#but that doesn't mean that there are not also things that are unique about the situation

[a-confused-spoon]

Not to be a hater, but Cassandra didn't give a shit about Zaun and it's a bit weird everyone forgot about it.

It's a common theme when it comes to Piltover, how it's never about actually helping the people but rather looking like you are. That whole project was about her legacy and how it'd make her look like.

Think about it:

In the first act of season 1 enforcers had to wear a mask to breathe properly, meaning that the air was absolutely NOT clean at all- as a matter of fact Silco, of all fucking people, says very explicitly in ep 7 that he was the one who gave them oxygen

Cassandra took one good look at Vi and immediately referred to her as "a stray", aka something lesser than a person

Cassandra's first reaction to seeing her wounded daughter who's been missing for a day and came back with a zaunite was "sweety, you do realize how your silly actions reflect on the Kiramman's house, yes?"

Cassandra did NOT defend Vi or Caitlyn's case at the audience she scheduled for them, the only thing she managed to say was "look at my daughter getting unique info for our problem!"

Cassandra was still a corrupted politician who lost her absolute shit when Jayce came forward with the independence deal for Zaun

One document with her own claim about wanting to help doesn't change any of this.

I'm also not surprised at all that Caitlyn's first reaction is "Oh, this is something I can use", since she was the first in line to call her mother out on her bullshit; she knows DAMN WELL that the whole document about the ventilation system isn't about the people in the Undercity, it's there for her, next leader of the Kiramman's house specifically to see, and most likely use.

I'm all for the nuanced conversations surrounding Caitlyn, but I will never care nor like Cassandra OR the rest of the council (except Jayce, Heimerdinger and Mel, who all went through their journey about getting out of their problematic mindset and influences).

The fact that Caitlyn finds out about the ventilation system her mom made to help the zaunites have clean air because she thought that they deserved to breathe, and Caitlyn immediately weaponized that against them?Simultaneously demonstrating the dark path she is heading down while also implying that Cassandra would not approve of the path her daughter is going down.

[senseandaccountability]

the narrative that could have been

Having mulled over the game for a couple of days I have realised that the main problem for me is that Veilguard is good based on the premises they ultimately choose, but not based on the set up and promise of what was there before. I know this isn’t a unique take by any means and yes it’s all about the Evanuris and the Veil and Solas. 

Replaying really emphasises how incredibly little the game convinces me of its original main quest - to prevent Solas from doing his ritual. This is a problem as a long-term player because for three games we’ve had build up for a great crescendo tackling the overarching themes of the (restrictions and oppression of) magic, of tears in the Veil, of religious tyranny and oppression based on myths about the Black City and the temptations of flawed humans, we’ve seen and deconstructed the elves quite a bit, we got started on the dwarves and in DAI your Inquisitor can openly ask Solas if it wouldn’t be better if the Veil came down because then spirits wouldn’t be separated from the living and risk becoming demons. Cole, whose function is to reflect the plot, talks endlessly about the old songs wanting to be sung again, about how it hurts to be cut off from part of yourself, how the templars feel it, how the mages feel it, how the elves and the dwarves feel it. The Veil as a prerequisite for life has been deconstructed, the Fade demystified, the gods have mostly fallen. The Veil as an actual wound inflicted on this earth has been presented as a theory and not been convincingly rejected by the narrative. 

The game actually gives no explanation whatsoever as to why the Veil coming down would be worse than what Rook causes in the beginning and what the escaped gods then do to the entire Thedas. The entire south falls to the Blight because Elgar’nan and Ghilan'nain are let loose. The Wardens are more or less wiped out. There’s enormous political turmoil. The game gives us Solas saying “thousands” would die when he brought the Veil down, but that he had a host of spirits there to help. (Yes, I know, his sole function in this game is to Trick and Deceive so who is to say if he’s lying, HUH, but even so, THE ENTIRE SOUTH FALLS TO THE BLIGHT IN ROOK’S VERSION OF THINGS.)

The game puts emphasis on Solas's questionable methods and past horrors but it doesn't ever explain why his goals are despicable here and now. It doesn't convince us that tearing down the Veil with lots of safety measures in place and after considerations is a bad result, all things considered - save for Varric’s initial yelling about demons. (We even learned in DAI that the Veil itself creates demons because it restricts the passage of spirits, come on.) Because three games have suggested it's not, not ultimately. Trespasser especially nuances this, just as it nuances Solas’s view of this current world state. Right after his long nap he would have nuked it all, I’m sure, but the whole point of character arcs is that things happen in them and what happened to him is that he was shown layers and angles he had not considered and adjusted his mindset and ultimately his plan accordingly. That is where DAV should have picked it up. That's where the build up was headed. But, now he must serve the narrative solely as the God of Treachery and Lies which means that previous build up is washed away for the most part. (In no way do I think he is OOC in DAV, I just want to point that out so nobody thinks I’m a sappy fangirl or whatever. I think he is perfectly in tune with his inner Dread Wolf, but that is also all he gets to be, because of the narrative, and I’m always much more interested in when roles and personas clash.) Again. The main problem is that the narrative cannot explain why bringing down the Veil would be the worse option than the shit we see unfold on screen. Instead it gets a bit lost in the past.  And I have Issues with that, as well.  Like, the dumbing down of the war against the Evanuris. The war that started because the leaders of the rebellion - who previously had to carry out terrible orders so the Evanuris, the upper crust of the Elvhenan, could play gods - decided that the Evanuris was a threat to them all. And the game gives us what, a depiction of how the rebellion ended up crossing lines, too? No shit.

