#and that doesn’t concern you???

[soyboywenzie]

for all the parroting about loving evil characters and wishing they were worse and hating the morality argument, team green does not like the fact that their favs aren’t well liked, nor cared about that much 😗

[lass-us-slay]

So I read a prompt about how Wonder Woman found Danny in a trash can (don’t remember which one) and I was bored.

So I took that lil info and made it into an AU.

So basically, Danny get yeeted into this unknown universe and has no where to live. And no where to live means no money. No money means no food. No food means Danny can’t keep his human half sustained.

So what does he do?

Decides to not change into a human and live in a trash can.

Yes you heard that right, live in a trash can.

Because he’s a ghost, he doesn’t have to worry about the germs and stuff. But that doesn’t mean he lives in just any trash can! He lives in a clean one ☝️

AND he also decorated it with his name so other people know it’s his!

And so Danny has been here for a while now and realizes

Holy shit there’s hero’s here- you know what, why doesn’t he have hero’s back home?!

And being minorly annoyed jealous (but he’s never admitting that)he thought:

Well since there’s hero’s here already, guess I’m not needed.

.

.

.

Good. I’m tired af

And so Danny caries on his life, being content with his trash can and scaring whoever comes into his alley. It’s fun. Sure he sometimes needs to ugh overshadow people to feed his human side, but other than that.

It’s going great.

But Danny doesn’t realize that with Amity gone (or smth, you choose) which was his haunt, he slowly makes the trash can into his new haunt.

And slowly but surely, Danny’s beloved haunt trash can starts to become other worldly kinda.

Yk because of the ectoplasm.

So now Danny’s lovely trash can haunt has more space inside and- Hey Danny can actually sleep in it better!! And he got some company too!

In the form of blob ghosts.

Two actually.

They keep his trash can clean and help purifying some corrupted ectoplasm that he finds. Because for some reason this universe’s ectoplasm seems half way artificial and tastes a bit weird. Which is where the blob ghosts help out in.

Everything was great.

Danny was loving the trash can life style.

He has two blob ghosts friends. Which he named Sam and Tucker, and yea they couldn’t talk but that was fine.

He wasn’t lonely, he wasn’t. He had two very much talking friends like Sam and Tucker.

However one day two weirdly dressed people- oh they were hero’s.

Well anyway they found him, one woman stripper and one furry guy.

But it was on accident! He was just peaking out of his beloved haunt trash can, and they spotted him.

He stared, they stared back.

Then the woman stripper asked him questions, even when he said:

“Don’t mind me, have a nice day!”

But they just kept bother him and giving him weird looks and glances.

Which- rude.

Didn’t they see his mark on his haunt trash can? Obviously it means it’s his home, so they shouldn’t be bothering him still. He’s safe as can be.

Plus.

It’s not like he’s looking at them in suspicion and weirdness, I mean look at them! What kinda cheep knock off vampire fury mix and American stripper style clothing are those!

They should mind their own business!

———

Just a silly lil drawing of this lmao, don’t mind me.

[somegrumpynerd]

How did he know…

[madbard]

Headcanon that Dust absolutely resents how much he resembles Classic. There are elements of this back in Dusttale, with how Dust prefers to hide his face and identity while building his LV, but this is more out of practicality (and even shame) than anything else. He doesn’t want his victims to recognize him because it’ll make it harder for him to sneak up on people, and a part of him really doesn’t want them to know that he was the one who killed him. The longer this goes on, the more his disguise transforms from a way of hiding his shame to a way of distancing himself from who he used to be. Sans would never kill all those people, but he isn’t Sans anymore. He’s not really a person anymore, he is the act of murder itself. He is Dust.

I think this would get way worse when Dust leaves his AU and enters the multiverse though, because right off the bat he encounters murderers, just like him… who don’t look innocent. Horror, Killer and even Cross are set completely apart from who they used to be. They are scarred and twisted and nightmarish. Looking at them doesn’t trigger memories of a happier, innocent past. They have renamed themselves, taken on a new identity - but for them, this change was physical as well. No one will ever mistake them for Sans.

So Dust wears his hood. He hides his face. He keeps his magic burning constantly, because if he stops his eyes will darken and there will be nothing setting him apart from the monster who died, years ago, the first time a knife ripped through his chest. The others realize it, too… Horror probably wouldn’t care either way. Cross would understand the desire to distance oneself from an old identity, but would ultimately be in a similar boat as Horror. Killer would bring this up to taunt Dust once he realized it bothered him - and would quickly get bored with it. Ultimately, the others would just accept Dust’s refusal to show his face, his hatred of his own voice and reflection, as part of who he is.

I like to imagine that one day, the gang get into a serious combat. It’s vicious and close; both sides are bloody and exhausted by the time it’s over. If one side wins, it’s by a hair, and not much of a victory. In the dazed silence following the battle, Nightmare slowly assesses each of his acolytes, ensuring that they are still alive and intact. When he reaches Dust, he pauses. The assassin is bloodied, slumped over. His HP is steady but low; he’s taken a lot of hits - more than most monsters would have been able to survive. His hand vanishes beneath his hood, carefully inspecting his face. That night, back at the castle, Dust steps in front of a mirror. He takes a deep breath and, for the first time in years, removes his hood to look his reflection in the eye. The combat left deep wounds across his face, injuries that would never heal completely, that would leave him permanently scarred.

Dust looks at his battered reflection and smiles.

[wonderfull-star]

I like that face Dev makes.

He just a smol baby 🥺

[mossy-aro]

why do allos insist on viewing relationships in the most boring ways imaginable

[cruellesummer]

choose your fighter

[mutable-manifestation]

Ghost Chirps AU Part 5

Part 1 & 2

Part 3

Part 4

***

While “Jason” (i.e. Alfred with an empty jet that Jason will meet up with later in order to “arrive” in Amity) hops a private jet, Red Hood is busy searching the Fenton home from top to bottom.

The local police move slowly, and by the time they arrive Jack and Maddie Fenton are both tied up and disarmed in their living room under heavy guard.

They hadn’t been restrained immediately, Batman talking him into giving them a chance to implicate themselves first.

