#But I love unpacking all of it

[little-star-bun]

my lore has chapters, volumes even

[poorly-drawn-mdzs]

Who put these kids here?

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[confessedlyfannish]

Writing Prompt #12

Bruce is reading the paper when the pour of Tim's coffee goes abruptly quiet. It would be hard to pinpoint why this is disturbing if it wasn't for the way the soft, tinny sound the vent system in the manor makes cuts out for the first time since being updated in the 90s. The pour, Bruce realizes, has not slowed to a trickle before stopping. It has simply stopped. And there is no overeager clack of a the mug against the marble counter or the uncouth first slurp (nor muttered apology at Alfred's scolding look) immediately following the end of the pour.

Bruce fights the instinct to use all of his senses to investigate, and instead keeps his eyes on the byline of the article detailing the latest set of microearthquakes to hit the midwest in the last week. Microearthquakes aren't an unusual occurrence and aren't noticeable by human standards, which is why this article is regulated to page seven, but from several hundred a day worldwide to several hundred a day solely in the East North Central States, seismologists are baffled.

Bruce had been considering sending Superman to investigate under the guise of a Daily Planet article requested by Bruce Wayne (Wayne Industries does have an offshoot factory in the area) when everything had stopped twenty seconds ago. That is what he assumes has happened (having not moved a muscle to confirm) in the amount of time he assumes has passed. His million dollar Rolex does not quite audibly tick but in the absolute silence it should be heard, which confirms the silence to be exactly that—absolute.

While Bruce can hold his breath with the best of the Olympian swimmers, he has never accounted for a need to remain without blinking without being able to move one's eyes. Rotating the eyeballs will maintain lubrication such that one could go without blinking for up to ten minutes. But staring at the byline fixedly, he estimates another twenty seconds before tears start to form.

These are the thoughts Bruce distracts himself with, because he doesn't dare consider how Tim and Alfred haven't made a (living) sound in the past forty-five seconds. About Damian, packing his bag upstairs for school after a morning walk with Titus that was "just pushing it, Master Damian".

There is a knife to his right, if memory serves (it does). In the next five seconds—

"Your wards and guardian are fine, Mr. Wayne," the deepest voice Bruce has ever heard intones. For a dizzying moment, it is hard to pinpoint the location of the voice, for it comes from everywhere—like the chiming of a clocktower whilst inside the tower, so overpowering he is cocooned in its volume.

But it is not spoken loudly, just calmly, and when he puts the paper down, folds it, and looks to his right, a blue man sits in Dick's chair.

He wears a three piece suit made entirely of hues of violet, tie included. He has a black brooch in the shape of a cogwheel pinned to his chest pocket, a simple chain clipped to his lapel. Black leather gloves delicately thumb Bruce's watch (no longer on his wrist, somewhere between second 45 and 46 it has stopped being on his wrist), admiring it.

"You'll forgive me," the man says with surety. "Clocks are rather my thing, and this is an impressive piece." He turns it over and reveals the 'M. Brando' roughly scratched into the silver back. He frowns.

"What a shame," he says, placing it face side up on the table.

"Most would consider that the watch's most valuable characteristic." Bruce says, voice steady, hands neatly folded before him. Two inches from the knife. To his left, there is an open doorway to the kitchen. If he turns his head, he might be able to get a glance of Tim or Alfred.

He doesn't look away from the man.

"It is the arrogance of man," the man says, raising red eyes (sclera and all) to Bruce, "to think they can make their mark on time."

"...Is that supposed to be considered so literally?" Bruce asks, with a light smile he does not mean.

The man smiles lightly back, eyes crinkling at the corners. He looks to be in his mid thirties, clean-shaven. His skin is a dull blue, his hair a shock of white, and a jagged scar runs through one eye and curving down the side of his cheek, an even darker, rawer shade of blue-purple.

The man turns the watch back over and taps at the engraving. "Let me ask you this," he says. "When we deface a work of art, does it become part of the art? Does it add to its intrinsic meaning?"