Like, I am fully on board with the individual theme of regret on Solas’s part and he ought to be wrecked with guilt but I wish the game could be less all over the place with what sort of things he ought to be wrecked with guilt over. Saying fuck you to the Evanuris is the best and brightest of his character, I suppose I just don't want it dragged down to the same level as him breaking the Titans. I suppose I would have wished for a narrative that also worked on a systemic level when depicting things like, you know, war and revolutions and subjugation. But we don't have that, because DAV is only about personal choices. The Lighthouse crew flippantly writing the hierarchical and violent power struggle off as being about love and betrayal is on my shitlist forever. 

No, Taash et al, it was not about pussy, it was about feeling compelled by superiors to commit heinous war crimes and being lied to about the actual purposes of your damn war in the first place. The elves shouting at Elgar’nan and Mythal in this painting aren’t driven by love and sex they have been lied to by their ruling class. It was never about freedom or ending the wars, it was always about Elgar’nan jerking off to ultimate godhood. The writing even suggests betrayal here is to be understood as Netflix drama betrayal, maybe some juicy porny plot but it’s ABOUT THE BETRAYAL OF THE ELVES BY THEIR OWN KIN.  ((ETA: I would have wanted my Dalish mage to be allowed to be furious, NOT WITH SOLAS, but with the fucking Evanuris for betraying her people and being so fucking vile that the only option that remained was to create a world where she's a second-class citizen. I would have wanted the game to recognize that not all causes are equal and that Elgar'nan's cause for godhood was objectively more vile than Solas's cause for freedom because as it stands now, there are some really iffy vibes of "both sides are equally bad" and other things authorities tend to say when comparing destructive regimes with uprisings.)) I’m sorry, this shit hits me on a personal and political rage level. 

I also can’t help but mourn a game where the Trickster God fulfilled his trope’s duty and shook the stagnation apart with his actions - for good or ill, the way trickster gods are wont to do - and where Rook was tricked into helping and then, a more complex game about its consequences could have unfolded. The Evanuris could still have been the bad guys, if they wanted big villains frothing at the mouth. There could still have been numerous unplanned consequences, like all of Solas's plans have. Maybe other ancients awake as well. Maybe ancient evils who aren’t elves, who knows. Point is - the Veil should have come down, at least in some form, at least in some outcome. THAT is what they've been building up to. In this game that never was, Rook could be an actual interesting character where we could mold her as either accepting of this trickster role (which fits perfectly for a blank slate with no ties) or set to overturn it and enforce status quo, with some vanilla option in the middle. Maybe the Veil doesn’t come down until the very end of the game, ancient magic takes time after all, maybe a lot has happened by then. But ultimately, Rook’s choice in the end should not have been about siding against Solas because he’s lying to you or because he did horrible things in the past or siding with him because you want him redeemed. The narrative should have provided those options either way. The narrative should have been brave enough to suggest that hey, maybe Solas isn't wrong at all - his methods maybe, but his goal, no. If they truly wanted mirrors between Rook and Solas, Rook should have tackled the issue of actively bringing down the Veil herself, not because it's a roses and sunshine-outcome but because it might very well be the lesser of two evils. Gods, that would have been interesting. It should have been a choice about what sort of world Rook and the Veilguard wants to see in the future. It should have been about the people, the world, not how angry Rook is that an ancient elf has tricked her. 

That would have been the game I wanted to play.  This story doesn't really give anything new to the world of Thedas, which a world without the Veil would have. It accomplishes closure for our favourite trickster god and bless them for that, but as for the plot and the world-building it ends on a meh because the narrative isn't about the people unless they're brought up as being endangered. This is why I can feel satisfaction regarding the thematic conclusion to certain character arcs, the trickster becomes the healer with the bloodiest hands, the wolf submits willingly to his trap and so on and so forth, and I can have fun with the characters and their arcs but also really mourn the game that was there, in subtext and build up over three previous games and in several tie-ins.

[oathkeeper-of-tarth]

Time for a long Aylin ramble, because I haven't indulged in a while.

I'm actually really invested in Aylin being an aasimar! I do not think it is a misnomer or mistake, as I've seen people suggest. She was referred to as a celestial explicitly in some older builds of the game, but this was changed at some point during development. And I noted aasimar enjoyer Oath, quelle surprise prefer it this way for a variety of reasons. Primarily, I think, because it lets her be larger than life, have a touch of that other-worldliness and otherness, while keeping her very much "of this world" still, very (physically and otherwise) present and part of the prime material plane, and ultimately far more human than I believe even she herself would sometimes like to be.

To bring up the most basic and rules/mechanics-bound "creature type" level of categorisation, as an aasimar she is a humanoid, and not a celestial - outsider. Her outsider status is absolutely there and a goldmine of things to explore, but that's a different post sitting in my drafts for far too long that I'll get around to one of these days (but for now you should read this post that I love). Yes, she is in a very real sense above it all, she will outlast everyone around her and whatever she gets involved with. We also get to see her dramatic poetic archaic speech idiosyncrasies (Ho!), her odd sense of the passage of time, and, of course, her oft-discussed and joked about apparent lack of filter or regard for current social graces.

(Endlessly amused at her just going: I'll do it when my mum tells me to.)

All things combined, Aylin feels more like a being of two worlds to me than a guest visiting this one, even as she is called the emissary of a goddess. She embodies a blending and an odd balancing act between the lofty divine and the mundane, duty and preordained purpose and personhood, and touches on the many ways this balance can be tipped. A classic D&D aasimar struggle, really, and a well I am happy to keep returning to.

Balthazar: She was a unique specimen even before I began my work. Aasimar. A god's blood united with mortal flesh.