Hood let him take the lead, but he didn’t even get a chance to ask a question, being cut off at the first indication he might want to talk about their “work.” Less than 60 seconds in, and the pair had outright confessed to violating the meta protection acts - and in tedious detail.

The questioning didn’t suffer any from them being tied up.

Far from the mulish silence or crocodile-tear laden denial of most criminals, they instead doubled down, insisting that nothing they had done was illegal, then jumping to the assumption that they were “possessed” - and boy had it been a nasty surprise when the whole house came alive trying to attack them with a quick verbal command.

Well, trying to attack Hood. And only him, for some reason.

One laser also freed the Fentons, who turned out to have even more weapons built into their suits. 

Somehow. 

Despite them being skintight.

That had been a pain, but Red Robin was able to hack the system using one of the couples’ own devices while Hood dodged - and kept the stray fire away from the others - leaving everyone else to recapture the pair. A blessedly simple task once they found out the lasers would splash harmlessly off of their armor (save for a gross film of green goop left wherever they grazed).

They take turns knocking each unconscious to change them in order to properly disarm them - Batman and Nightwing taking Jack first, followed by Orphan and Spoiler dealing with Maddie. 

The only non-weapon laden clothing they own turns out to be pajamas. 

This is around when the police show up, looking hesitant.

They, too, cite the “Anti-Ecto Acts.”

Oracle had debriefed them on the supposed Acts and “Ghost Investigation Ward” on their short drive over. Both were utterly bogus - the Acts had never even been proposed, let alone been approved as law, and the so-called “GIW” had no ties to the government.

The Fentons had been furious and denied the information intensely when told, but the cops mostly just looked relieved.

Apparently there’d been a lot of property damage by the GIW and Fentons both that had supposedly been dismissed under the Acts as “necessary in the pursuit of ecto-scum.”

For the Fentons, half of this damage was in the form of broken fire hydrants, cracked sidewalks, and totaled cars - they’d never been good drivers, before, the cops disclosed, but they’d become even more negligent since the ghosts began appearing, to the point they had to have a news segment warning when they would be on the road.

The lack of fatalities thus far had been nothing short of a miracle, they claimed.

“Of course there haven’t been any fatalities!” Mrs Fenton defends. “Our work is to protect people from those things, not make more! Officers, listen to reason-” Hood snorts disdainfully -”The Red Hood is clearly a ghost! All our systems targeted him the moment they came online - and they only target ecto-entities. He’s clearly taken these heroes under his sway - why else would they be working with a murderer!? You have to do something before he starts up his killing here in Amity!”

The officers look at him a bit hesitantly, but Batman is unmoved and gives the cover story Hood had outlined back in the alley.

Any concerns the locals have are quickly assuaged.

But for the whole explanation, Jason is trying not to shake even as he falls apart in place.

Their little website called them ghost-hunters, making it pretty clear what “ecto-entities” meant. 

Their system supposedly only targets ecto-entities.

The system had only targeted him.

The system only targets ghosts.

Jason had died.

A lot of his family members had died, too, granted. 

But Jason was the only one who seemed to come back wrong - anger sticking in his throat and never quite fading, an inclination towards violence even when he wasn’t angry well beyond what he’d ever felt before, and a sea of other emotions (that he would never acknowledge aloud) and triggers for those emotions that he always struggled to make heads or tails of.

He doesn’t have the meta gene. He knows that. He knew that.

He just assumed that the test missed it, because he knows he doesn’t know magic - the All Blades being the only exception - and he couldn’t think of another explanation at the time.

But he came back wrong.

And as he stands there, he wonders if he came back at all, mind on Solomon Grundy.

Wonders if he isn’t just some ghost, wandering around possessing his own corpse.

He jolts, as the thought strikes him: what about Danny?

If he’s a ghost and chirping is a ghost thing then what about his KID!?

Absently, he notes that Bruce has started interrogating the cops on what they meant by “ghost attacks.” 

He ignores the discussion, hustling for the door in the kitchen down to the lab.

He slams and locks the door behind him - in Red Robin’s face - as he descends, making a b-line for the computer he’d seen when the Fentons had dragged them all down there to start bragging about their crimes.

The only thing Oracle could get out of the whole building was things that were openly available online; direct connections were impossible.

Opening up the screen, he gets to cracking.

Going for the surface level files first, it turns out he doesn’t even need so much as a password to find what he wants.

One of the video game sub-files has an unrelated file in it: ghost notes.

There are plenty of other notes, of course, but he’d only been skimming to start, looking for anything hidden.

The Fenton parents were too open to bother, of course, with plenty of more obvious files strewn haphazardly across the home screen, but it’s always better to check. That there is a hidden file means it was likely made by either Danny or Jazz.

And it’s a treasure trove.

Sub-files for rogues, allies, conditional allies, and “halfas” were what greeted him.

The last being the only term he didn’t recognize, he clicked.

6 files: Clones, Danny, Dani, Dan, Vlad, and Red Hood.

He clicks his own file.

What greets him is a picture of himself 4 days ago, looking just to the left of the lens in an alley that he distinctly remembers searching for the kid in.

