#for surviving and thriving as human beings.

[neon-sunsets]

it’s actually insane to me in retrospect that viktor got the arc he did. I need to go back and count his screen time minutes, but it’s clear that he’s up there numerically, and his story has so much weight within the narrative outside of just numbers as well.

beyond that, though, is the fact that viktor's narrative is fundamentally one about internalized ableism and the systemic structures that encourage it.

(obligatory disclaimer #1 that I have a significant mobility disability and a progressive chronic illness, but I am only one disabled person.)

imagine this: you are a child. you are disabled. the world you live in is one where you cannot afford healthcare; no one is there to teach you how to even use your cane correctly. your world is inaccessible and, worse, even the people who would normally show class solidarity with you don't, because you are not even able to do what they expect from you. characters like vi, powder, claggor, ekko, and mylo are all shown care and solidarity that viktor isn't — because they are able-bodied and therefore able to "pull their own weight."

this, at least, is an environment that can probably be overcome or mitigated by age and meeting people in your community who do care about you. this is an environment comparable to that of many, many, many disabled people who manage to thrive in a deeply unfair and ableist world.

but then you encounter a man who sees that you have talent and tells you as much. he does not ask much of you and he does not care that you are disabled. all he asks is for some help, which you give, and in return he teaches you the things he knows. what comes of this, after all is said and done and your understanding of the world has been fundamentally changed, is that you do have something you can give to your community, to the world. you have a talent which you can use to make yourself useful. you're not strong or sturdy but you can make machines, and that is always in need.

but you can't skate by on being useful like a normal child. the onus is always on you to prove that you're worth the air you breathe and the space you take up, that it's worthwhile to keep you alive. and the place to go to make yourself the most useful, where the most change can be made, is not a place you have any traditional way of accessing. you, through tenacity and grit, manage to get there anyways. (the show doesn't depict this, but any way viktor would have managed to get to the academy would have involved significant difficulty and possibly deception).

and when you get there, to that towering city of bronze, you find that nothing you do actually matters all that much.

everyone looks at you and sees your disability. everyone looks at you and sees where you're from. no matter how smart or accomplished or helpful you are, your behavior will always be, in their eyes, representative of your people. you could handle the stares, the rejection. but their judgement is dangerous to you and your people.

so, in order to survive, you must be perfect. you must project confidence or at least indifference to their cruelty. you must do as you're told and accept meager promotions and toil away as an assistant. you might be the only disabled zaunite they'll ever meet, so you have to make it count. if you fail, if they decide everyone from the undercity is lazy and useless, it's your fault.

you tell yourself you won't let them get to you. you tell yourself that you believe in your abilities.

it's a convenient narrative, and it's wholly untrue.

you, after all, are only a human being. a lifetime of the chips stacked against you is nearly impossible to overcome.

and so the image you build of yourself is that of a man far more self-confident than you, one who is quiet and reserved but proud of his accomplishments. the man you actually are, though, is one desperate for acceptance. desperate to assimilate. you chase your dreams, yes, but you can't bear to take credit, can't bear to be the face of them. you don't let yourself get close to anyone except the man you've built all of this with, who you love more than anyone else. you don't let anyone touch you (except him) and you don't touch anyone. you convince yourself you don't deserve his love or anyone's, that you're not whole enough for that.

you take it so far that, when you finally have the technology you think can cure your terminal illness, the first thing you try to fix is your leg. not the thing eating at your lungs and cutting short the time you thought you had, but the leg which has marked you as Other your entire life. and even though it doesn't quite work, even though it still causes you pain with every step, you force yourself to run on it — faster and faster until you're outrunning the ships and screaming because you may have visibly "fixed" your leg but it still hurts the same.

and when the system is not only oppressive in the material sense but also set up to make you hate yourself, there is almost no escaping this cycle of self-hatred. throw in the fact that in season 2 viktor keeps getting tossed from resurrection to resurrection against his will and it's no wonder the man did the things he did. it doesn't excuse them by any means, but arcane is not interested in excuses — it's interested in what makes people do the things they do. everything that he did to the people in the commune was a reflection of his own self-hatred, both because he still possessed it after death but also because, since he was programming the hexcore to try and save his life but started with "fixing" his leg, it is designed to make people as physically "normal" as possible. the faceless, identical machine people are a metaphorical representation of the ideology viktor has bought into in his pursuit of self-hatred and internalized ableism. his whole arc across both seasons is a demonstration and condemnation of the ways that systems of oppression reinforce self-hatred in the people they are oppressing.

obligatory disclaimer #2 that I don't think arcane did everything right. I'm frustrated with the direction of season 2 away from the piltover/zaun class conflict and towards the broader league of legends universe. but I do think, as a disabled person with a very similar experience of my disability to viktor, that this arc is well-done and very compelling. in the end, what saves the world is viktor accepting that he is deserving of being loved. I'm going to be thinking about this one for a good long while.

[turtleblogatlast]

Unironically think that each of the bros (+April) don’t actually get how impressive their feats really are so they just do what they do and on the off chance someone comments on those feats they all react like:

[greensupremetangerine]

PSA that harassing, bullying, and kicking a person out of a fandom is toxic behavior. A difference in opinions does not warrant anonymous hate, and claiming it wasnt that bad and there's no proof because they didn't post the hate doesn't retract the fact that something happened to make them deactivate their account.

Fandoms are supposed to be places of community, enjoyment, and celebration of a mutually liked piece of media. There isn't room for hate, because the concept of a fandom does not naturally account for it.

If someone says something you dont like, it does not give you the right or responsibility to "put them in their place" or "teach them what's right" or whatever. A person is allowed to have their own thoughts and opinions. You can retort, discuss, disagree, hell you can even block them, but for the love of god don't single them out and make them a villain. It doesn't automatically make you the right side if they stop talking.

