The Princess' Dolls
After Danny has ascended to the throne of the ghost king, something goes wrong with his clone Ellie. Her form destabilizes again, and when they stabilize her, she's physically only five or six years old.
Danny takes to watching her, but looking after a half ghost child is a lot harder than it looks, especially when Ellie learns duplication but can't seem to figure out how to undo it for hours on end, and each clone gets bored really fast. To counter this, Danny makes Ellie a set of dolls, all modeled after the Justice League and various related figures. He even uses a special enchantment he learned to make sure the dolls stay intact no matter what Ellie puts them through.
Ellie loves the dolls and she and her clones have a tendency to put together large productions using them, ranging from superhero fights to sitcom stories to fairy tales to a few 'things' Ellie remembered reading online before she was de aged.
Meanwhile, almost every single Justice League member has been noticing some oddities as of late. They can hear voices from no where, they feel like something is touching them when there is nothing, their muscles sometimes spasm without cause. And, on occasion, they find themselves sleepwalking as they dream of a giant telling a story.
No one brings this to the attention of the other members until several members get knocked out on a mission, only for their unconscious forms to start acting out a play.
(Or Danny accidentally makes several Justice League Voodoo dolls and a young Ellie keeps playing with them)
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[begin id: A drawing reference/fullbody of Doctor Rat, specifically the character (?) he plays in Content SMP. Next to him are design notes, and a color palette of his colors. The design notes read: "-dress looks to be made of low quality, party city material. but, it's actually well taken care of, and clearly has been stiched over several times. -tons of pockets. tons. -oh defintely changes his heels up every now and then. i think he could gouge a man's eyes out with stilhettos. -ngl i think he looks like geronimo stilton."
As for the design itself, he is a tall half-rat man with a pink rat tail, and grey fur that covers where regular human body hair would go. He has curly purple hair, about shoulder length, and a grey mask with a blotch of lighter grey near the eyes. He's wearing a maid dress; consisting of a black dress with poofy sleeves, an apron, gloves, and wedged ankle mary janes. The apron and gloves are covered in dark but faded stains, and his dress is covered in scratch marks to indicate consistent and constant repair of it. As for the pose, he's standing straight, feet together. His left hand on his hip, the right standing idly by in a calmed fist. He's smirking. End id]
to people who loved my silly rat sketches. thank you very much. im reminding you all yet again that im a big nerd for character design forever and ever. thank you very much
[reblogs >>> likes | don't like without reblogging!! if you like and don't reblog i will curse your bloodline.]
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Something I think is extremely interesting thematically when it comes to connecting what Downfall and the ideas it tackled to the overarching narrative of campaign three is that the things Downfall made a point to showcase of Aeor—Cassida, Hallis, the visual of an aeormaton proposing to her partner, the specific and intentional decision to shed light on a far from insignificant amount of the population being civilians or refugees—is that it plays in perfect parallel across from what is happening (and, really, has been happening) to the ruidusborn on Exandria in present.
Bear with me for a moment. Aeor is ultimately a city that was collectively punished for the decisions of its leadership. We could (and, judging by the amount of discourse around this particular topic already, probably will) argue about what the Gods’ motivation for all of this was—whether it be that they could not, in the end, bear to kill their siblings or that they were terrified at the prospect of mortality—for me it is a very healthy dose of both—but for this I am much more interested in the latter. They were scared. That, really, is the driving force behind both this arc and their role in c3 as a whole.
Why I point this out is: It is far more interesting to me, especially as we go back to Bells Hells this week, to dissect the Gods and their decisions not purely on sympathetic motivation alone but as beings in the highest seat of power in the highest social class in Exandria.
So, having established that the Gods (in relation to mortals) are more a higher social class than anything we could compare to our real life understanding of divinity and that Aeor was eviscerated largely because of their fear—what is the difference between those innocents in Aeor caught in the trappings of their autocratic government leadership and a divine war on the ground, and those of the ruidusborn being manipulated both by Ludinus and by the very thing that inspired such visceral fear in the Gods to start with. I would argue very little.
I think of Cassida, doing what she genuinely thought was right and good and would save people, her son, and the object of her worship—and how that did not matter enough to any of them to spare her because of the fear they held at the very concept of mortality. I think of Liliana and Imogen, one of which we know begged for the gods to help her or send her a sign for years on years, and how every single one of their largest struggles could have been avoided had the gods loved them, their supposed children, as much as they feared what they could be. I think of how the thing that did save Imogen, in the end, was a woman who herself existed in direct defiance of the gods will. I think of that young boy, sixteen years old, that Laudna exalted on Ruidus.
I think it’s completely fair to judge Aeor’s overall society as deeply corrupt—it was!—but its leadership and police force are not a reflection of every one of its citizens. Similarly, it is fair to judge the Ruby Vanguard as corrupt—it is!—but its multiple heads of leadership and even the god-eater further are not a reflection of every one of its members.
Notably, and what I think the Hells will latch onto, this did not matter to the Gods. It did not matter that Cassida was trying to help. She was still too much of a risk. Will it matter, what Imogen does? Will it matter, if that young boy is in the blast radius when they decide to take no further chances?
I’ve seen a lot of people say that the Hells will side with the gods and I don’t think I agree. Especially as Imogen has been scolded and villainized over and over for daring to try and save her mother—who herself has been seen by some as an irredeemable evil in spite of her drive being the exact same—her family—but when it’s the Gods it’s justified? When it’s the Gods, it’s sympathetic? Too sympathetic to criticize further than “they’re family”?
I obviously do not think the Gods should die or be eaten or what have you, and I certainly don’t agree with Ludinus (though I find him much more compelling than just a variation of hubris wizard), but when talking about the Gods in Aeor and in present it isn’t really at all about their motivation or their family. It can’t be. Too many people, including our active protagonists, lives have been effected for it to be as cut and dry as “they’re family”. These are your children. They are your family, too.
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