Just below is text.

~~~

??? Name: Red Hood

Species: probably a halfa

Status: Nnnneutral? I think? I know, I know, heads in bags. But Valerie tries to kill me all the time! And we’re allies sometimes! Hood- uh- looked for me? Okay I guess I can’t really judge this yet but please read the first met section before you judge please you guys?

First met: Aug 17, 2005, was in Gotham to bother Batman, stopped to think a bit on some fire escape - decide on the first prank yknow - but then my ghost sense went off. It felt like a halfa so I thought “oh cool, must be Dani” so I chirped, but then Red Hood - who was chasing some guy down an alley at the time - froze and looked around. I dropped visibility and chirped again and yeah, he definitely heard it. Humans can’t so he’s definitely a halfa - no glow so he can’t be a full ghost and it felt nothing like an overshadowing. 

Ended up following Hood around the rest of week - forgot to prank Batman, damn - and playing hide-and-seek with the chirps. It was really funny. But he very obviously doesn’t know he’s a halfa. But the guy is, like, scary levels of smart, so I’m sure he’ll figure it out on his own now that the chirp thing made it clear that something is up. Hopefully.

I figure I can go back in winter break - he should have it figured out and let his emotions process enough by then to at least hear me out when I explain the AEA and GIW and everything, then it won’t matter so much if he can, like, track me by voice or something if I talk since we’ll have MAD by then.

Despite his reputation, the people living in his haunt seem to love the guy. I can see why. On top of the whole smart he’s actually really nice to people he’s not shooting in the knees (which only even happened one time in the week I was there? It was actually pretty relaxing - most quiet week I’ve had since the portal opened THANK YOU TUCKER for hacking the portal hatch to be inoperable for a week). 

Where was I? Oh yeah, he’s actually surprisingly nice to people? So like, I think he’ll probably hear me out if I go back and be polite? I hope. Hate to leave the guy in the dark and him end up on the GIWs dissection table for “lots and lots of painful experiments.”

Not that those guys could even catch the Box Ghost. But uh, Hood doesn’t seem to have powers either? Or if he does he doesn’t know about them I don’t think - he only used the chirp the whole time I was their - not even to cheat with moving around.

Seriously. That guy's acrobatics could make Freakshow’s contortionist green - er, red??? - with envy. Actually wait, aren’t contortionists and acrobats different things?

SAM NOTE: help^?

Powers: 

?

~~~

Jason leans back, breathing deeply.

“Not a full ghost,” “not 'overshadowed'” - a term that sounds likke some kind of cousin to possesision - “definitely a halfa,” “humans can’t hear chirps.”

Halfa. 

Half. 

Ghost. 

Half Ghost.

It should sound absurd - you can’t be half alive and half dead.

But Jason has seen the Lazarus pits, has met Solomon Grundy, has met aliens and bullshit magic and can pull magical swords out of his own damn chest.

Half alive. Half dead.

Hopefully not just a fancy way to say possessing his own corpse.

He doesn’t have time to deal with every file - he’ll “confiscate” one of their USBs with a copy of everything for himself before leaving the rest to Batman & co, of course, minus the halfa files (a small part of him wants to shove his condition in Bruce’s face and demand he kill the clown again even though he knows it’s a futile hope, but the rest - the same part that snapped and denied and refused to say he was a meta less that a day ago now - cannot stomach the thought of even more rejection. Of a Bruce that believes he’s a monster. Of a Bruce that mourns him even while he’s right there. Or at least, more than he already does.) - but while the files copy he take the time to look at Danny’s.

The image has two people, Danny Fenton on one side and a version of the kid in a black hazmat suit with white hair, tanned skin, and painfully familiar green eyes. And floating.

~~~

Human Name: Danny Fenton

Ghost Name: Danny Phantom

Species: Halfa (half-human, half ghost)

~~~

It’s the section after that that makes Jason’s breath catch in his throat.

~~~

Death: The Portal Accident

So like, there was no audio (thank GOD I do not want to hear myself screaming) so. Details: When the portal didn’t work when they plugged it in mom and dad left for fudge, Jazz went to try and talk them into a more realistic career choice than ghosts. Sam and Tucker came over and Sam dared me to climb in and check it out - it was broken anyway so no harm. Except it wasn’t broken, just that my parents put the on button inside. Which I caught myself on when I tripped on a wire.

Anyway, electrocution! 

(T - Danny for the love of god be more serious, the cheerful tone is creepy)

(D - Hey! I’m the one who died! Shouldn’t I at least get to write my own epitaph)

(S - …Danny this is not an epitaph. You don’t even HAVE a grave)

(D - wow way to rub it in Sam)

(T - yeah Sam)

(S - ugh! Whatever, just stop with the chatting in official files)

(T - “official”)

(S - Tucker.)

(T - shutting up now)

Electrocution! I got zapped to death, but the ectoplasm from the portal was also opening up on top of me and a lot got bonded to me I guess (S - probably because of the electricity with how you ended up with some of Vortex' powers for a little while) at the same time said electricity was reviving me? - probably getting my heart beating again or something, I was a little busy screaming to pay attention (T - yeah okay we're going to Nasty Burger after this. And playing Doomed) - not that it would’ve mattered without the ghostification preventing me from melting me all the way to death.

Status: Me!

Powers:

Chirps! (ghost echolocation of some kind! humans can't hear em - halfas can, of course, in either form)

Form Change (really Sam? This barely counts)

Human form

Ghost form (no need to breathe)

Flight (last clock speed 210mph) (T - and climbing. Dang dude)

Invisibility (S - don’t forget shareable.) (Shareable. sigh)

Intangibility (Shareable)

Ecto Rays (eyes & hands) (T - and butt) (D - dude! I’m deleting that. Tucker why can't I delete it. TUCKER) (T - bow down in awe of my ksill) (S - ksill) (D - ksill) (T - yeah okay it’s permanent now) (D - aw man!)

Ghost Sense (S - why do we never test your range?) (D - no need? They always make themselves obvious or are being sneaky specifically to annoy me so *shrug*) (S - I still think we should test it)

Power Absorption (that time with Vortex’s weather powers)

Cryokinesis (Wayyyyy to much ice. NOT testing max output on that) (T - yeah frozen city was enough, let’s not cause an ice age. Tech needs some cool but too much is still bad and I just upgraded Patricia)

Ghostly Wail (cone of destruction, very exhausting - always at max output. Not to be used)

GHOST FORM ONLY (but really just never)

Cartoon Body (D - what???) (S - Freakshow literally turned you into a puddle and you just turned back and were fine. I don’t know what else to call that) (D - okay fair. but:)

GHOST FORM ONLY

Physical Enhancement (better strength, speed, stamina, durability, reflexes, balance, etc much better than human) (T - why does this look like dnd knockoff stats haha)

GHOST FORM ONLY (S - obviously mr last place in PE)

Resistances (pretty solid on the overshadowing, avoided being taken in by Ember until targeted, didn’t get turned to stone during the Medusa thing) (S - which was pure luck! Be careful!)

Ecto Electricity (ghost stinger, but I really don’t think this counts Sam. I mean I just. Make my ecto zappy. But it’s still just ecto) (S - so is your ICE and you don’t just call that "just cold ecto") (D - fine, but it feels overly specific) (S - maybe writing it all down will make you stop. Forgetting. POWERS!) (D - come on Sam that was a lucky hit! I was distracted! And it turned out fine!) (S - Fenton…) (D - oop okay doing fire now)

Ecto Fire (made Dash’s shoes melty that one time by make the ecto hot) (T - really needs more testing)

Tech possession (chasing Technus into computers, not very tested)

Ghost form only, i guess?

Overshadowing (control people, copy their voice, invade dreams - the control one erases the person’s memory so they don’t know they were overshadowed just lost time. I hate Walker. SO much) (T - rip Danny’s reputation, you’ll be missed)

Probably ghost form only

Duplication (T - That’s optimistic) (D - I’M WORKING ON IT OKAY!?) (S - pretty sure it just falls under cartoon body until you can actually separate) (D - :( betrayal)

Probably ghost form only

More? (D - ugh I hope not) (T - hey don’t say that, maybe you’ll get a power to make the JL give a crap about Amity) (D - honestly I’m getting pretty close to letting Boxy loose in Gotham) (S - Danny, don’t stoop to their level!) (D - it's only box ghost!) (T - I mean he has a point)