Also, the anonymous button isn't for keeping the blame off yourself. It's not for sending a dozen death threats while still looking pretty and proper on your blog. The person recieving anons has no way to disengage from the conversation. They cannot block, the best they can do is disable anons and stop the kind, shy people from asking silly questions or hope you give up and stop. The last resort is completely deleting your account, and again, its not a sign of your victory, it's a sign of the fandom' loss, and it is a sign that you are the vicious aggressor.

If youre struggling to stop doing these things, by no means am I a saint or a therapist, but removing yourself from the situation and letting yourself breathe, even for a moment, will probably help a lot with your relationships and mental health. I'm a believer that people can change and it is in human nature to do so, even if it's hard. It's a conscious decision to be a good person (I'm not calling you evil) and being a kind person is fulfilling in amazing ways.

tl;dr don't harass people :( it doesn't give you the high ground and it makes the fandom a worse place.

[nana-glass-chillhop-radio-hour]

yes yes yes! There's so many deep and complicated feelings in Paige's admission. "I thought about you often when we were apart. I admired you and looked up to you as the kind of person I needed to be to do the work I needed to do. And now that you're in my life again, I am concerned for you - not as a broken idol but as a living, breathing person."

That line that they both deploy - "I see you" / "I see you, too" - like, that is fucking huge. That is huge. That is a BFD.

Like let's also not sleep on the fact that earlier in that episode, Carpenter leaves the party to go try to find Paige, and Paige doesn't answer the door, and Carpenter doesn't come in uninvited and instead goes back to the dorm, goes to bed, and has another one of her patented mid-prayer existential crises. There is a very clear pattern in that sequence that is later echoed in their conversation of one of them making a bid for connection, the other one stonewalling, and the one who put themselves out there in the first place refusing to push it further. They definitely care about each other - but despite the fact that they clearly trust each other to handle emergencies, they're not quite ready to trust each other with their deepest darkest secrets (for Paige, that's the existential despair that is fuelling a serious drinking problem; for Carpenter, it's the fact that she understands herself to have extrasensory perceptions at the cost of her impending death due to her still-undefined anointment by the Cairn Maiden. Which, like, I don't like it but I get it. Nobody believed Jesus when he said he was gonna die. Why should Carpenter even bother letting everybody know her business.)

(Sidenote: it's fascinating to me that while Faulkner originally prays more like Carpenter - processing his emotions aloud to the Trawlerman - he now seems to view prayer as more or less entirely a means to an end, a way to call down divine wrath on his enemies. His confession to Roemont is way more similar to the conversations he used to have with the Trawlerman in Season 1 in its emotional honesty. Carpenter explicitly does NOT call on the Trawlerman for aid but still receives it - however, despite being extremely skeptical of the Cairn Maiden, she's still 100% down to use prayer as her own personal talk therapy session. Good for her honestly. Might as well get SOMETHING out of this bullshit.)

Think a lot about how bitter the truce was that Paige and Carpenter left on. How badly Paige wanted to be forgiven and accepted by her, how Carpenter affirmed that because of what Paige's government/people did to hers, they would never be kin.

How quickly, now, Carpenter affirms that they're kin, even easily laughs off the idea of murdering a sub-cult of the Trawler man as a sort of "compromise they shouldn't go for".

How this is where Paige turns on her, with a kind of "if you're not the hero I remembered you as, you must be so broken, what's wrong, Carpenter?"

the layers to this. it's quite excellent, you know? Carpenter isn't who Paige remembers her as. Carpenter may have been stubborn, but she's never been uncompromising. She's always been a survivor. And now, she's left her god, but not found her peace. She's not unstoppable. She refuses to be Paige's hero, or a projection target for her (redirected self) pity. But she will help.

[gaytoddhoward]

i kind of need to be like skinned or put into a meat grinder or something . lol .

[famewolf]

we have one robin nesting on our backdoor and a family of finches on the roof, right above the window where my desk is. there are flowers everywhere and the air tastes damp like fresh night rain.

there is something about seeing nature grow and claiming every bit of its home that is so relaxing and affirming that things will be ok

[theamazingannie]

It will forever be such a tragedy to me that we took all of this technology and instead of using it to do the harmful and unappealing work for us so that we’d have more time to enjoy our lives, it’s used to take away livelihoods from people who genuinely wanted to do the work they were doing

[abuadam86]

Emergency: Help save my children's lives

Dear humanity,

I am Habib from Gaza. I am married and have four children: Menna, 12 years old, Adam, 10 years old (suffering from quadriplegia), Maria, 6 years old, and Ezz, one year old. Although they are young, they have survived previous wars, but this current war is the most difficult of all. This is a war of genocide, and the difficulty of the war lies in the inability to meet the needs of my son Adam, who needs special care.

Over the past ten months, we have been caught in the crossfire of the ongoing conflict in Gaza. Our once peaceful home in Khan Yunis has been reduced to rubble, and now we find ourselves displaced in Deir al-Balah, living in squalid conditions in a makeshift tent on the streets. The devastation not only deprived us of our physical shelter, but also destroyed my livelihood - the once thriving business that supported our family's well-being, is now in ruins. The daily struggle for survival is exacerbated by the scarcity of basic necessities such as clean water, adequate sanitation and basic medical supplies

Our home was the place where we found hope and safety, and where we made precious memories. Losing him was like losing years of our lives.

Not only that, they destroyed my source of livelihood, burned it, and demolished it with bulldozers, and today I am without a home and without a job. I was working in a store I owned that met the needs and expenses of my family

Living in tents is miserable. There is a lack of drinking water, hot sun rays, and strange insects that have terrified my children. What hurts me most is my young son Ezz, who I see growing up in an unclean environment and with no healthy food for him. I believe he has not received his right to life.