Bruce forces his shoulders to shrug. "It's arbitrary," he says. "A teenager inscribes his name on the wall of an Ancient Egyptian temple and his parents are forced to publicly apologize. But runic inscriptions are found on the Hagia Sophia that equate to an errant Viking guard having inscribed 'Halfdan was here' and we consider it an artifact of a time in which the Byzantine Empire had established an alliance with the Norse and converted vikings to Christianity."

"The vikings were as errant as the teenager," the man says, "in my experience." He leans back in his chair. "I suppose you could say the difference is time. When time passes, we start to think of things as artistic, or historical. We find the beauty in even the rubble, or at least we find necessity in the destruction..."

He offers Bruce the watch. After a moment, Bruce takes it.

"The problem, Mr. Wayne, is that time does not pass for me. I see it all as it was, as it is, as it ever will be, at all times. There is no refuge from the horror or comfort in that one day..." he closes his hand, the leather squeaking. And then his face smooths out, the brief severity gone. He regards Bruce calmly.

"You can look left, Mr. Wayne."

Bruce looks left. Framed by the doorway, Tim looks like a photograph caught in time. A stream of coffee escapes the spout of the stainless steel pot he prefers over the Breville in the name of expediency, frozen as it makes its way to the thermos proclaiming BITCH I MIGHTWING. Tim regards his task with a face of mindless concentration, mouth slack, lashes in dark relief against his pale skin as he looks down at the mug. Behind him, Bruce can see Alfred's hand outstretched towards the refrigerator handle, equally and terrifyingly still.

"My name is Clockwork," the man says. "I have other names, ones you undoubtedly know, but this one will be bestowed upon me from the mouth of a child I cherish, and so I favor it above all else. I am the Keeper of Time."

"What do you want from me?" Bruce asks, shedding Wayne for Batman in the time it takes to meet Clockwork's eyes. The man acknowledges the change with a greeting nod.

"In a few days time, you will send Superman to the Midwest to investigate the unusual seismic activity. By then, it will be too late, the activity will be gone. They will have already muzzled him."

"Him."

"There is a boy with the power to rule the realm I come from. Your government has been watching him. The day he turned 18, they took him from his family and hid him away. I want you to retrieve him. I want you to do it today."

"Why me?"

"His parents do not have the resources you do, both as Batman and Bruce Wayne. You will dismantle the organization that is keen on keeping him imprisoned, and you will offer him a scholarship to the local University. You and yours will keep him safe within Gotham until he is able to take his place as my King."

This is a lot of information to take in, even for Bruce. The idea that there could be a boy powerful enough to rule over this (god, his mind whispers) entity and that somehow, he has slipped under all of their radars is as frustrating as it is overwhelming. But although Clockwork has seemed willing to converse, he doesn't know how many more questions he will get.

"You have the power to stop time," he decides on, "why don't you rescue him? Would he not be better suited with you and your people?"

"Within every monarchy, there is a court," Clockwork. "Mine will be unhappy with the choice I have made," he looks at Bruce's watch, head cocked. "In different worlds, they call you the Dark Knight. This will be your chance to serve before a True King."

Bruce bristles. "I bow to no one."

"You'll all serve him, one day," Clockwork says, patiently. "He is the ruler of realms where all souls go, new and old. When you finally take refuge, he will be your sanctuary." He frowns. "But your government rejects the idea of gods. All they know is he is other. Not human. Not meta. A weapon."

"A weapon you want me to bring to my city."

"I believe you call one of your weapons 'Clark', do you not?" Clockwork asks idly. "But you misunderstand me. They seek to weaponize him. He is not restrained for your safety, but for their gain."

"And if I don't take him?" Bruce asks, because a) Clockwork has implied he will be at the very least impeded, at worst destroyed over this, and b) he never did quite learn not to poke the bear. "You won't be around if I decide he's better off with the government."

"You will," Clockwork says, with the same certainty he's wielded this entire conversation. "Not because he is a child, though he is, nor because you are good, though you are, nor even because it is better power be close at hand than afar.