~~~

Jason changes his mind, seeing the commentary, and deletes the entire hidden file from the computer as soon as his copy is made. He can go over everything and bring any important info to Bruce separately, the bat’s can just chew on the parents’ files for now.

Once the original files are thoroughly and irretrievably removed he pockets his shiny new USB, makes a second one with all the official files, and heads back up and out - carelessly brushing past a thoroughly irate Red Robin with a pair of firemen and broken jaws of life. And not a scratch on the door; impressive - just in time to get Oracle’s text that he’s got 2 hours and 16 minutes to be at the location on his HUD so he can “arrive” to Amity.

And a fresh set of civilian clothes will be waiting in the plane, Alfred as reliable as ever.

“Files,” he says, tossing the safe USB to Batman and interrupting his interrogation of the police officer.

He catches it effortlessly of course, but the officer stops paying attention to him to jolt at Hood’s reappearance - even outside of Gotham his reputation is fierce.

“I sent a copy to myself. I’ll review them and give you an overview, but other than that consider this the end of my involvement in this little shitshow,” he says, continuing smoothly to the door. “I’m heading back to Gotham.”

Now, he has a little over two hours before Jason Todd needs to arrive in Amity Park. He only needs to lay hands on a laptop that he can isolate from Babs’ influence and he should be able to review the Halfa files in full before he "lands" - after he figures out just why the kid has a grudge against the JL.

[dykedvonte]

Curly had two days to act and Swansea had two months.

I think it’s just interesting that every defense of Swansea not immediately acting are the same ones that are argued against for Curly. “He didn’t want to alert Daisuke or makes things worse for Anya either Jimmy!” I mean people also assume that about Curly and the crew. “He has to think about his plan of action and a right moment!” Again so did Curly, power and authority aside, he still would have to think of what he had to do. “He makes sure he doesn’t have to be around Jimmy!” So did Curly and they only do this to an extent, both give Jimmy more than a few opening to keep harassing Anya.

This isn’t defense of Curly nor a damnation of Swansea. Their actions are very parallel to each others in tragic and sour ways when it comes to how they approached helping Anya. In the grand scheme of it all they both did the same thing: Nothing. No action either took stopped the inevitable outcome of her death nor Jimmy’s continued damage to themself.

The only real difference is Swansea didn’t like Jimmy which is pretty substantial, but also just as damning as Curly knowing how bad Jimmy could get to an extent. He had even less of a reason to wait, even more of a reason to act seeing as he was now worried for Anya AND Daisuke. He is not bound by the possible procedure as Captain and actively does not care about what happens next. So what does it matter if he acted in the moment? Why did he wait? I think he’s just as morally complex and grey as Curly and we hold him on a pedestal that still perpetuates things in rape culture the game critiques.

It’s not just enough to dislike and be abrasive to predators/abusers like Jimmy. It’s not enough to just put yourself between them and the other person. It’s not enough to hold tensions when you know someone is vulnerable. He and Curly do the exact same things but on different sides of the coin. I ask how is it better to not turn a blind eye but still not really do anything about what you are seeing? Not until it affects you atleast…

The game makes a big point to not put men doing the bare minimum or who wait to do more on pedestals and I’m actually surprised so many are missing that point.

[non-newtonian-id]

this is complete insanity on my part because i thought about PIDW!Shang Qinghua a little too much but

he and PIDW!Mu Qingfang were in love. to me.

they never actual got together before og!sqh died but there was mutual pining happening

trust, i spoke to airplane himself (<- guy being delusional about two double fictional characters (characters that are fictional within a factional setting))

[your-unfriendlyghost]

“aka “the movie that made me understand why folks are into men”” getting some awakenings there aren’t you Casper /silly

Pfft whaaaat nooooo, ‘course not, what-

[lycanlovebites]

You know what? Fuck you *hits Father Ardelian with the shoujo filter and babygirlifies your priest*

@stjohnstarling

[thefloatingwriter]

sunrise on the reaping is where headcanons go to die.

[potato-lord-but-not]

wife here, I love you too <333 However, I am ever so slightly offended (not really) that the reason you'd assume that previous ask wasn't me is because of the lack of sources and not that it says "love you" without the "I" when my brain was permanently wired to do my absolute best to never ever ever do that to you after reading

Do you remember the way the girls would call out “love you!” conveniently leaving out the “I” as if they didn’t want to commit to their own declaration.

I agree that the “I” is a pretty heavy concept and hope you won’t get uncomfortable if I should go into some deeper stuff here. (Berman par. 19-20)

two years ago. I mean no offense to people who do that, especially since in other contexts I also say "love you". But when it comes to you I never want to be someone who doesn't commit to my own declarations. I love you. And that is a declaration that I am committed to, and want ownership of and responsibility for. And I feel a little weird about sending you this as a tumblr ask and not a text or something, but that seems antithetical to what I'm saying. Being slightly obnoxious by sending you my declarations of love publicly feels like the same sort of thing as making sure to say the "I". Like how you're required to have witnesses at a wedding.