At this stage, my husband and I decided to go to you and create an account on the Go Fund Me website and ask you to help us in these difficult times until we get out of Gaza, from the land of war to the land of peace. All we need from you is to support us and help us to get out of the war, even if you cannot help. You should spread the word. This campaign is everywhere and among your friends. We thank you for your stance and support for us. Thank you, my friends

The amount that will be collected from this campaign :

We will spend it by paying the amount to coordinate entry through the Rafah land crossing, which connects Gaza to the State of Egypt, since, as I mentioned, they charge an adult $5,000, but depending on the pressures, crises, and waiting, the amount may reach $7,000 per person, and children $2,500 to $4,000.

We will also use it for the rest of the travel and safe transportation expenses to provide for all family members.

A picture of my children's life before the war

A video of my children's lives living the war

May God reward you with all the best and may God bless you

Best wishes with sincere gratitude,

Habib's family

My Instagram account link

My account vetted by:

@dlxxv-vetted-donations

(vetted)

@gazavetters , my number verified on the list is ( #187 )

[tears-that-heal]

Even God has a sense of humor! He’s the one who gave us the ability to laugh. Our life on earth needs joy and laughter to both survive and thrive. I for one, enjoy being silly! Choosing to always have some good, wholesome fun whenever I can!!! 😋👍

[lastoneout]

I keep thinking about all of the disabled activists and people before me who stranded themselves on the 4th floor of buildings for weeks and crawled up stairs and fought with airline staff and schools and doctors and refused to stop existing in the face of injustice and bigotry no matter how big and scary and hopeless it seemed. Every time I get angry and scared the protests that lead to the creation of the ADA pop up again and remind me that disabled people are so much fucking stronger than anyone has ever given us credit for, and I can't help but be proud of that. And I know not all disabled people feel like we should take pride in our disabilities and have flags or whatever, but I think not just living, but thriving, in spite of a world that wants us dead and gone, in the face of both illness and persecution, and how we've not only bought ourselves forward, but uplifted the disabled people around us, secured more equal futures for everyone who will come after, and truly changed the way so many abled people have seen us for the better is something to be damn fucking proud of.

We have always been here and we always will be, there will never be a world without disabled people because being disabled is not bad, it's a natural part of the human experience and yeah it sucks some times but even when it sucks we have fought to build beautiful, unique, happy lives with people, both like us and not, and that should be celebrated.

The first sign of human civilization is the healed femur. The body of the profoundly disabled person who would have needed help to even just eat being carefully laid to rest after decades of a full, happy life. The medicinal plants showing even before we were entirely human we were doing what we could to not just survive, but alleviate suffering while we're at it. Above everything, evolution selected not the baby who can walk and eat and be quiet, but the one that can ask for help.

Disabled people are not just angry cockroach motherfuckers who refuse to die, we are proof of humanity's HUMANITY. Proof that natural selection selected a species that takes care of each other. From healed femurs and medicinal plants to vaccines and IVs and insulin to now, we are driven to help one another, we are at our strongest when we don't leave our most vulnerable behind. And I am living proof of that. My mother is living proof of that. Every disabled and chronically and/or mentally ill person I know is living proof of that.

And I don't know about the rest of you, but will carry that shred of humanity's true nature inside me like it's my fucking soul. I am scared and angry and hurt, but I have a lifetime's experience being scared and angry, and I can shake off the kind of pain that would make Atlas crumble to dust like it's nothing but a stiff fucking breeze. Disabled people have always been here, turning fear and anger and pain into joy and beauty and connection, and I'm not going to let everyone who came before me down. I'm not going to give up. Not now, not ever.

It's okay if you're disabled and you've hit your limit, you're too scared and tired and hurt, I won't blame you. But I won't abandon you, either. I might not be able to right all of the wrongs in the world, but I'll be strong, I'll carry all of you with me, I will not give up.

As I've said before, society hates a cripple who won't die, so we must spite them and live anyway.

Please, live anyway. I know if anyone can, it's us.

[ixylle-d-from-the-stars]

Deathworlders everywhere but in Space

This is sitting in my brain because I haven't seen anyone else do this, but take a second to think about this: There are other deathworlders in space, terrifying ones, huge monster orc things. They are massive and nightmarish and impossibly strong. So thats why humans stand out. Thats how we survive. Human's are terrifying because we aren't built for one biome, one climate or even one planet. We aren't necessarily the strongest or fastest or scariest looking, but we're built to survive fucking everything. What if other deathworlder's are almost always only made to survive in one climate? (similar to some of the most deadly predators on earth currently) All the other deathworlders are terrifying, yes, but the second they step off their planet they're weak. Massive aliens of hulking muscle but their planet's gravity is a lot lower than the standard, so they barely meet the average strength bar whenever they go outside their gravity zone. Aliens that have venomous spikes all over their body and look gnarly as shit but their venom has practically no effect on 99% of discovered intergalactic species. Deathworlders whose planet is the nether from minecraft IRl, but they can't survive in any other temperature for any amount of time because their body just can't handle the cold and regulate their temperate (or, vice versa for tundra species). Aquatic species that are kraken-like nightmares, giant sirens and deadly squid-like beings. But they can't leave their home at all, because theres a very specific chemical makeup of their water that isn't currently found within their life-span distance travel. Deathworlders that genuinely can barely survive off planet and are frail compared to even the most docile prey species whenever they have to travel. Their called deathworlders because going to their planet is certain death, but if they leave they'll be meeting death just as quickly. And then along come humans, and everyones like, oh, another deathworlder, nothing to worry abou- wait. These guys dont seem to loose any of their natural strength off planet... and their fast and strong... and- AND THEY CAN SURVIVE IN PRACTICALLY ANY CLIMATE IN THE KNOWN UNIVERSE??? HELLO? Oh and of course their predators. Of course most of their planet is completely uninhabitable for most of us. Mhm, yep. thats fair. Totally Basically, deathworlders are a thing, the more common 'terrifying alien monster' type, but their harmless because they can't survive like everyone else. They can't thrive like humans can. It scares the shit out of everyone for a wholeeeeee while, after all, no one ever expected a deathworlder that doesn't die.