She honestly isn't even that far from a regular aasimar stat- and ability-wise - Aylin does have several special abilities, but these are flavoured as blessings from her divine mother instead of an inherent property of her as a creature - though, notably, Aylin herself at one point claims she is always reborn because "it is [her] nature".

“Blessed with the favour of a goddess, Nightsong cannot be permanently killed. When unconscious, at the start of her turn she recovers 1 hit point.” “Nightsong will be resurrected by the powers of Selûne whenever she dies.”

Importantly, she does not get to reincarnate, or get a new body, or flit away to her "home plane" or anything like what celestials get to do. She is anchored to this one physical existence (again, very human of her), tied and limited to this one body as it painstakingly repairs itself over and over and over (to a sometimes extreme extent, e.g. the all but outright stated regrowing of amputated body parts in a frankly horrifying context), insistently and indomitably but ultimately imperfectly. And I think that's part of why the kintsugi design drives me utterly wild, why her immortality setup is more interesting to me than, say, a mutant healing factor, or something like the characters in The Old Guard. Her history is pretty literally engraved on her skin, and when she, in the role of a power-granting artefact and the object of a ritual sacrifice, tells you she will feel every wound you inflict upon her, it is so easy to believe her. And I'm not even that invested in physical suffering, just that it means it's all still very palpably there, forever, and she doesn't get to magically restart with a clean slate in this sense, nor does she get to forget past lifetimes as some creatures like devas do. It's just a flavour of immortality I personally find far more engaging than most.

(I mean, yes, I am also a known hurt/comfort sucker and if you're going there in order to set up a scene where she's, I dunno, getting doted on by Isobel who's invented new scar tissue pain relief massage techniques, you know I'm going to be all over that.)

I'm also not sure I'd say she can just pop over to Argentil to hang out with her mum at will. I mean, planeshifting is not that hard to achieve, and also she can just… ask Selûne, ultimately, I guess. But I wouldn't say she has spent much time there, and I think she takes her role as Selûne's champion and representative in the Realms too seriously and too much to heart to be away from them for very long.

Which also calls to mind the issue of the obvious and "simple" answer to Isobel's eventual death - namely that with Isobel picked up as a petitioner soul they'll all just go live out the better part of an eternity in Selûne's realm. Probably in some form they will - it's never guaranteed, but this time, yeah, probably something like that will happen, and there will be, as Melodia says, no loss, only temporary separation. But I'm really not into just handwaving or stripping away most of the mortal/immortal pairing issues inherent in the relationship. If we're going for the "hang out in a different plane of existence forever" option, I think at one point Aylin would have to "complete" her duties and lay down her sword, in a way, and pick between Faerûn and the Gates of the Moon - meaning she herself is effectively moving on to a completely new phase of her existence as well.

And while Selûne carving a lovely marble statue and bringing it to life and similar takes are fun and beautiful and interesting, I'm very invested in an Aylin who was born, raised, and had to actually grow up and learn and be trained. I have a ton of headcanons of Aylin being a weird glowy baby at some point (with all the Disney's Hercules jokes I've seen folks make, of course), being entrusted to a series of Selûnite enclaves and temples and cloisters, hounded by Shar and her agents pretty much all her life.

(Neither here nor there, but Aylin also comes off as a fairly "young" immortal to me - note that I am basing this on absolutely nothing but a general impression and there's no actual hint anywhere about how old she really is. Just vibes.)

To finish up, I'd like to shout out Isobel, and the big humanising factor she is presented as. For instance, a very concrete bit of motivation for Aylin to eventually "humanise" her perception of time, if nothing else.

Aylin without Isobel is horribly depressing to me mostly because she seems to distance herself from her humanity and err on the side of holy duty (see: her epilogue letter, ouch). And Isobel is definitely the person who (invaluably, imo) explicitly and consistently insists on Aylin's humanity and personhood, who cares for her as a woman and not a divine weapon, who actually treats her well-being as a priority, and who understands her so very well and so deeply. Who does acknowledge the gloriously resplendent Dame Aylin, daughter of the Moonmaiden herself in all her awe-inspiring presence and occasionally amusing foibles, but who never fails to look past the titles and fronts even Aylin herself is so keen to put up, and focus on what lies behind it all.

A moment that sticks out to me in particular is her bemoaning Aylin's disregard for her own safety, then actually getting very angry if you suggest Lorroakan can't hurt Aylin:

Isobel: Even after all she's been through, she thinks herself unstoppable - invincible. It all feels like recklessness to me. Player: Lorroakan can't harm her. Have faith. Isobel: He can harm her. Just as Ketheric did. She'll survive it, but she can suffer like any of us - and for longer.

Using Isobel's words verbatim is a good conclusion to my thoughts here, I think: the truth of Aylin being "singular among us all" coexisting with all the ways Aylin is "just like any of us".

And now I'll pay the cute Aylin screenshot tax one last time.

[spaceorphan18]

The other thing I've seen going around today (not here... on other sites) is discussion on when did Colin fall in love and...

Hmmm....

There are a couple of issues I have on this subject.

The first being, why is loving someone as a friend valued less than loving someone in a romantic capacity? It's just a different type of love. And, maybe this is a me thing, but sometimes I get frustrated that friendship is deemed less than romantic love.

(I mean, I could go on a full tangent about Penelope and Eloise, and how their friendship, and their love for each other, was another love story during Season 3 -- and that relationship to Penelope is just as important to her as the one with Colin. As is, Eloise and Colin's familial relationship - which is, again, another form of love.)

anyway, Penelope, we know, had romantic feelings right from the start. but they were childlike, in a way. Colin was a boy (and a person in general) who didn't laugh at her for being awkward. This meant the world to her. It was a childhood crush, that developed and matured into an actual friendship, and developed and matured into romantic love. These are two separate things that happen but are very intertwined for Penelope.