I love you so much. I love you, I love you, I love you, I love you, I will never be over the fact that I get to say that. My love for you is a fact of the universe, so I might as well use all three words.

Works Cited (sorry, you asked for it)

Berman, David. “Self-Portrait at 28.” Poets.Org, Academy of American Poets, poets.org/poem/self-portrait-28.

No you’re so right actually, and bold of me to assume you’d send an ask that wasn’t a paragraph or two long. But anyway, I love you moreee I haven’t even read the poem but I find myself consciously adding the “I” whenever I type “love you”, cus you deserve for someone to say it with their whole chest… I love you <3

[beaconfeels]

Peter ending up at the Stilinski's house after the fire as "suspiciously large dog" and getting nursed back to health by Stiles.

Thoughts? 👀

I think Noah is pretty dubious about the large “dog” he finds Stiles with when he gets home, but he’s also helpless when his son looks up at him with those big brown eyes and wobbling lower lip and says, “Dad, he’s hurt. We have to help him!”

But the thing is, it turns out Peter’s not healed in wolf form, but the wounds he suffered in the fire basically disappeared under his skin. I dunno, it’s some weird shifter magic. So the vet is like, “I don’t know what’s wrong with him. He seems fine physically.” (Is this a metaphor for invisible illness? Or for the wounds we have that nobody can see? Maybe)

Even Noah can see that the dog isn’t okay, and he really hopes that it doesn’t have some weird illness it can somehow pass on to Stiles, but he doesn’t stop Stiles from taking care of the dog.

Stiles doesn’t know why the dog isn’t okay, but he clearly isn’t. It’s hard for him to walk. He sleeps for hours at a time, and sometimes when he’s awake, he lets out mournful howls that send a shiver down Stiles’s spine.

Stiles will never know how much he’s really doing to heal Peter. Peter thinks he might have been stuck in pain for years if he hadn’t stumbled upon this boy. Stiles pets him constantly, cuddles with him at night, coos soft encouraging words to him when he howls. His love and loyalty is like pack, and it allows Peter to heal from his wounds much more quickly.

Stiles names the dog Thor, and he could swear it rolls his eyes at him whenever he says it, but he still comes when Stiles calls.

Thor refuses to wear a collar or leash, but he follows Stiles to school every day once he’s doing better, and he’s always waiting when Stiles gets out. This would be awesome anyway, but it’s extra awesome because Stiles gets bullied all the time, and now nobody bothers him to or from school anymore since Thor will place himself between Stiles and the bullies and growl viciously until they run away. It’s good for Scott too, because it wasn’t doing his asthma any favors when he and Stiles had to make a run for it.

So yeah, the Stilinskies end up having a dog. Kind of. I say kind of, because it’s not really a typical owner and pet situation. Thor is ungovernable. He comes and goes when he pleases. He never seems hungry, but he also rarely eats the food Stiles puts out for him.

Noah won’t admit it to Stiles, but Thor does seem to understand more than the average dog. He’s also huge, which would be disconcerting if Noah didn’t have clear proof that Thor would protect them with his life. All in all, it’s a strange situation, but soon neither of the Stilinskis can imagine a life without their dog.

[bestworstcase]

the only purpose of the shock collar was to subjugate, enforce cinder’s status as an object the madame owned. she neither chose it nor wanted it—and in the end, it was just a necklace. cinder breaks it with ease, with one hand. anyone might have set her free at any time with, literally, no more effort than it would take to lift a finger.

(do not try the bullshit nonsense about cinder’s enslavement being legal with me. slavery was abolished after the great war, and when the madame is displeased she brings cinder into the kitchen to torture her behind closed doors. adopting an impoverished orphan from a foreign country and using a collar made to look like a pretty necklace is how she gets away with it, enabled by the complete indifference of her wealthy patrons to the plight of the "adopted child."

the thematic point of rhodes is that he enforces the law only when it’s convenient for him to do so: he knows cinder is being abused, but he’s a regular patron of the hotel and he chooses not to say or do anything to intervene until he recognizes cinder as a threat to the madame. “hurting them won’t make your life any easier.”

we see this pattern reoccur again and again in atlas, that those who hold political or economic power flout the law without consequence or contort it to work for them while those beneath are subjected to strict, unforgiving enforcement. everything robyn does before the election is legal and above-board but the ace-ops openly treat her like a criminal and hound her about obeying the law, while ironwood misappropriates construction materials earmarked for mantle. this is the idea that rhodes embodies.)

so the greatest injustice of the collar is that it had no real power, by itself, over cinder. she could take it off whenever she wanted, except that she was not allowed to; no one willing to help her, no safe haven where she could find refuge after, and when she becomes desperate enough to resort to violence to free herself she is immediately prevented from doing so by a huntsmen—exemplars of moral virtue as they are intended to be—who tells her that in order to be good she must endure seven more years before she is allowed to leave without her guardian’s permission.

as an instrument of control, the collar can exist only through the willingness of the hotel’s patrons to participate in the fiction that cinder, having been lifted out of poverty by the madame’s generosity (look, she even gave the girl a lovely necklace!), is now earning her keep, learning the value of hard work. pay the scars no mind. rhodes intervenes to keep protect the madame, and his fondness for cinder is circumscribed by that motive.

the first time he leaves after he begins to train her, rhodes says goodbye by placing his hand on top of her head; cinder flinches—

—and the scene cuts right to the collar:

in the same mode, the madame electrocutes cinder in a panic as cinder strangles her, and rhodes’ final act is to place his hand on cinder’s head, scaring her—

—after which she cuts him down and stands upright to remove her collar:

the collar and the gentle (unwanted) hand are one and the same, two faces of a single instrument. carrot, stick. neither figures cinder as a human being. rhodes is only gentle until she disobeys him, whereupon the covert violence of their first meeting is reified: he enters her only ‘safe’ place to catch her in an unlawful act; his first action is to pass judgment; his second, to draw his weapons.