[treestargarden]

already doin a rewatch of the last of us n the second time around is so nice!!

[wonderjanga]

History

Marvel talking about the past lives as if he’s lived them in almost every era besides the five thousand year gap from Adam. That’s it.

Marvel and Aquaman: *got separated from the other JL members and ended up in an underwater cave filled with ruins*

Aquaman: *looking around the cave* “Amazing. I never knew this was here.”

Marvel: “This place is familiar.”

Aquaman: “Familiar? This place looks like it’s been here for at least a thousand years.”

Marvel: “Over seven thousand actually.”

Aquaman: “How do you know?”

Marvel: “I used to live here!”

Aquaman: “Huh?”

Marvel: *proceeds to launch into a detailed explanation of his life there, the people, etc*

Aquaman: “Interesting. Did all your people have lightning powers too?” *starts walking through the ruins*

Marvel: *follows after him* “No? I was the only one with powers because I was the Champion of Magic.”

Aquaman: “So what? Everyone here was just a normal human?”

Marvel: “No? They had could breath underwater like Atlanteans.”

Aquaman: “Ooh maybe they’re my people’s ancestors-”

*zombie groan*

They then proceeded to go on a super wacky adventure of being chased by underwater zombie Atlanteans until they eventually got back to the JL. (I might make a post on this adventure cause this seems like something interesting to write)

Then there’s was that time on live television, he said straight to a historian’s face:

Marvel: “That’s wrong.” *pointing to an artifact*

Historian: *looking between him and the camera* “What- What do you mean it’s wrong.” *sounds baffled*

Marvel: “I mean it’s wrong-” *starts yapping about the artifact and its actual uses and just said something completely different from what the historian said*

Historian: “Wha- How could you possibly know??”

Marvel: “Because I’ve used these before.”

Then there was the time neither Conner(Kent) nor Marvel had anything to do and no one was at Mount Justice so they just decided to watch a documentary on a lost civilization because they got bored.

Narrator: “And right here is an ancient text written on a slab by the *insert lost civilization*

Conner: *still bored, letting himself lay upside down on the couch* “This is boring.”

Marvel: *also bored and letting himself lay upside down on the couch* “Yeah, totally.” *not really paying attention and squinting to read the text* “All that is just a list of how many crops someone had. You’re right, this is boring,”

Conner: *groans*

Marvel: “Wanna make a dish from that lost civilization?”

Conner: “Dish? Like food? Sure, but how do you know a recipe from a lost civilization?”

Marvel: *lets himself float off to couch so he could stand* “Easy, I used to live there.”

Later…

Marvel and Connor: *looking at the food they both made in a solemn silence*

Conner: “That looks disgusting.”

Marvel: “What did you expect? Back then, we were trying to survive more than thrive.”

Conner: “Still looks disgusting.”

Marvel: “Yeah, yeah, let’s just see if it’s as good as I remember.” *tries some*

Conner: *grimace, look of disgust*

Marvel: “Dang, it’s still delicious.” *holds up a spoon for Conner* “Try some.”

Conner: *backs away like the dish is some type of horror* “No.”

Marvel: “Come on, Kon. We made it together. You might as well try our creation.” *waves the spoon in his face*

Conner: *looks like he’s about to vomit but begrudgingly forces himself to try it* “It’s…” *chewing* “actually…” *more chewing* “pretty good…?”

When the other YJ members came back, they were horrified to see Marvel and Conner eating… something…? Why’s it moving slightly? It looks alive.

[untitledrockstar-if]

TROUBLE IN PARADISE?

Lead singer R of Saving Face -- currently on tour in North America -- and their partner of three years caused quite the scene in the Ritz-Carlton lobby last night during a heated argument! The fight reportedly began over a delayed check-in with emotions running high and quickly spiraled into personal accusations, with R's partner allegedly shouting, "Me, me, me! I can't hear it anymore!" and R firing back, "You wouldn't even have a roof over your head if it weren't for me!"

Onlookers recorded the altercation, and the videos have since gone viral, sparking concern and debate among fans. Hotel staff tried to calm the situation, but the couple left without resolving the dispute publicly. Neither R nor their partner (or should we rather say former partner?) has issued a statement about the incident, but be sure to follow along as we cover any new developments following that very public meltdown!

CAN'T SAVE YOUR LOVE FROM DYING is a mature interactive story where you step into the shoes of a rockstar’s partner navigating the wild highs and messy lows of fame. As the drama unfolds, you’ll decide whether to carve out your own identity or remain the glamorous accessory the industry expects. With resentment, ambition, and chaos colliding, can you survive the spotlight— or will you thrive in it?

gender & sexuality choice

decide between five unique romance options, all of them gender selectable

choose whether to carve out a space for yourself in Hollywood or live off of your partners fame

cause a scandal or two (or three or--)

RONAN/ROXANNE ☆ the rockstar everyone wants— a magnetic performer with a voice that could break hearts and a smile that makes the world forget their flaws. Behind the sold-out arenas and screaming fans, they're yours however— messy, complicated, and achingly human.

MILAN/MARGO ☆ the actor on the brink of stardom— a talented, ambitious actor with a magnetic charm that’s impossible to ignore. As their career skyrockets, your relationship deepens, but the pressures of fame and the shadows of those eager to pull them away will be harder than ever to ignore.

CHARLES/COLETTE ☆ the sharp-tongued, enigmatic agent who always seems two steps ahead—especially when it comes to you. With secrets as deep as their charm, C isn’t just looking to make you a star.

SAMUEL/SCARLETT ☆ the hot-headed, talented cousin and bassist of your partner is supposed to be off-limits, but as cracks start to show, turning to someone familiar could prove to be just what you need.

