksjanes]

A delicate balance.

[deoidesign]

HOT VAMPIRE SUMMER

1800 CLICK NWO VAMPIRES NEAR YOU (it's a link to my webcomic (about vampires (who time travel (and also are gay (and may or may not be in your vicinity (no guarantees)))))

[daydreamerwonderkid]

Dick being a sex symbol isn't an issue for me.

It's the extreme mischaracterization that happens when DC hypersexualizes him that bothers me.

[richmondtillidie]

#TRY-ANGLES

[mylordshesacactus]

God though the fight choreography in Ahsoka really is next fucking level.

Like. Every so often I think fondly about the lightsaber duels in the OT because, bluntly, there weren't lightsaber duels in the OT. There were a handful of scenes in which two characters who didn't like each other much both happened to be holding lightsabers, and on some occasions they tapped the lightsabers together to make very satisfying noises. But we've now come far enough in the star war that we're getting detailed attention to genuine fighting styles, and fighting styles as character essays in themselves.

I just love it.

This show does SO MUCH characterization through physicality in combat; there's a whole meta-dialogue happening just through the portrayal of lightsaber forms and it has SO MUCH heavy lifting to do and does it WELL.

Like, for example, all the little character details that have to be PERFECT in the first two confrontations. I'm just gonna do the tower fight at the moment because the forest battle is its own whole thing and the wolfwren meetcute tower fight illustrates it just fine on its own.

Things that had to be established with little to no exposition in those two fights:

Sabine and Shin are pretty much equals, overall, in combat; BUT

Shin has her VASTLY outmatched as a duellist specifically, because she's been training in solely lightsaber combat more intensely and for longer; BUT

Shin doesn't KNOW that, because she's never fought Sabine before and all she knows is that she's facing an unfamiliar opponent who was Jedi-trained; AND

Sabine DOES know she's outmatched in this fight--she's unarmored, not a small deal for a Mandalorian, and armed only with a lightsaber that while she has trained with it pretty extensively she explicitly hasn't touched in years; BUT

Sabine is ALSO, separately, a highly skilled martial artist and hand-to-hand fighter even with the disadvantage of not being in armor. She's not a pushover or a flailing idiot.

Like it's obvious before Shin even draws that Sabine is not going to win this fight--and Sabine at least is visibly aware of it.

It's clear from their stances alone. Sabine stands and moves like a novice--not untrained, mind, but a novice. She's very cautious, very aware of her footwork, and while that's a good ready position it's extremely hesitant, she's not comfortable in it. She wastes more movement. Shin on the other hand is solid, confident, and grounded.

But not arrogant. Sabine is moving like someone with experience in combat, and Shin doesn't know her or her abilities, so she doesn't rush in at the first sign of weakness. Shin might be more immediately confident with saber combat, but she is also proceeding with extreme caution.

She lets Sabine come to her, ceding the first move in favor of giving herself a chance to read her opponent before committing to anything. And when they do start exchanging blows:

Don't get me wrong--Sabine is NOT a flailing idiot, for all this specific shot makes it look like she's leaving herself open. She's just....not fluid with her lightsaber. She drops her guard when she runs, because running with a plasma sword without burning yourself is actually extremely difficult and she's keeping that thing away from her body while moving at speed.

Her strikes are decent, but her technique is sloppy and she wastes movement--again, not in a way that suggests she doesn't know what she's doing, but in a way that highlights the gap between knowing what a technique is supposed to look like and actually being able to pull it off in a live-combat scenario.

Shin, meanwhile, is fluid, deliberate, efficient, fully in control of every movement--but, frankly, she mostly looks like an impressive threat in this fight because it's an apprentice-level skirmish between two evenly-matched opponents, and Sabine is at a stark disadvantage.

Don't get me wrong, Shin's doing very well--but in a way that highlights her main strength as being extremely solid on her fundamentals. None of these are high-level moves, almost all of them would show up in a youngling kata, and the few that wouldn't are mostly flair like this dramatic-ass battle pose.

We do see some signals that Shin's saber training is at a meaningfully higher level than Sabine's, though--she's had time to develop some of her own technique! I love the way she uses her cape as a combat asset; that's not something Baylan would have taught her, he doesn't have her highly-mobile fighting style (to put it lightly) and it feels just practical enough.

So they feel like viable rivals, Shin feels like a viable threat, and there's still a visceral awareness in the kind of choreography they're given that if Sabine fought Baylan, or Shin tried to 1v1 Ahsoka, they would not last ten goddamn seconds.

[theoddvet]

Teaching vet students how to do a necropsy is very fun as I basically spend half my time forcing them to undo all of their learning on delicate surgical handling of tissues since we've got decomposing organs to get to and we have no time to delicately blunt dissect our way to display stage.

Watching them basically give me a shocked pikachu face when I tell them to just cut through a muscle belly or if you can see your finger through it you can probably just cut it gives me an insurmountable amount of joy