now, that’s not yours, is it?—huntsmen are called to embody a heroic ideal, to protect others who cannot protect themselves. rhodes places his own weapons into cinder’s hands and declares that he will train her as a huntress on the condition that she agrees not to protect herself; he releases himself from his duty to protect her by moving her into the category of people who do not need to be protected, and thereby makes her both guardian and grimm: as a child who will become a huntress it falls to her to protect her family from the monster of herself.

thus she’s forced to become an active participant in her own abuse; before she can break free of the collar, she has to bite the hand that held it in place.

now to the grimm. during the montage of cinder’s training-and-abuse, there is a particular sequence that goes like this: rhodes and cinder spar with wasters late one night, he disengages and gives her an approving nod; we cut to cinder kneeling before the madame in the empty lobby, dusting a glass statuette of a sabyr for inspection. her work is found inadequate, and the madame finds quiet satisfaction in reminding cinder of the power she has over cinder:

then the madame walks away, and although cinder strives to maintain the performance of being unaffected—indifferent—she can’t:

in contrast to the scenes preceding cinder’s bargain with rhodes—wherein the larger-than-life glass statues looming over the lobby alternate between prominently visible or just protruding into frame and cinder’s face is an open book of angry resentment—this is the only instance of a grimm figurine being clearly visible and in focus during the montage, and also the one time cinder’s mask slips to reveal her anger.

similarly, in the time-skip at the end of the montage, the glass sphinx sitting on the coffee table in the mid-left is removed to signal the passage of time, with no other changes made to the decor:

but guess who’s back as soon as the situation reaches critical mass?

glass wolf. glass dragon. glass shoes.

the point is, throughout the flashback midnight leverages these glass-grimm to symbolize cinder’s true self, her anger which protects her and which the gentle hand demands she extinguish. the fantastical gilded opulence of the glass unicorn depends on cinder staying quietly in her cage. no, it isn’t fair—the gentle hand admits this—but it is her moral imperative to serve others. in this distorted unreality the defenseless and the indefensible become commingled. a huntress, as salem would have it, is a defender who lives and dies to protect a lifestyle. or she is, as ozpin defines it, one who guards the peace by killing monsters.

cinder’s instinctive understanding that this is not fair—that she is not nothing—that she has been wronged—is the monster she must slay to become the hero of this story, the story of the glass unicorn and madame and rhodes and all of atlas. and in the end she can’t.

rwby has never been precious about depicting blood, but there is no blood in this scene: not not on the floor, not on the bodies, not on her weapons, not a single drop upon her white shirt. her hands are clean. in shadow, the monster snaps the chain around her throat and turns to looks up at the moon—and its light reveals what is true. her tears, her scars. a child who deserved better than she was given. a child who did nothing wrong.

ahem.

Keeping [grimm] in captivity has proved to be an understandably difficult task, as the creatures tend to either die, or kill those who imprisoned them in the first place.

hm! anyway. the narrative function of this flashback is to provide context and contrast with the scenes that follow.

to review:

the collar’s power is enforced by communal indifference and complicity.

the madame, though unaware of him, depends on rhodes to keep cinder under her control; rhodes intervenes to protect the madame from cinder.

the gentle hand is an equal to the collar, a mechanism of control by which cinder is made to participate in her own abuse, and when she disobeys, it turns to iron and inflicts violent punishment. even when he is gentle, cinder flinches under his touch.

by training cinder to fight but forbidding her to defend herself, rhodes casts her into the role of both guardian and grimm: she is expected to protect the madame by slaying her anger and turning the other cheek.

the glass grimm figurines symbolize cinder’s anger, which protects her. when she defends herself, cinder metaphorically becomes grimm: the monster of the glass unicorn is destined to be hated and hunted for the rest of her life, and the monster of the glass unicorn is a blameless child who refused to let herself be hurt. grimm, in this story, are good.

also note

the similar framing here.

now!—from the moment cinder wakes up, it is abundantly clear that she expects to be met with brutal punishment for her failure. “you—you brought me back here… we failed.” she’s horror-stricken at finding herself in this place and that hardens into terror as the reality sinks in that she is within salem’s reach.

later, on the bridge, she affects calm until salem pauses in front of her; her eyes snap open. she shrinks into herself at the sound of salem’s voice but hangs on every word. when salem mentions the winter maiden, cinder grits her teeth and braces herself.

cinder associates salem with the madame: that is why without you, i am nothing falls out of her mouth so easily when salem tears her down in 8.1 and again when salem threatens her in 8.4—those are the words to make the pain stop, to appease, to demonstrate that she is contrite and repentant and grateful. she believes that this is what salem wants to hear when cinder has displeased her. and she is, at the top of the bridge scene, waiting for the torture to begin so that she can choke it out again and survive this humiliating ordeal.

except that is not what salem wants to hear.

by now salem knows beyond any doubt that “without you, i am nothing” is what cinder believes she wants to hear, and it is obvious to anyone with eyes that cinder expects to be tortured. whether salem knows cinder’s history or not—i don’t think she does, not in any great detail—she knows people well enough to put two and two together. salem knows, then, that cinder expects to be tortured into groveling self-denigration.

she doesn’t want cinder to expect that from her. there’s no other reason for salem to be so thorough in dismantling the expectation.

if she wanted to make cinder afraid, the more effective way is to decline to torture her at all: cinder is so certain that salem will hurt her that withholding punishment entirely will only convince her that salem intends to wait until the moment she lets her guard down, or some other form of deferred retribution all the worse for being delayed.

whereas the most efficient way to puncture cinder’s terror of being tortured is—somewhat perversely—to actually torture her a little bit. because cinder does not BELIEVE there is any possible outcome in which salem spares her, if salem wants to introduce the possibility of mercy she first needs to enter cinder’s reality, where mercy doesn’t exist, by proving she can and will inflict pain to answer both defiance (“you chose to disobey my specific instructions”) and failure (“just to fail again…”)

a brief burst of pain to express displeasure instead of holding cinder under torture until she breaks isn’t really merciful, but it’s the lower bound of what cinder will be able to trust and it eases her into the idea that salem is lenient.

then, “and i’ve realized it’s all my fault. you’ve fought your whole life unwaveringly for what you want, and here i am holding you back, instead of lifting you up; you deserve so much more than i’ve given you.”