???? ☆ the blast from the past is more than just a reminder of where you came from.

demo is currently being written

DEMO (COMING SOON) ☆ PLAYLIST ☆ FAQ ☆ CHARACTERS

[misscammiedawn]

Time Loops and Dissociation

CW: suicidal ideation, glitchy unreality, overt depictions of self-harm, parental abandonment

This essay contains full game spoilers for In Stars and Time.

You wake up to your alarm at the same time every day. The same view greets you from your window. Same sheets. Same outfits in your closet to get dressed in. Same choice of drinks in your kitchen to put in the same choice of cups. Same 24 hours but a different day. What better way to capture the existential horror of disconnecting from the world than to simply take away the words "but a different day" and make it the same 24 hours.

Time Loop fiction likes to capture the monotony of being caught in a rut. For some stories, like Groundhog Day, the rut could be that of not working on one’s self and accepting the eternal trappings of a never ending moment and not seeking change. For others, like Palm Springs, it is the conflict within a romantic relationship between one partner wishing to grow and find new experience while another wishes to remain in the safety of the known. Others still, like All You Need Is Kill, the conflict is a matter of maintaining one's optimism and drive in a hopeless fight against an antagonistic force that will crush their spirit upon the weight of eternity.

The constants in this genre are the forces of change and stagnation. Exit can be accomplished via self-improvement, it can be accomplished by having the bravery to risk leaving safety, it can be accomplished by killing every last time looping alien until you’re the only one left. But the allegories are always there. Tomorrow can only be attained by growing beyond Today. Change doesn’t happen in a day and as those stuck in a time loop know… a day can be an impossibly long time. And what does a person do during that impossibly long time? Repeating the same acts over and over again, where people become predictable and all the complexity of life has been stripped down until there’s nothing but cold empty and predictable monotony? You dissociate.

Dissociating is the experience of detaching from reality. Dissociation encompasses the feeling of daydreaming or being intensely focused, as well as the distressing experience of being disconnected from reality. In this state, consciousness, identity, memory, and perception are no longer naturally integrated. Dissociation often occurs as a result of stress or trauma, and it may be indicative of a dissociative disorder or other mental health condition.(*)

Every time loop story inevitably includes a segment where the pain of going around and around becomes simply too much to handle and the audience must witness the protagonist's mental health decline in real time. It is the moment in the story when they no longer feel able to connect with other humans, when they disconnect and just succumb to the weight of the eternity that they are trapped within. For most the idea of being stuck in a rut is a horrific thing. People are a social species. We seek connection and we seek change. We actively want to grow. But this is not true for everyone. Some are so scared and scarred by the world that they dare not ruin the safety that they have managed to find. Narrowing one's world down to avoid conflict and danger is a common feature in Complex Post Traumatic Stress Disorder, particularly in those with a tendency to freeze in the face of their emotional triggers.

The flight-freeze type avoids potential relationship-retraumatization with an obsessivecompulsive/dissociative “two-step.” Step one is working to complete exhaustion. Step two is collapsing into extreme “veging out”, and waiting until [their] energy reaccumulates enough to relaunch into step one. The price for this type of no-longer-necessary safety is a severely narrowed existence. - (Complex PTSD: From Surviving to Thriving - Pete Walker)

And that is the heart of any time loop. Safety at the price of a narrow existence.

-

For this essay I want to talk about a piece of media that masterfully manages the time loop dilemma while managing to depict a remarkably strong representation of Complex Post Traumatic Stress Disorder. Today I want to talk about In Stars and Time. Because if I'm gonna highlight a time loop story for my essays on dissociative disorders then I'm going to do the one which has a "Press X to dissociate" mechanic.

In Stars and Time is an RPG Maker game in the stylings of Earthbound and Final Fantasy. The star of the play game is Siffrin (he/they), a silly little one who tells light-hearted puns and has their tongue stuck out in a :3 cat face smile.

As the thief type of the party he leads the group through dungeons to deactivate traps and find keys he can sometimes be bad at his job. They have managed to help the team get to the final dungeon and take on The King who has managed to freeze most of the nation of Vaugarde in time. Their adventuring friends are Mirabelle (she/her), the housemaiden; Isabeau (he/him), the fighter; Odile (she/her), the researcher; and Bonnie (they/them), the kid. Siffrin finds themselves trapped within a time loop. Reliving the same 2 day period as the party make their approach to The King and must defeat him to release Vaugarde from being eternally frozen in time. The game speaks frankly and kindly on many topics beyond mental health and trauma. Among the many rare and beautiful things it organically depicts it has an asexual and an aromantic discussing society's pressure to enter relationships and perform intimate acts, a trans masc discussing the destructive and yet necessary process of transitioning and two expats discussing how difficult it is to integrate their cultural roots (or lack thereof) with the values and expectations of the dominant culture of their new environment. Keep that last one in your back pocket for now. It'll be important for later. This is the last chance to check the game out unspoiled and so if anything I have said intrigues enough then please buy the game (Steam - Switch - Playstation 4 - Playstation 5 - GOG - Itch.io) and enjoy it. The game is about 20 hours at a casual pace (WR speedrun is 2.5 hours) and it has much in the way of hidden conversations and content that can help a person stick around and dig deep to find all the content in the game (but watch out). Go with my blessing and check DoesTheDogDie for content warnings if needed. For those who have played or want to read on into spoiler territory, then please forgive my long-windedness. I've too much time on my hands and have not cultivated the skills or talent to present this as a video for passive enjoyment. Let's begin. The game is split into 6 acts so in the interests of not bombarding with information. Shall we follow suit?