"I have told you my court will be unhappy with me. In truth, there are others who also defend the King. Together we will destroy the access to our world not long after this conversation. The court will be unable to touch him, but neither will we as we face the repercussions for our actions. I am telling you this, because in a timeline where I do not, you think I will be there to protect him. And so when he is in danger, even subconsciously, you choose to save him last, or not at all. And that is the wrong choice.

"So cement it in your head, Bruce Wayne," the man says, "You will go to him because I tell you to. And you will keep him safe until he is ready to return to us. He will find no safety net in me. So you will make the right choice, no matter the cost."

"Or, when our worlds connect again, and they will," his voice now echoes in triplicate with the voices of the many, the young, the old, Tim, Bruce's mother, Barry Allen, Bruce's own voice, "I will not be the only one who comes for you."

"Now," he says, producing a Wayne Industries branded BIC pen. "I will tell you the location the boy is being kept, and then I would like my medallion back, please. In that order."

Bruce glances down and sees a golden talisman, attached to a black ribbon that is draped haphazardly around the neck of his bathrobe, so light (too light, he still should have—) he has not felt its weight until this moment.

Bruce flips the paper over, takes the pen, and jots down the coordinates the being rattles off over the face of a senator. By his calculation, they do correspond with a location in the midwest.

"You will find him on B6. Take a left down the hallway and he will be in the third room down, the one with a reinforced steel door. Take Mr. Kent and Mr. Grayson with you, and when you leave take the staircase at the end of the hallway, not the elevator."

The man gets up, dusts off his impeccably clean pants, and offers him a hand to shake.

"We will not meet again for some time, Mr. Wayne."

Bruce looks at the creature, stands, and shakes his hand. It feels like nothing. The Keeper of Time sighs, although nothing has been said.

"Ask your question, Mr. Wayne."

"I have more than one."

"You do," Clockwork says. "But I have heard them all, and so they are one. Please ask, or I will not be inclined to answer it."

"What does this boy mean for the future, that you are willing to sacrifice yourself for him?"

There is a pause.

"So that is the one," Clockwork says, after a time. "Yes. I see. I should resolve this, I suppose."

"Resolve what?"

"It is not his future I mean to protect," the man says. "It is his present."

"You want to keep him safe now..." Bruce says, but he's not sure what the being is trying to say.

"I am not inclined," Clockwork repeats, stops. His expression turns solemn, red eyes widening. In their reflection, Bruce can see something. A rush of movement too quick to make heads or tails of, like playing fast forward on a videotape. "Superman reports no signs of unusual seismic activity. With nothing further to look into, you let it go in favor of other investigative pursuits. You do not find him, as you are not meant to. He stays there. His family, his friends, they cannot find him. His captors tell him they have moved on. He does not believe them, until he does. He stays there. He stays there until he is strong enough to save himself."

Clockwork speaks stiffly, rattling off the chain of events as if reading a Justice League debrief. "He is King. He will always be King. He is strong, and good, and compassionate, and he is great for my people because yours have betrayed his trust beyond repair. He throws himself into being the best to ever Be, because there is nothing Left for him otherwise. We love him. We love him. We love him. My King. Forevermore."

The red film in his eyes stall out, and Bruce is forced to look away from how bright the image is, barely making out a silhouette before they dull back to their regular red.

"I am not inclined," Clockwork says slowly, "To this future."

"Because of what it means in the present," Bruce finishes for him. "They're not just imprisoning him, are they."

"They will have already muzzled him."

Clockworks is right in front of him faster than he can process, fist gripping the medallion at his neck so tight he now feels the ribbon digging into his skin.

"Unlike you, Mr. Wayne," and for the first time, the god is angry, and the image of it will haunt Bruce for the rest of his life, "I do not believe in building a better future on the back of a broken child."

"Find him," the deity orders, and yanks the necklace so hard the ribbon rips—

Clack!

"sluuuuurp!"

"Master Timothy, honestly!"

"Sorry Alfred!"