aside from being a straightforward subversion of cinder’s clear expectation—cinder thinks she will be abused without mercy until she breaks, salem stops and absolves cinder by reframing cinder’s disobedience as a natural consequence of her own failures—salem has a few specific things in mind here.

the most obvious is the reversal of what she said to cinder in 4.11: “i thought you were the girl who wanted power. did you lie to me? then stop holding back.” and she’s also pointedly walking back things she said yesterday, in 8.1 and 8.4: “all you need concern yourself with is your ability to act when i tell you to” and the “she thinks; she wants…” bit are here flipped into implicit praise for cinder’s tenacity in pursuing what she wants and implicit apology for standing in her way.

but the most interesting angle to consider is that this is salem’s response to “without you, i am nothing.” salem does not verbally respond either of the times cinder says that to her in 8.1 and 8.4; the first time, she dismisses everyone with a gesture, and the second time she just walks away. both reactions are in line with what cinder expects—after all, the point is to remind cinder that she is nothing.

however, cinder has—from what we’ve seen—never spoken to salem this way before, and given she seems genuinely taken aback when salem shuts her down in 8.1 i do think it’s likelier than not that salem has never demeaned her like this before, and that together with having been in atlas for months is what surfaces the trauma association with the madame and thence the appeasing behavior.

so consider how this looks to salem.

the last time she spoke to cinder, she said “you’re free to speak your mind,” and cinder whipped around from the window without hesitation, outraged: “i don’t understand! working with bandits? leaving ruby alive? what’s the point? we’re strong enough to take what we want by force!”—not even a ma’am in there. cinder addressed her like she saw herself and salem as equals, notwithstanding that salem had final say, and salem clearly didn’t have a problem with that.

several months pass. salem is displeased about the loss at haven but trusts that cinder will make an effort to recover the lamp; she is also worried enough for cinder to toss her plans and divert nearly everything to atlas, not that she’s willing to admit that’s why.

cinder walks onto the bridge and the first words out of her mouth are “my queen.” a few minutes in salem curtly informs her that no she will not go rampaging after the winter maiden and cinder’s answer is a demure, “of course; without you, i am nothing.” and then a few hours later they quarrel about it and cinder repeats those exact words in exactly the same tone again.

unless salem knows cinder’s history in far more granular detail than i believe cinder would be willing to divulge, that’s… a really strange shift in behavior with no clear reason; yes, she had to make up the loss at haven (and she did), and yes, salem was unusually mean to her, but neither of those things add up to this plainly well-practiced self-abasement from the girl who only a few months ago did not appear to have a humble bone in her body. once might have been sarcasm; but twice within a few hours?

whereafter cinder ran off to attack the winter maiden and almost died again and salem had six hours to pick all of this apart in her head while cinder lay unconscious.

why didn’t she respond to cinder saying “without you, i am nothing,” if that is not what she wants from cinder? well,

“you disobeyed my specific instructions, just to fail again, and i’ve realized it’s all my fault.” both times cinder said that, it was in response to the specific instructions that cinder disobeyed when she went after penny: you will act when i tell you to, and you will remain here. six hours, salem had to think about this. “you’ve fought your whole life unwaveringly for what you want, and here i am holding you back, instead of lifting you up; you deserve so much more than i’ve given you.”

salem does not think of cinder as nothing. even when she is deliberately being mean, she makes a point to say that she values cinder (“just because you’re more valuable to me than a pawn–”). cinder holds the key to her victory and cinder is also important to her in ways she cannot bring herself to admit except that she keeps bending her plans further and further for cinder’s sake. the first time cinder says “without you, i am nothing” to her, she seems bemused (brows up) and then wry. the second time, she doesn’t react at all.

then because she left it there, cinder nearly dies and is unconscious for hours. and once she wakes up salem hits her with:

this is my fault

what you want matters

i should be lifting you up

you deserve better

i will help you

IN A CLASSIC SALEM MOVE she does not actually say what she means, which is “you are not nothing,” but she finds an impressive number of ways to say it without saying it in just a handful of lines. and:

she doesn’t touch cinder, but instead she offers, gives cinder a choice to take her hand or not, and this matters because no other character has ever given cinder that.

in 2.1 cinder touches roman’s face to assert her power over him; she does the same to pyrrha in 3.12 right before killing her; she slaps emerald in 3.7.

in 5.9, cinder reacts to watts grabbing her wrist like this—

—and then sets his hand on fire. in 8.1, emerald starts to run over to embrace her, cinder snaps her head around and snarls “quiet.,” stopping her in her tracks. and after she wakes up in midnight, when emerald rushes into the room and grabs her, cinder tenses and verbally lashes out before jerking her hand away.

cinder really does not like to be touched and that all traces back to:

rhodes patting her head. which is what he’s reaching down for when cinder kills him, because this time she senses him moving to touch her and can’t take it.

cinder bristles and retaliates whenever anyone touches her, and outside of grappling during fights the only times cinder ever touches other people is to hurt them or to remind them of her power to hurt them, because that is what touch means to her; it’s something those with power do to those beneath them, and something the weak must endure.

for salem to offer her hand to help cinder up is strange and unsettling; it breaks the rules. and cinder is very hesitant to take it—her fingers shake—but she does, and it isn’t a trick, salem pulls her to her feet without hurting her.

whereupon cinder’s whole demeanor transforms from terrified incredulity to calculation. she doesn’t understand what just happened, but she knows touch is an instrument of coercion and a way to inflict pain. if salem were like the madame, she would not have done any of that; if salem didn’t touch her with the intent to harm her, then there are only two possibilities:

one, that salem’s resemblance to the madame is superficial and she is actually much more like rhodes; or two, that salem is the weak one and cinder holds some unknown degree of power over her.

the instant this thought enters cinder’s head, it becomes urgently important to figure out which it is, hence the murdering of colleagues and stepsisters and lying to salem’s face that cinder gets up to immediately afterward. BUT THAT IS NOT WHAT THIS POST IS ABOUT THIS IS A POST ABOUT THE GRIMM ARM. AND THEMES.