Act 1 - The Stage

The curtain rises and the play begins. Act 1 makes up the first loop from Siffrin's perspective. If not for the time loops then this would be a very short adventure. Siffrin wakes up from a nap in a field as they will every single loop from now on. They are in the final town before the enemy stronghold, one final day to rest and gather their strength and resolve to save the country. The group's leader, Mirabelle, has decided to have a sleepover. One final day, one final dungeon, one final fight... and then it's all over. The world will finally be saved. It'll all be over... Siffrin spends the day speaking to their friends, making a wish on the local Favor Tree to spend time with an ally after the adventure and then it's on to the adventure. Isabeau has something he wants to tell Siffrin but decides it can wait until they have saved the world. Entering the house and moving through the first few rooms all seems to be going well. The party of friends beat their first few enemies and Siffrin is sent to check for traps in a corridor leading into the main areas of the house. He checks and checks and checks and doesn't find anything so...

The trap is activated by feeling safe.

For clarity I wish to say much of the analysis and discussion is our personal read of the plot. Before writing this essay we reached out to insertdisc5 to ask about how they approached depicting mental illness in the game and they responded that it was not a matter of research as she was worried about checking off boxes rather than depicting authentic experience. Which makes it all the more impressive that the game was able to depict so many aspects of Complex PTSD so seamlessly. From Walker's book the primary symptoms of CPTSD are:

Emotional Flashbacks Tyrannical Inner &/or Outer Critic Toxic Shame Self-Abandonment Social anxiety Abject feelings of loneliness and abandonment Fragile Self-esteem Attachment disorder Developmental Arrests Relationship difficulties Radical mood vacillations Dissociation via distracting activities or mental processes Hair-triggered fight/flight response Oversensitivity to stressful situations Suicidal Ideation

Over the course of the game Siffrin displays many, if not all of these. One of the core conflicts of the game is Siffrin's feelings of loneliness and abandonment as well as their inner critic and toxic shame.

Another common trait of those with C-PTSD not referenced in the above list is a sensitive startle reflex. It is mentioned in the same book at a later point, however:

A startle response is the sudden full body-flinching that survivors experience at loud noises or unanticipated physical contact. This is usually a somatic flashback to previous abuses.

I bring this all up now because Siffrin's first death. The cause of the first loop. HIS FIRST FAILURE. Was because he let his guard down. He felt safe for even a moment. This is not a reading or something which can be brought up for debate. On floor two of the house there is a book that explains the traps and speaks of the boulder that landed on Siffrin's head earlier:

Throughout the entire adventure Siffrin will have the toxic and universe validated belief that if they ever drop their guard, even for a single moment they may die. This belief will only get worse as they progress, unfortunately. For those with Complex PTSD they walk through life in a state of hyper-vigilance. Never quite feeling safe. Siffrin died the moment he let his guard down. [Dawn here. This is turning out to be the longest Media, Myself and I article by a wide margin. For the sake of not destroying everyone's timelines I'll put the rest of the game under a readmore. I would so very much love it if you did click on, though.]

Act 2 - The Performance

The curtain rises and the play begins. Again. Much of Act 2 is spent trying to get to The King and defeat him. Mistakes such as forgetting a key on an earlier floor or taking a wrong path will cause Siffrin to need to loop back. All the while inwardly berating themselves for their carelessness, knowing that in a world without the time loops they would have been trapped and unable to challenge The King at all. We are also introduced to Loop, a star who watches over Siffrin during his journey. Loop is in the time loop with Siffrin and can follow his progress, offer advice and comment on everything. Loop is a little disaffected and likes to play things silly and coy and can be a little mean at times. But they say they're here to help Siffrin. As the adventuring friends climb to the final boss we get to see Siffrin's rapport with the party. Siffrin likes to stay on the sidelines and listen in to other people having animated conversation. Everyone is nervous to touch him having universally come to an understanding that Siffrin does not like to be touched. They make fun of Siffrin's poor memory (another common trait of those with dissociative disorders that we will talk about more in time) and they treat one another warmly. However during a bit of banter in a snack break...

(source: ISAT Script Project) Note that Siffrin internalizes the comment "we're not friends." instantly. From this point of the game until a latter moment all times that Siffrin's monologue refers to his party the word "friends" is replaced with "allies". They are so sensitive to abandonment and rejection that the they simply accept Odile's words, not even aimed at Siffrin themselves and internalizes them deep enough that the HUD of the game itself changes to accommodate this belief. It was mentioned at the start that Siffrin is a silly traveler who enjoys puns and makes light of most situations. In battles the game uses a Rock, Paper, Scissors weapon triangle and all of Siffrin's attack names are puns. In the profile menu he sticks his tongue out. His battle image is a playfully confident smirk.

During the game we always have access to Siffrin's inner monologue and can tell how they interpret the world around them but they seldom ever voice their opinions. This allows us to see how often they are convincingly laughing on the outside while hurting on the inside. Siffrin, unable and unwilling to approach their shame and self-loathing and terrified of becoming a burden to their friends allies will deflect whenever he sense that they are hurting.

A person (or dissociative part) may avoid being aware of inner experiences such as feelings or thoughts that might evoke shame. Thus, he or she is not aware of the experience of shame, typically does not acknowledge the negative experience of self, engages in denial, and attempts to distract self and others away from the painful feeling. For example, a person who felt ashamed in therapy might start making jokes or flippantly comment that the session is boring or useless, or he or she might try to change the subject entirely or even switch to another part that has a different agenda. The experience becomes neutral or positive; shame may be disowned or denied, or overridden with joy or excitement in distracting activities (joking around, talking about something else). There is little to no awareness of shame or one’s shameful actions, faults, or characteristics. The motivation is to minimize the conscious experience of shame or to prove that one does not feel shame. - (Coping With Trauma Related Dissociation - Suzette Boon, Kathy Steele, Onno van der Hart)

The other key thing we have come to learn about how others perceive Siffrin is their memory issues. Memory issues are a constant part of dissociative disorders with a lack of childhood memories being a key feature in Complex Dissociative Disorders such as Depersonalization/Derealization Disorder and Dissociative Identity Disorder. If I am being honest about my motivations for writing this essay, while playing it I keyed in on the lack of memories early and assumed it to be an allegory for such trauma. Even made a Tumblr post stating this. On the top floor of the house of change in a secret room and only during Act 2 there is a bit of dialogue where Siffrin speaks about their childhood.