As for Colin - he says to his brothers that his feelings aren't some thunderbolt from the sky, and that they had developed over time. There isn't one point where he was bam! in love. It was always something simmering and taking shape.

And I mean - in Season 1, there was friendly affection there -- they grew up as literal children together. She was always around. They were fixtures in each other's lives, and it probably was a familial caring for her - in the way he cares for Eloise. There there are points in which he shows that she is special to him. He recognizes that she helps him understand himself. And that there's a unique dynamic there - beyond, hey, this girl is my sister's bff.

And then comes Season 2 - and the letters are incredibly important to their development. It starts an intimacy between them that they don't have with other people. It also lets them be open and vulnerable in a way that they aren't able to in person. There's a connection there. And a valuable one at that. And Colin sees her as a friend, and someone important and special in his life. The friendship is very real, and his love for her is there. Even if it is friendship that doesn't mean it's something less than how Penelope feels for him - it's just different.

And then the thing that does separate romantic love from friendship love is sexual desire -- and Colin doesn't really recognize this until they kiss, that he is attracted to her, as well as everything else. It compounds. So, by the time they finish up that carriage ride, there are three types of love going on -- familial, friendship, and romantic love, and Colin understands this enough to be sure in knowing that she's the one for him. (He also knows he has to lock her in, because she could develop all of that with someone else - she almost did - so that's also apart of the proposal, but i digress.)

I guess my long winded point is that it's odd to talk about Colin's love for Penelope in distinct moments, when it's all a spectrum, and overlapping kinds of love. And I mean - I think there's a better conversation to be had about what love is to Colin, how does he define it?

Because I think how we love is different person to person. And letting fictional characters be complex like that is really kind of fascinating (to me).

And I guess - what draws me to Polin (over Saphne and Kanthany) is that it's a love story where the foundation is friendship, and the specialness in that, is absolutely valued first, and romantic love stems from that, instead of vice versa.

But that's just me.

[syndrossi]

Ah, re-read Ned I and I really like the voice you gave him. It feels right -- a Lord's voice, full of the tangled logic or figuring out what's going on and making decisions, but also soft and gentle with two very scared children.

I wonder how he and Daemon will get along when Daemon eventually arrives, especially considering Ned just asked Daemon's sons to call him 'father'.

I did debate with myself just how "sharp" Ned would be reasoning about the twins' possible origins, and their implications, but the thing with Ned is that he's not stupid. His flaw is more that he assumes others will play by the rules and although he's willing to entertain suspicions about people, like Baelish, once they "prove" themselves to him, he tends to trust them. I also feel like he's uniquely poorly equipped to deal with Lannisters, because he's all order and honor, and they are pure, rulebreaking chaos. (Jaime attacking his men, Cersei tearing up Robert's final decree, Joffrey's bloodthirst for his head, Tyrion's...everything.)

Given Jon's Targaryen ties, I'm willing to bet he's kept himself reasonably apprised of all things Targaryen. He doesn't have spies of his own, but he knows the Rhaella's surviving children fled to Essos. He's aware of the Golden Company, since they're well known sellswords. He knows what happened to the Blackfyres, and that they use Targaryen names. So he is capable of putting the pieces together enough to come up with a fairly reasonable explanation for who the twins are.

But the whys and hows and the full dangers of claiming them to be his bastards (which, on the surface, seems to protect Jon) don't entirely occur to him in the way they might to others. Or they do on some level, but he also doesn't want to doom two children, much less some of Jon's only surviving Targaryen kin, to death.

(I just realized that by Ned's theory, the twins would be Jon's little uncles. How cute!)

As to Daemon's reaction...well. He's a bit more secure about being the twins' father after two years, but given Ned's bond with Jon, and how familiar he is with him, and how natural it seems for Jon to defer to him, and the clear affection, let's just say that some of his insecurities are going to come roaring back as righteous anger. Hopefully someone quickly explains to him that Ned claiming that his sons are his bastards was a means of protecting them...

[whateverisbeautiful]

I feel like Rick went through the most physically in TOWL and TWD. While Michonne went through the most mentally. So many people would say Maggie is the strongest female character, but I firmly believe it's Michonne. Michonne lost 2 sons, killed a bunch of kids, saved Judith, lost her female best friend, lost her boyfriend, then her soul mate, and still have the courage to rebuild civilization and have another baby. Maggie doesn't have half of what Michonne has been through. So my question is, who do u think is stronger and what makes the other stand out more.

Hi @theoneswholive32 ! It was definitely interesting to watch the ways in which Michonne and Rick's internal and external hardships paralleled each other in TOWL. And I wrote out the rest of my response to your question below: ⬇️ 💗

I do believe Michonne’s strength is unparalleled. And in choosing who stands out the most, I’m choosing Michonne every time. To be as multifaceted and well-rounded as she is, to be both one of the world’s toughest and one of the world’s tenderest, it makes her an incredibly admirable character who embodies that quote Deanna shared - “Someday this pain will be useful to you.”

Over the course of her journey, Michonne learned to turn her grief and pain into something productive and motivating rather than destructive and devastating all while still being in tune with her hurt and emotions rather than neglecting or supressing them. 

I think it’s hard to compare traumas, in that apocalyptic world especially, so I can't say I agree with the statement that Maggie hasn’t been through half as much tho.