[inamindfarfaraway]

I would find Blondie Lockes very annoying in real life, but I love her in fiction. She's a genuinely good journalist in terms of both skill and ethical integrity, who only occasionally forgets to check the facts because she's fifteen and holds herself accountable when she does. She has incredibly high standards for everything and believes herself to be the ultimate authority on quality. She has magical lockpicking powers because her fairytale is about Goldilocks breaking into a house. She somehow completely ignores the story's moral that Goldilocks was wrong to break into the house, feels entitled to go wherever and help herself to whatever she's able to and cannot comprehend why people dislike this. She's been terrorizing an anthropomorphic bear family with her cheerful disrespect for privacy and is convinced that they love her. She has a non-anthropomorphic pet baby bear. Her motivation is dependence on external approval rooted in deeply internalized classism. She's desperate to be useful and important to those with higher social status and feels the need to lie that her family is technically royalty to fit in with her royal friends, even though they treat commoners like equals all the time. She positions herself as a conduit of true greatness; closer to it than the masses, but never the hero, always reporting on other people and evaluating what they've done. Because what she's done isn't enough to be worthwhile. What she is isn't enough. But this performative lifestyle makes her anxious about being judged as a fraud and an interloper, and ashamed of selfishly transgressing against social norms. Her microphone head looks like an adorable little bear head. That's one hex of a character alright.

[gummi-ships]

[marragurl]

The idea just hit me: Ratio’s students are called his ducklings 

He’s fully aware of it and makes no move to stop it from spreading around campus. 

Being considered one of Ratio’s ducklings is kinda a big deal because those are the students who are willing to put in the effort and work to keep up with Ratio’s teaching style. 

They are both terrified of him and respect him so much that all the other students are in turn terrified of them. And while the ducklings don’t get any special treatment from Ratio, there’s something special and comforting about being part of the group of students who are willing to stick with Dr. Ratio’s coursework. 

This is how I see it happening: 

It started during Ratio’s first few years of teaching. Not his first year because I fully believe his first few classes were really controversial and had a lot of dropouts once his personality and harsh teaching style were made known. 

It took a while but after a few years, there’s finally a class with no drop outs, even if it’s super small. However, this class are also the students who are dedicated and truly want to learn and refuse to quit even with Ratio’s standards. 

(They still complain and cry of course, the student life is all about pain- no this is not me projecting as a uni student, I’m perfectly sane I promise-)

And of course, like any other student who needs to understand wtf is going on in class, his students do everything in their power to create study groups and attend his office hours, which are 100x scarier in the beginning since that’s prime one-on-one time with Dr. Ratio. 

At least in lecture the man is a hundred seats away from you. Here, he’s speaking directly to your face as he explains just how wrong you are and giving advice on how to fix that. 

At first, due to how unused to Ratio is from having a class of students who are truly trying to keep up with him (whether they’re succeeding is up to interpretation), he only spends time with them during lecture and office hours for the first few weeks. 

And then it spirals.

Around campus, you begin to see the esteemed Dr. Ratio being followed by a gaggle of students tripping  over each other, constantly asking question after question and him answering each one. Even as he’s being blunt, he never looks like he’s trying to outrun them, and even stops occasionally to write in one of the student’s notes.  

The ducklings nickname started out as a joke when someone made the connection of his students following him like baby ducks after lectures, and spiraled a bit more when one of the students found one of his rubber ducks in his office.

And so after finals, that first class of students got together for a nice drinking party to celebrate their freedom. A few drinks in of reminiscing about the class and how they’ll actually kinda miss Dr. Ratio, someone made a joke of buying some rubber ducks for the good doctor. Continuing on the high, an entire gaggle of drunk uni students just pull up to a craft store at 3am and start hunting for ducks. Another brilliant student laughs at the idea of personalizing each duck, and the rest of the class find the idea so funny that they buy out an entire aisle of craft supplies and get to work.

The next day, hungover but still committed to the bit, the entire class show up to Ratio’s office and each hand him a personalized rubber duck along with a terrified thank you for the class. 

Ratio would give his usual denying spiel of how “it is unnecessary” and “your education is all the reward a professor could want” but this is his first ever class with no dropouts and who all managed to pass their finals. 