This was the moment we knew we needed to write about this game. What is missing from the text above is that when Siffrin stammers on their words there is a time loop effect. The first one in the game that is activated by something other than a death or the natural end of the loop. Siffrin edits out this conversation so that not even he can remember it.

Amnesia goes far beyond normal forgetfulness. It involves serious memory problems that are not caused by illness or extreme fatigue, by alcohol or other mind-altering substances, or normal forgetting. Amnesia falls on a continuum. People with a dissociative disorder may recall some aspects of an event but not other essential parts of it. In some cases all memory for certain events is unavailable for conscious recall. Some people with a dissociative disorder describe their memory as being like “Swiss cheese holes,” “foggy,” or “full of black holes.” They may suspect that something happened, or may have even been told by others that something happened to them, but have no personal recollection of events and often feel afraid to think about them. People may have amnesia for longer periods of time during which normal life events took place, for example, a person may report being unable to remember anything from the fifth grade, or from ages 9–12. - (Coping With Trauma Related Dissociation - Suzette Boon, Kathy Steele, Onno van der Hart)

Instinctive use of time travel to edit out parts of a conversation that a perspective character does not wish to accept or confront is a fantastic allegory for how dissociative symptoms manifest. When a person or dissociative part stumbles too close to a severe trauma trigger. To speak from personal experience it is a moment where in a conversation a question comes up and the answer feels wrong in your mouth. Like you just lied. But you know you didn't intend to lie... so of course you interrogate the piece of information and the wall of confusion that hits can make a person feel truly powerless. Like you're not even certain of what you are saying anymore and a mixture of shame and fear flood in and tell you to stop talking, stop lying, stop exaggerating, stop speaking, stop, stop, STOP. Poor Siffrin shouldn't have their memory made fun of. But... his friends allies don't know. Do they? How could they? Siffrin doesn't speak up and when he does it tends to be a showy performance of being light hearted and silly so no one can see how hurt he is. Because if he does try to be honest... well. You saw what happened when they tried to open up. Through hard work and persistence the allies loop enough times to gain the knowledge and strength to win against The King. The King's first attack will force the allies to see a vision of the future and without a special magic shield will kill them in a single strike. Siffrin stays determined and prepares his allies. Helps them become stronger. Helps them win. The world is saved. Everyone in Vaugarde is released from the time freezing spell... But something's wrong... Siffrin is given a chance to talk to everyone as they all happily speak about what they'll do now that the country is saved but no matter what happens. Isabeau attempts to confess the thing that he wished to tell Siffrin if they won but is interrupted before he can get the words out, much to Siffrin's annoyance. The world is safe. All is well. It shall return to normal soon enough... only thing to do is speak with the head housemaiden and accept the praise and thanks for all the hard effort in saving Vaugarde... Then world starts to fall apart and... The second act comes to an abrupt close.

Act 3 - Family and Culture

The curtain rises and the play begins continues. The loop begins with Siffrin back at the start, even though the day was saved. Simply killing The King must not be enough. There must be a reason that the loops are continuing, even after Vaugarde is saved. The only way to understand is to find out more about why The King is able to freeze the country in time and if it has anything to do with why Siffrin can loop back. Speaking with Loop, Siffrin recognizes that as long as there are ideas and leads to explore then giving up is not going to happen. Loop seems reluctant to encourage Siffrin to continue, in fact Loop seems doesn't appear surprised by the time loop continuing at all. Loop is an interesting character and deserves an article unto themselves. We should focus on Siffrin right now.

Their first order of business is to attempt the Golden End exit route. It worked for Bill Murray, why not in this situation? Simply work out a way to make everyone have a perfect loop. Saving the world isn't enough. Siffrin can solve everyone's problems. Here we learn that Bonnie, the kid, harbors a deep well of shame for allowing Siffrin to be blinded in an eye while protecting them earlier in the adventure, before the loops. Siffrin, true to their dissociative nature, did not even remember the event. Siffrin also spends quality time with the adults in the party. Always hoping Isabeau would be brave enough to confess this loop. On this journey up the house of change the team are closer and more caring. No one makes fun of Siffrin for bumping into the counter. Siffrin discovers that the other party members have noticed his breathing exercises. Very helpful for those with dissociative disorders, by the way. They ground the body and allow one to ease somatic symptoms by soothing the nervous system and preventing activated sensations worsening symptoms. As they get closer to The King the warm and familial banter continues with Odile using the word 'friend' out loud. A guarded Siffrin allows themselves to confront Odile on saying that they were not friends (something she did not even say this "Golden" loop) and through an awkward but kind conversation she confesses she, a Too Old For This lady cannot feel comfortable calling a group of people with a pre-teen "friends" but she can perhaps call them "Family" The menu updates. Siffrin's Allies are now Sif's Family Members. This remains true in all the menus no matter what happens in any loop. But in this moment, there is a golden ending. There is joy. Though Isabeau is unwilling to discuss his confession when Sif is feeling vulnerable. They need to have a Feely-Feels talk. Sif hates the idea of a Feely-Feels talk. Yet, even still... In this moment Sif is loved.

Many people with Complex PTSD have attachment wounds from their family of origin. The concept of a found family is common among survivors, particularly in those who choose to go Non-Contact with the family of origin. Others, like Sif, have lost their family to tragedy and simply have no roots to return to. The role of a chosen family is vital in the healing journey. Survivors can become aggressively attached to those who they view as chosen family and are often activated by the concept of another loss. The wounds of losing one family enough to have massive impact on how the survivor handles relationships going forward. It is why unstable relationships is listed as a symptom of CPTSD and why there is such a big overlap of CPTSD and BPD diagnosis.