I do agree that Michonne has been through so much and more than people tend to acknowledge. Just because one of her most painful experiences happened offscreen and before she joined the group doesn’t mean it should be dismissed. To experience losing a child at any age is absolutely tragic, and especially as a toddler when they are so defenseless and dependent on others to keep them alive. It makes sense that Michonne shut down the way she did after the horrors she endured. And the fact that she went on to grow the way she did, not by being a strong warrior robot but by reopening her heart and letting love and family in again is one of the greatest signs of her strength and character.

Maggie was put through the wringer too and one of the unique things about her losses is that the three closest people to her (husband, father, sister) didn’t just 💀 but were unalived by human hands. Two of which she had to watch lose their life painfully, slowly, and all just so their murderer could make a point. And that’s on top of the rest of her family being taken out by walkers on the farm. So, even with me being overall neutral on her character, I can’t deny that Maggie has been through a lot of hell and that she’s a strong woman.

I think one of the notable differences between Maggie and Michonne’s strengths is in how they address their issues. After Rick spared Negan, it made sense that Maggie would feel extremely hurt by that executive decision but rather than talk to Rick about it as family she concocted plans behind his back which had tragic ramifications. Whereas when Michonne has an issue with someone she’s been shown to go directly to the source and address things which is another sign of her maturity and strength. 

Now I do think when it comes to physical violence, Michonne is the woman they put through the most physical harm and that is upsetting for several reasons. There is certainly an aspect of it that feels racially charged, even if subconscious because take 9.14 for example, I genuinely can’t see them being comfortable having Maggie or Carol be beat with a pipe while 7 months pregnant the way Michonne was.

One of the millions of reasons I’m grateful to Danai for what she wrote in ep 4 of TOWL is that she actually gave Michonne the space to acknowledge what she’s been through and voice her hurt. And Michonne also got to have someone who cared to acknowledge her scars and hurt as well through Rick. That was important because all too often Black women are portrayed as having to carry so much on their own and just keep it pushing without anyone caring to see their pain or vulnerability.

And to add one more reason that I feel Michonne is exceptionally strong and a standout character is because when she found someone she could trust and be held by in Rick, she opened herself up to that too. It could have been so easy for someone as competent as her to stay the independent lone wolf but she found a partner who she can be her most human and vulnerable self with and that vulnerability shows a whole lot of strength.

So that's my little essay response. Thanks for asking! 😊

[antianakin]

Oh I LOVE the idea of memorial tattoos! That's so sweet (obviously in an incredibly sad way, but still). There was a fic I read once where Cody gave himself tattoos for people he loved who were still ALIVE, with the intention that he'd cut through them and create a scar over the tattoo if the person died as a visual representation of that memorial while also being a reminder of the people who are still with him, and that's stuck with me to this day. I have no idea which fic it was anymore off the top of my head, but it's such an interesting way to utilize tattoos because it lives somewhere in-between using tattoos to just represent people you care about who are either still alive or who have already died. But getting a tattoo for people who ARE alive but who are incredibly likely to die soon due to their circumstances and so he has a plan to sort-of... visually mar the tattoo with a different type of body modification adds so much nuance to it in a way I've never seen anywhere else.

And that's what I find most interesting about it, how the clones choose to utilize this art form to define who they are, not JUST as individuals, but as a CULTURE amongst all of them. And how is this culture different from anyone else's, how is it impacted by the experiences the clones have had and are currently having? How does this impact their approach to art, which could certainly be tattoos, especially in their early days, but might also make its way into things like songs and poetry and storytelling that are oral art forms, or things like cooking maybe that could be impacted by both the approach to their diets by the Kaminoans as well as the amount of traveling they do later and the interactions they might have with other cultures.

I just love looking at what makes the clones UNIQUE and how different aspects of their culture might be different from others specifically as a result of their incredibly unique upbringing. That's why I loved the fic with Cody's memorial tattoo because it's such a unique concept, having to build a tattoo design for people who are still alive but with the knowledge that it will very likely need to BECOME a memorial later. How many other cultures would even need something like that? The clones have such a low life expectancy because they've been built to die and they're also so often separated from each other and they probably have very few ways of keeping around things that remind them of their loved ones. So they come up with tattoos that can be a remembrance for someone still alive but separated that can be turned into a memorial for someone who has died and it doesn't actually take away from the tattoo design. What other culture would have a similar need for that kind of thing?

And of course they can have happier or sillier options, too, like putting a loved one's face on their body in tattoo form, or maybe a lot of text options later like poems or songs or recipes that mean something to them and that they want to make sure can't get lost (we don't know if they have access to PERSONAL padds of any kind where they could write things down that aren't related to work and even if they do, the possibility that it could be lost or broken is pretty high).

I feel like there's WAY more attention paid to armor than tattoos in clone culture within fandom and I think tattoos deserve more attention than they get (and armor less). Because yes, we do obviously see different armor designs and the like, but we also see a LOT of clones wearing pretty much the exact same armor design as a lot of other clones (the Doylist explanation for this is obviously that the animators weren't going to come up with separate armor designs for every single background clone, but I'm taking a Watsonian approach here), whereas any time a clone has a tattoo somewhere, it's never the same thing twice.

Armor designs are fun, they're nice, but armor breaks and gets lost while the tattoos are on their bodies FOREVER. We've also seen a few clones who have armor designs that match their tattoos, and I'm headcanoning that the tattoos came FIRST. So even some of the clones who we DON'T see have matching tattoos to their armor designs probably actually do somewhere. So like Waxer and Boil didn't just put Numa on their helmets, helmets get broken and destroyed, they got her face tattooed on their bodies somewhere, too. Rex has the shriek hawk eyes tattooed somewhere. Cody has the sunburst tattooed. If the design means something to them, it's been tattooed on their bodies, too.