The man is a failure at not caring, he is crying on the inside.

So he keeps the ducks on a shelf in his office. 

Somehow, the duckling nickname just cements itself after that day, and each class afterwards, despite all the pain and grumbling of the students, are always referred to as Ratio’s ducklings because only the truly insane (dedicated) stick it out and follow after him. 

And after each final, his little ducklings always give him their own personalized rubber duck that he continues to add to his shelf that he always had within eyesight of his desk. 

(the first class of ducklings are his personal favorite, though he’ll never claim to have any)

I’m incapable of not adding Aventurine whenever I talk about Ratio nowadays, I just have to accept that I love them both too much now. 

But yea, I like to imagine Aventurine finding out about the ducklings nickname first and teasing Ratio about actually having a heart and caring, which Ratio just denies and tries to justify as him being an attentive professor. But then Aventurine finds the rubber duck shelf and it’s just too sentimental for him to even think about joking. 

Adding to my headcanon of Aventurine being really curious about different subjects, I imagine that when he gets comfortable, he constantly asks Ratio questions about anything and everything. Ratio happily replies and teaches him. 

I like to think that one day, Aventurine would make his own personalized rubber duck to gift to Ratio as a 'thank you' for always indulging him with his questions and that rubber duck just becomes Ratio’s favorite. He gives it a little podium in his house and office and he constantly carries it around with him. He has photos of the damn thing. His first class find out about the duck and needle him about having ‘no favorites’ which he denies. Aventurine finds it both embarrassing and really cute. 

(I’m kinda pulling from my own experience with one of my old professors. She was terrifying but by god did I actually learn during her class. Every one of us would complain for hours about her exams, and boy were the averages terrible, but we were all also deeply committed to attending every office hour and defending her against the other students. It was like ‘She’s a harsh and insane professor, but she’s our harsh and insane professor.’ Everyone knew you were serious if you chose to take her class instead of other professors for the same course, she was that infamous. If I take 5 seconds to psychoanalyze myself without getting depressed, maybe that’s why I really like Ratio - outside of the burnt-out gifted child thing with emotional expression issues that also hit way too close to home. He just really reminds me of one of my own professors that I still really respect to this day) 

[midnightsslut]

religion is one of the most prominent recurring themes on the album, and it has been present in some capacity for quite a few records now. taylor previously compared love to religion: her saving grace, her belief system, and a fated divine intervention (false god, cornelia street, and cruel summer are the best examples of this). ‘sacred new beginnings that became my religion’ and ‘we’d still worship this love even if it’s a false god’ are two of the defining statements about her philosophy on the lover album.

taylor doesn’t want to leave all of that behind on ttpd, at least not at the beginning. the first supernatural force she mentions is the spaceship on down bad, which she compares to a skylight of freedom in the epilogue. *something* has finally come to save her from her life of suffering. she doesn’t care if it’s a force of good at first; if anything, she’s just fine being taken away by aliens. she views this man as her destiny. it isn’t until guilty as sin? that taylor starts to ponder the moral implications of what she’s doing. is she guilty as sin for wanting to leave her previous religion and relationship behind? she comes to the conclusion that, even if she rolls the stone away and gets resurrected/redeemed, she cannot avoid the fallout. she is okay with the thought of having to wait, as long as both lovers vow to be together forever, just as she once did with someone else in false god. ‘I choose you and me religiously’ finishes the bridge of the song in a direct callback to cornelia street.

the next mention of religion has murkier imagery. she claims that she does not need the Lord’s help to save this man. she sees the halo that he has, and she can fix him herself. now that she feels free of her prior cage, she isn’t looking for divine intervention anymore. she wants control. she is their route to salvation.

when the relationship falls apart, she retreats back into the position of a believer rather than a divine figure. she compares him to a Holy Ghost who promised to save her and take her to heaven. instead, she is in hell in every sense of the word: she’s down bad and feels guilty for digging up the grave. he was a jehovah’s witness who promised that she could break free of the cage imposed by love without changing her religion altogether; she would’ve just had to switch denominations. she could still have a marriage and kids! she could still have a blue tortured poet! the man was different, but not the dreams they had together. the story of the first part of the album ends here. her faith has been broken, and she has only found any semblance of sanity by refusing to mention these belief systems altogether.