wheeze. okay

in the glass unicorn, cinder has two parental figures—the madame and rhodes—who act in synchronicity to keep her in her place. shock collar, pat on the head. stick, carrot. she is tortured and made to refract this violence inwards, against herself, by turning the other cheek. within this narrative, the symbolic purpose of the grimm is to protect cinder and cinder herself is symbolically identified as grimm; just as black glass is her signature in in the present, the white glass of the hotel’s grimm figurines reflects cinder’s starkly white-and-grey uniform.

glass, cinder. glass grimm, glass shoes.

unicorns, classically, are said to be ferociously wild and dangerous beasts tamable only by the touch of a maiden. those who hunt unicorns, then, should solicit a maiden’s assistance. she goes out into the woods alone; the unicorn finds her and docilely, fearlessly lays its head upon her lap and goes to sleep; and thus the hunters take it. this manner of hunting unicorns is called entrapment, and among medieval and renaissance depictions of unicorns it is by far the most common motif.

in the world of remnant, if unicorns are real then they are undoubtedly a kind of grimm.

gestures at cinder, the fall maiden, who can tame the grimm. who feels for them. maiden. unicorn. maiden. unicorn.

the story of the glass unicorn is a story about a maiden-monster whom a huntsman instructs to tame herself lest she be hunted forever; an entrapment of the self; in the end she hears the baying of hunting dogs in the distance and awakens to the truth that she too will be killed, in spirit if not in body, if she obeys the huntsman. the unicorn is not to blame, and the maiden is right to protect it, and the unicorn is, has always been, grimm.

bearing all of this in mind,

is the grimm arm another collar?

i don’t think it…is, actually, in any sense except that cinder forms an association between the madame and salem in 8.1—the collar and the arm are diametric opposites, mirror-images of each other:

where the collar was fragile and easily removed, the grimm arm is part of cinder’s body. where the collar derived all its power from pretense (it’s only a pretty necklace!), the grimm arm is impossible to mistake for something other than what it is. where the collar’s sole purpose was to inflict pain and remind cinder of her place, the foremost purpose of the arm is to replace cinder’s missing limb. where the collar was forced upon her and she hated it, cinder trained hard to master her new arm and has grown more comfortable with it in every new volume.

paired with the way grimm function symbolically within the glass unicorn narrative, as representations of cinder’s justified anger and desire to protect herself… well. maiden, unicorn. lol

is it then an iteration of the gentle hand? that’s a more interesting question, because salem’s abuse of cinder is really quite a lot more like rhodes than the madame, but then there’s also… the reversal. rhodes’ affection for cinder is restricted by his interest in protecting the madame, and when cinder disobeys him he attacks her presumably with the intent to arrest her for murder. whereas salem has repeatedly and increasingly rearranged her plans for cinder’s benefit, and when cinder disobeys her, she reconsiders her treatment of cinder and offers an apology.

and obviously—

—we have the way rhodes touches cinder’s head, which at best makes her tense up in discomfort and at worst scares her so much she kills him to make him stop, mirrored in the same episode by salem offering her hand and cinder choosing to take it.

salem is not by any stretch of the imagination good to cinder, but midnight places her in juxtaposition with the madame and rhodes in order to clarify the difference between salem and the parent-figures of cinder’s childhood. it’s salem who tells cinder that she isn’t nothing, that she deserves better, that she was right to become defiant when salem was cruel to her. it’s salem who gives cinder a choice to let salem touch her or not.

everyone who gets where the wind is blowing with cinder understands, because it is obvious, that her turnaround is going to be incited by someone showing her mercy, which will shatter her view of the world and open a door for her to change. but… that “someone” is salem. it is literally already happening.

the first crack is salem telling her you deserve so much more than i’ve given you, as she pulls cinder to her feet.

and cinder doesn’t know how to parse that, she has no frame of reference except the madame and rhodes and she’s superimposed them both onto salem; the discrepancies, the pieces that don’t fit, are small right now. they will get larger, and the cracks will keep widening until the looking glass breaks.

which is why the grimm arm is related to the collar in the specific way that it is, with cinder flashing back to her childhood and the pain salem inflicts ending when cinder shifts emotionally from helpless fear to defiance and salem then explicitly affirming the rightness of cinder’s anger. the moral of the glass unicorn narrative according to rhodes is that what cinder did is unforgivable, and she will never escape it; the moral according to salem is that cinder did the right thing, and deserves better. the symbolic function of the grimm figurines in the glass unicorn narrative is to represent cinder’s self-protective anger. salem, grimm, uses cinder’s grimm arm to make a point that cinder should get angry when salem mistreats her, and then rewards her for being defiant.

is that a really fucked up way for salem to make that point YES OBVIOUSLY but no one else is even trying. lol

little steps.

(whispers into a cup) the grimm arm is also a metaphor for learning to be vulnerable and trust others not to harm you

cinder feels its pain. when it’s severed, it hurts, but also grows back. it’s both powerful (superbly strong, inhuman flexibility) and vulnerable (aura can’t protect it). salem can use it to hurt her; it connects them both together, so salem knows she’s alive and cinder knows when she’s back. it refused to bond with cinder until she let go of her fear and welcomed it.

the shattering trauma that made her what she is now was rhodes telling her that defending herself made her an irredeemable monster. the grimm figurines in her childhood story symbolize cinder’s desire to defend herself. the grimm arm is part of her body that connects her to salem in a way that salem can abuse to hurt her, but salem is also the first character to look cinder in the eye and tell her that she is right to defend herself. both cinder and salem are in the early stages of developing villain -> hero arcs.

your newfound strength brings with it a crippling weakness, salem says. remember that it comes with a cost. take care to protect yourself; there is only so much i can do to aid you. cinder wants to be strong, but she is terrified of weakness, and it is the terror of weakness that drives her, that must be faced, that must be resolved before she can find peace. her story isn’t about “learning to be satisfied with the power she already has” it’s about learning to be okay with being vulnerable. with having weaknesses.

like an arm she can’t shield with aura, that grows back when it’s severed, which she feared and then hid in discomfort and now accepts as a part of herself. just because salem can hurt her doesn’t mean that salem is incapable of choosing not to. salem could also, like, smash cinder into a gory pancake with a snap of her fingers.

it’s a story. about trust.