I want more shared tattoos between clones who care about each other, too. Probably not the same as the one they have on their armor, but something else that's special to just the two of them. Fives and Echo could have a little domino tattoo somewhere to represent not just their bond, but their bonds to the rest of the squad they lost. Sometimes it's a memorial for someone they've lost, like maybe Jesse and Kix have a tattoo for Hardcase after Umbara, or Fox has one for Thorn after Scipio.

Tattoos are also a lot easier to hide and keep private from certain people if necessary, while armor designs are always able to be seen no matter what. So tattoos can be a LOT more personal than an armor design, too. They can represent terrible traumas or the deepest dream, something they don't dare even discuss with anyone else but don't want to forget. Clones with tattoos of coordinates to a planet they might one day want to call home, clones with tattoos of quotes that inspire them or maybe the last words spoken to them by a loved one or a promise made to someone else that they hope they can keep. Many clones have plant tattoos of some kind, the first flower or tree they ever saw, to remind them of the beauty that exists in the galaxy and what they're fighting to protect. Names are incredibly common tattoos once they've chosen it, either written out in letters or represented in an image somehow.

Over time, maybe in a happy fix-it AU where they have the ability to really let this develop, certain designs and patterns start meaning certain things to the clones and so they become shared across MANY clones as almost a shared unspoken language. A specific design might mean loss, or specific achievements in life.

Just... more about the tattoos in clone culture, they're SO underexplored.

[mythicalcoolkid]

You don't wish your disability was worse or more visible, you wish your disability was taken seriously. Please stop confusing the two, I guarantee you would not get the support you need JUST by being more severe or more visible. Please listen to visibly disabled people when we tell you it isn't better on our side

[starry-bi-sky]

tales of the passerine - danny fenton being bruce wayne's first kid

okay okay. so this is like a continuation/elaboration of my oneshot/prompt i wrote about the idea that Danny was the first batkid. We have a lot of aus where he joins the family after the rest of the bats do, right? So hey! Lets shake things up a bit. Danny is the first to be adopted by Bruce Wayne.

Danny's parents and unfortunately Jazz die shortly after the events of TUE -- how so? I was gonna say an ecto-filter explosion, that would call back to the TUE explosion and trauma behind that. But lets do something new! Carbon-monoxide poisoning.

It's not too unexpected for something to break in the Fenton house, especially with the Fenton parents' questionable understanding of proper weapon handling and lab safety. The water heater broke from a stray shot by one of the weapons, and was promptly MacGyver'd incorrectly. Danny went to stay with Tucker for a guys' night, and came back to a dead silent house.

(Danny's neighbors got a very unfortunate shock when he ran to the next house over in hysterics.)

There was a lot of shuffling around with CPS, the police. People had to be called in to handle the equipment in the lab, and the GIW was rumoring to show up in aid to clearing the scene. When Danny heard of that, he immediately went and dismantled the ghost portal to the best of his abilities. He burned the physical blueprints of all his parents' inventions, their blueprints on the ghost portal, and their most dangerous weapons were destroyed beyond recognition. Anything to prevent the GIW from getting their hands on his parents' tech.

It opened up another investigation, but he was not under the list of suspects. He was placed in the care of Vlad Masters, where they then went back to the rebuilt castle mansion in Wisconsin. Danny, terrified of the future that has once passed and may do so again, shuts down in his grief. Inadvertently, he ends up somewhat repressing his ghost half. Something Vlad, who is grieving Madeline but relishing in Jack's demise and his custody of Daniel, is not very happy with.

Vlad's... gone into a bit of a mental health spiral. He's becoming increasingly possessive over Daniel, the final remnants of his friends and a liminal being like him. He doesn't like that Danny's repressing his ghost half -- both out of genuine concern as a ghost, but also because of his desire to control Danny and groom him into the perfect son. If you ever had a phase where you read Dark SBI found family fics, first off; me too bro, and second off; those are the vibes I'm thinking of.

Danny's mentally shut down from grief! And fear. He's dropped into a bad depressive state -- paralyzed with grief and the terror of the inevitable. Clockwork saved his parents because he believes in second chances, but what's the point of that when his family ended up dead anyways? Danny doesn't wanna believe that he's destined to become evil, and he's holding out onto that hope, but it's a thin line, and he feels utterly hopeless and trapped. He hasn't used his powers or ghost form since he trashed the lab, and Vlad has alarms set up to prevent him from trying to escape.

He's also unintentionally cut off Sam and Tucker -- both of whom are so scared and concerned for Danny too, and are trying their damndest to reach out to him. He keeps ignoring their texts. Danny basically haunts Vlad's manor. He goes out to eat if he has to, attends parties Vlad drags him to, and stays in his room all day if he can.

At parties, Vlad doesn't allow Danny to leave his side, or really talk to anyone -- not that Danny wants to. A product of Vlad's increasing possessiveness. Well, he almost doesn't let Danny leave his side. Danny has a habit of slipping off to hide somewhere for the parties whenever he can, and Vlad reluctantly allows it so long as he stays alone.

This becomes an advantage when eventually, Bruce Wayne returns to Gotham after missing for years, and holds a bright charity ball to celebrate the return. Vlad has been chomping at the bits to get his hands on Wayne Industries, and with the return of its owner there is no better opportunity to wipe out his rival. He goes, and he as normal, brings Daniel with him.