side b/the anthology blends the christian imagery of side a with goddesses, sorcerers, and prophecies. she bargains with these powers to let her have the future she wants (the prophecy). she doesn’t sound like someone believing in salvation. if anything, she feels cursed. she decides that the concept of divinely ordained timing will never work in certain relationships (‘the goddess of timing once found us beguiling / she said she was trying / peter, was she lying?’). this disdain extends onto her perception of other people’s faith (‘bet they never spared a prayer for my soul’). she does position herself as a prophet in cassandra, but even then, she admits that the role has hurt her. perhaps the pain in thank you aimee was meant to be, or perhaps she was just strong enough to build a legacy in spite of it, boulder by boulder. is she a martyr? does she want to be? or did she save herself?

the only real love song on this half of the album makes no mention of fate or any divine forces. it wasn’t meant to be. it’s not a supernatural invisible string or lightning in a bottle. she is just in love.

the album ends with the manuscript, which revisits an old story of a defining, formative heartbreak. as she sings ‘at last, she knew what the agony had been for’ while describing the legacy of her writing, she seems to revert to thinking about the purpose of trauma. the only exception is that, in this case, she is the one who found meaning in her pain by turning it into a manuscript. writing is her belief system now, and she proselytizes by telling her stories and thus giving up the manuscript.

ultimately, her belief in destiny has chewed her up and spat her out. she so desperately clung to her existing belief systems that she was fooled by a conman, which left her feeling cursed. religion is supposed to be with someone even in their darkest moments, but the album explains that taylor often felt abandoned. the only constant in her life was, well, herself. she’ll be okay, but her pen will be her saving grace.

[houseswife]

it answers questions…

[crystallizsch]

the besties are judging you for your taste in men

[ameamedraws]

The siblings ever ‼️

[art-is-kayos]

Wailing Coffin Hong Lu and Gregor

[broken-risk-assessment-module]

rip secunit 3 😔😔😔 you're not dead but you would have loved saving the lives of a whole colony of innocent humans by making a factually honest and emotionally compelling documentary 😔😔😔

[jangmi-latte]

//episode 7 chapter 9 spoilers

i can NEVER not get over the fight between jamil and kalim that i had to rewatch aladdin. then i remembered that aladdin took jafar's staff, broke it and gave it to the sultan then remembered kalim ALSO has a staff of his own and istg jamil's lucky enough he just got those golden shingalingngalings to his face because what if kalim smacked him with that mf staff out of anger. WHAT IF.

[batbabydamian]

Damian Wayne NYCC 2023 Remarks & Commissions!

Patrick Gleason

Jorge Jimenez

Dan Mora

Jorge Corona

Simone Di Meo

Dike Ruan

[yunogf]

alternative covers for NCT 127's original horror game FAVORITE: VAMPIRE

[bisclavret]

i've loved bbc gwaine for 13 slutty, slutty years but it wasn't until i watched eoin macken's depressing ass film (that he made with tom hopper and funded partly with donations from merlin fans 😭) called Leopard about generational trauma and gendered violence and uhhh severely messed up brothers with an oedipal complex? and a 5.7 imdb rating. the protagonist eoin plays is basically modern gwaine if he was appropriately half-dead from alcoholism and pub brawls and sick with worry over his brother percival i mean tom hopper. and the movie goes crazy with the symbolism. i'm talking the painting of ophelia floating on the water being a puzzle they work on together cutting to literal dead women floating in water leading up to the wildest mommy issues you've ever seen type symbolism. anyway it wasn't until THEN that i was like. oh i see. this guy eoin is not normal. about themes and narratives. and gwaine was his dream role of a lifetime like that's still his special guy so i just KNOW he overanalyzed him to hell and back he did all those microexpressions on purpose he took that shit SO seriously. and now i do too. now i, too, am. the gwaine overthinker.