Vlad thinks Wayne will bleed his little heart out for Daniel's poor orphan sob story -- he's a fellow orphan himself, after all. He's not wrong; Wayne's little heart will bleed, just not in the way that benefits him.

Bruce sees Vlad and Danny approaching before they're even close enough to introduce themselves - and like with many of the children he will soon come to care for, it's like someone set a mirror into the past right in front of him.

Danny Fenton's suit is tailor-made for him, and despite the fact that it's his perfect size, the sag in his shoulders, the ducked down head, and the way he hunches into himself all pictures the image of a child in shoes too big for him. There's a far away, glazed over look in his eyes and grief marble-cut into the lines of his face. There's not enough makeup in the world that will hide the dark circles under his eyes.

("My nephew, Daniel Fenton." Vlad's hands are possessive on Danny's shoulders. Bruce immediately notices the way the boy tenses under his touch. "His parents passed recently, and as his godfather I was designated his guardian.") ("I'm so sorry, the loss must've been terrible.") ("Yes, carbon-monoxide poisoning caused it. Daniel was out with friends, when he came home... they had already passed.") (Bruce immediately dislikes that Vlad shared the details of their death unprompted -- he likes it even less when Danny flinches at the reminder and hunches into himself.)

Danny runs off at some point earlier into the charity. At this point, parties are still being held at Wayne Manor (because iirc google search mentioned that was a thing at first before it was changed), so he disappears and hides in one of the empty rooms nearby. It just so happens to be the same room Bruce Wayne hides in when he needs a break from all of the socialization.

Thus begins a long, long process of trust. Bruce can't reveal his hand as being smarter than he looks, but he can be compassionate. Kindness needs no measure of intelligence. He keeps Danny company for as long as he can before he runs the risk of being found.

Rinse and repeat. Vlad insistently wants Wayne Industries, and he'll go to as many Wayne parties as he can to get his hooks into the man. The problem is that Bruce Wayne is never alone, and getting him alone is impossible. Finding him too. It's like the man never stops moving. Always talking to someone, always circling somewhere. He orbits around the room as if he isn't the sun of the Gotham Elite's solar system.

Danny's had such repetitive behavior that Vlad never thinks to believe that Bruce Wayne is disappearing to go talk to him. That "Vlad's" son is even interacting with him at all. Danny never gives him a reason to think so, and neither does Bruce.

Danny doesn't actually acknowledge Bruce until a handful of parties in, where he hands Bruce a small slip of paper he smuggled in that says; "don't trust Vlad". Danny's face stays carefully blank, but he's so tense that his hands are trembling, and he's purposely looking away from him. Bruce plasters a smile onto his face, slips the paper into his pocket, and tells him "okay".

(he's been busy with his own goals with the mafia, but he sets aside time to investigate Vlad Masters. He was holding off. Until now.)

Danny does eventually start speaking to Bruce, he's starting to really like the guy. He's starting to see a little hope, even as Vlad is starting to get more and more agitated with him the more he refuses to use his powers.

He reaches out to Sam and Tucker again, and starts trying to reconnect with them. Vlad has spyware on his phone, and he limits the amount of times he can talk to them. A weird parental control lock of some sort that leaves a time limit on how long he can talk to them for. 30 minutes. Danny doesn't tell them anything about Mr. Wayne.

Danny, slowly, wants out of here, and he's slowly gathering the motivation to do it. Vlad is genuinely scaring him -- and Danny wonders just how truthful the past-future Vlad was when he told him that Danny wanted his ghost half separate. He starts trying to come up with an escape plan.

Vlad has anti-ghost wards everywhere around the mansion, and while they're always on, they boost to full power at sunset. The doors and windows are always locked, all main exits have alarms set on them. The only reason it's not super extensive is because Danny hasn't tried leaving at all yet, so Vlad hasn't had to tighten anything.

At night, Vlad locks the door to his room and puts up an anti-ghost ward around the room. The mansion is on the outside westward side of Madison, more entrenched in rural Wisconsin. The closest town is a four-way stop sign with one house on three corners, and an open bar on the fourth. Not much to go.

He refuses to go to Sam and Tucker; Vlad would look there first. It's too dangerous. Vlad would sound alarm bells and have a manhunt looking for him, Danny can't risk going just anywhere. Too much risk of being found, sold out, or caught. There's really nowhere for him to hide.

Until there is. Bruce is telling Danny about the history of Wayne Manor, and says, as casually as saying the weather; "The manor has dozens of empty rooms, I'm sure Alfred wouldn't mind filling another one if he could." And quietly, hesitantly, Bruce places a careful hand on Danny's shoulder, unrestrictive and gentle; "He wouldn't mind getting one ready for you if you need one."

And there it is. There's his out.

Danny, just as quietly, replies; "I'll keep that in mind."

The ball starts rolling.

Now I've been trying to summarize this au as much as possible for length convenience, but Vlad has been steadily growing more and more controlling. More emotionally manipulative. More agitated at Danny for not using his powers.

He wants Wayne Industries under his thumb but he's been steadily growing more and more concerned with Danny. He's started grabbing him, yanking him around, shaking him; trying to goad him into using his powers. He gets angry when Danny doesn't react, or tells him he doesn't want to use his powers. He hasn't outright attacked him, but he's getting there. This has been happening over the time it takes for Bruce to indirectly offer Danny sanctuary at his home.

It all comes to a head when Vlad stops going to parties at all -- something Danny has to pretend he isn't upset about -- because Vlad doesn't want him around other people anymore. Vlad rarely goes now without him, and only leaves to go to a Wayne function or to handle something at VladCo.

Danny can't wait for Vlad to leave long enough to escape. So he leaves during the night of a big storm. Vlad's locked him in his room, but Danny doesn't bother trying to go for it; he goes to the alarmed window instead. Danny's been repressing his ghost half so long that he can't access his powers immediately anymore -- he can feel it, he knows its there, but he can't quite reach it.

He breaks the lock by hand.

Immediately the alarm goes off through the entire castle, filling the room with red, and he scrambles for the rope the Wisconsin Ghost left for him a few months back. Danny's already out and climbing down the side of the castle before Vlad even reaches his door -- the only good thing about the entire room being ghost-proof is that Vlad can't get in that way.

The rope ends before it reaches the bottom, and he's still twenty feet in the air. It won't kill him if he lands it right. Danny takes his chances, and drops. He breaks his ankle, but he survives.

And he fucking books it to the back garden. He hears Vlad shrieking over the thunder and rain.

I'll save the full experience for a future oneshot, but Danny makes it out into the nearby woods and forcibly experiences what it's like to be in a horror game, trying to hide from the thing that's hunting you. There's only one thing going through his mind; "i'm going to die"

I have this mental image for this scene. Very stereotypical horror imo. Where Danny is hiding behind a tree, with a hand over his mouth, and Vlad is a few feet away from him, glowing ominously red through the trees, trying to search for him.

Danny doesn't get away from this unscathed, but he does get away alive. That's all he could ask for. He gets away by getting his ghost half awakened long enough to transform into Phantom and fly to Gotham.

But he gets to Wayne Manor, he gets to Bruce. Or, at least, Alfred answers the door from his insistent pounding. Danny's just in tears and Alfred gets him in the living room, wrapped in a towel, with ice on his swollen leg before he has to step out and alert Bruce.

Bruce already breaks multiple traffic laws on a nightly basis. And that's just with the sheer existence of the batmobile itself, not including the speeding and military artillery attached. He breaks double the amount trying to speed back to the cave and get out of the suit.

Right off the bat: Bruce will know, at least before Dick enters the picture, about danny's powers. He'll figure out something considering the fact that Danny traveled from Wisconsin to New York in a single night. That'll be a bit of complicated affair, but I've already got something in mind.

Actually it'll probably be very soon after Danny joins the family, because Bruce tries to offer to fight for custody for Danny - the state Danny was in at arrival is clear enough evidence for a trial. But Danny immediately shuts it down, says it's not going to work and then Vlad will know Danny's with him and he won't be safe. He tells him that Vlad cannot know Danny was with Bruce.

Danny's biggest regret was not telling his parents he was a halfa, and while he doesn't want to tell mister wayne (yet), he does tell him about Vlad being one. He needs to know why Danny can't be seen with Bruce. So he tells him, and Danny's current plan is to just hide out from Vlad until he turns 18. That way, he has no more legal jurisdiction over him. After that? He's not sure.

And to wrap this up, since this has already gotten very long and I can make more posts about this au later; I've thought about it, and I'm going to say that Danny does become a vigilante before Dick enters the scene. He goes by, as you probably guessed; Nightingale. "Gale" for short.

[hephaestuscrew]

A book asks the reader to imagine any sensory input of the story, whereas a film or TV show provides both sound and visuals. Audio fiction lives in the space between these two approaches. I think there's a unique power to that middle ground. I love how audio drama asks the listener to co-construct their sensory experience of the story.

Audio drama allows me to simultaneously experience 'This character feels real to me because I've heard their voice' and 'This character feels real to me because I've pictured them myself'.

What the characters are experiencing is both directly presented to me and left to my imagination. There's no page or screen between me and the story. It's there in my ears. It's there in my mind's eye.

There's a strange sense of intimacy to that, the intimacy of feeling like a fly on the wall during a conversation or of hearing a character speaking as if directly to me. Perhaps it sounds contradictory to say that experiencing a story only through sound allows me to feel uniquely connected to that story, but that's one of the reasons why I love audio fiction so much.

[triglycercule]

thinking about mtt literally physically dragging eachother down and being restrained to eachother because theyre genuinely that fucking ass for eachother but then it means i'd have to decide which of them to humiliate by putting a collar on them. and i can't choose. if they dont all equally suffer than whats the point man 🙁🙁🙁

[mizushidokoro]

can we as a society stop pretending that jjk does not have a misogyny problem? there are many shitty and unfair criticisms of gege's writing and I understand the instinct to push back against that, but let's not pretend gege has invested the same effort into, and/or has the same aptitude for, writing women as for writing men

[talentforlying]

tbh i think the coldest and most shocking thing that can happen in an argument with this man is if you call him "john" and he corrects you to "constantine". biggest red flag you can find on the play. sounds pretentious when you're not experiencing it. means he's absolutely fucking furious with you.

[invisible-brandy]

people need to learn to enjoy things for longer periods of time and not try to make all their past interests cringe just bc they feel that the teenage/kid version of them was cringe about said interest

[violentlydefending]

genuinely always so shocked to see mirei hate. like literally god forbid women do anything.

[colorfuldream]

Say all you want about the Shiver hate but the funniest thing is that people are making those stories addressing the hate with one character feeling so bad for poor Shiver because people are upset at her and the game iykyk

Especially if they include the "I'm so strong and protective" bit only to "subvert" our expectations with the character being upset FOR her and not AT her

Straight up hilarious, can't believe we're doing this unironically

Anyway yeah I'm salty too that she keeps winning and the Splatfests should be regional again but let's be real, this isn't gonna change and we all knew it was gonna happen when we saw the initial reaction for her. Being salty won't change anything, it's time to accept it y'all