There’s no way around the fact that on the journey to finding your chosen family, you will get hurt. People you thought would be there for you will abandon you, people will decide they no longer have the emotional capacity to hold space for you, and… people who made promises to be by your side will betray those promises. That’s not anyone’s fault. It’s just life. Not everyone belongs on our journeys, but… when you find the right people, don’t let go of them. Nurture the relationships, reciprocate the support, and above all, respect the myriad of ways that people can and will show up for you. - (The Role of ‘Chosen Family' in Trauma Recovery - Monika Sudakov)

Sif is desperately attached to the Family Members that they travel with. In many ways the only reason they can endure the time loops is to protect them. Any time there is a prompt which threatens these relationships Sif's monologue insists that they will not abandon the script that ensures their safety and happiness. Yet despite all this power of love and Family, the loops continue. Which is fine. Golden Ending was a long shot anyway. Clearly it has to be related to The King and it's power to stop time. It seems to know the mysterious art of Time Craft. Talking to The King will help. The answers are still attainable and now Sif has a Family. To get the information required to learn about Time Craft and The King one must interact with as many books and items in the house of change as possible. In doing so we learn more about Sif and their history. By this point in the story the concept of croissants has come up a number of times for the party. In the opening town Sif has the option of buying one from a bakery and gives an uncharacteristic scowl. When they are spotted in the house Sif tends to duck out of conversations, not caring to listen to people talk about the pastry he loathes so desperately. He jokes about it and obfuscates but Sif hates croissants. With a burning passion. There is literally a food that can kill him in the game (he is allergic to pineapple and can die on a banana plantain peel) but his ire always turns towards croissants. Croissants are an emotional trigger for Sif. They harbored such a deep hatred of croissants that when, in Act 4, he is pressured to tell everyone what he wished for at the start of the game he says that they wished for croissants to disappear forever. Sif's reactivated trauma is related to croissants. Up until now he had been living his life blissfully unaware of his dissociated experiences and yet a croissant cracked the amnesia barriers that kept him safe and now each time he sees them they cannot help but be reminded of "The Incident". By examining the Silver coin in their inventory a number of times one can see "The Incident", a moment that happened days before the plot began which informs Sif's entire emotional state throughout the game...

(source: ISAT Script Project) Note the time skip at the tail end of that sequence. Sif was thinking too heavily about the trauma again and skipped time to avoid thinking about it. Dissociative barriers. He literally cannot think about it. The universe won't let him. Sif's home isn't there anymore. In the canon of the game where reality can be rewritten on the whim of a wish, the country that Sif comes from was wiped off of the map and all knowledge and memory of it has been erased, even from those who lived there. Sif's trauma is that he lost his home. His family. Everything and everyone that he ever knew. Through traveling with his family members he has gained a slither of the emotion, comfort, connection and safety that he lost and in being reminded of all that he lost so close to the end of their journey he was reminded he can and will lose it all again and the thought is too terrifying to process. This is the core conflict in Sif's heart for the entire game. The more they interact with memories of the destruction of his homeland the more keenly aware he becomes of the fact that the quest will end and his family will go their separate ways and abandon him. They have no home to return to when this is all done. CPTSD is not currently recognized by the DSM-5. An official diagnostic description can only be found within the ICD-11. On the ICD-11 page for Complex-PTSD there is a specific segment for "Culture Related Features" that reads:

Cultural variation exists in the expression of symptoms of Complex Post-Traumatic Stress Disorder. For example, somatic or dissociative symptoms may be more prominent in certain groups attributable to cultural interpretations of the psychological, physiological, and spiritual etiology of these symptoms and of high levels of arousal.

Given the severe, prolonged, or recurrent nature of the traumatic events that precipitate Complex Post-Traumatic Stress Disorder, collective suffering and the destruction of social bonds, networks and communities may present as a focal concern or as important related features of the disorder.

For migrant communities, especially refugees or asylum seekers, Complex Post-Traumatic Stress Disorder may be exacerbated by acculturative stressors and the social environment in the host country. - (ICD-11 for Mortality and Morbidity Statistics)

We do not learn much of Sif's culture of origin but we know that they were in tune with The Universe, that they had spiritual aspects that allowed them to use Wish Craft and follow when fate leads. Act 3 is an info gathering quest on The King's motivations and we discover that King and Sif both hail from the same country and have lost all their social bonds, networks and communities and cannot even recreate the specifics of their culture. It has literally been erased. No culprit is ever named for this atrocity but from Act 3 onwards Sif mourns this lack of roots and via the power of the magic that prevents anyone from remembering the country they cannot mention this tragedy to anyone. Though Odile is able to infer it. Odile is also an immigrant to Vaugarde, her mother was from Vaugarde and her father from Ka Bue. Her mother abandoned her and Odile's quest in Vaugarde is to find parts of her history within the foreign land and fill in the parts of her soul that she feels are incomplete from the lack of her mother's presence and history in her life. In Act 3 the two bond over it as part of Odile's "friendquest", in Act 4 and beyond Sif's inner monologue seethes with bitterness and envy for Odile having connections. The initial connection of them both being foreigners in an accepting land caves to the pain of loss that consumes Siffrin whole.

(source: ISAT Script Project) What's worse is that some of the things that the family members joke at Sif about for being too forgetful to know the words "Kiln" "Pottery Wheel" or "Stuffed Animal" (though they do remember on some loops) become less about silly forgetful Sif letting incidental information slide out of their dissociative mind. It becomes making fun of a person speaking a second language and not having complete mastery over it. By Act 5 Sif has no patience for the playful jabs because they happen every single loop and they hurt. Minimizing is a lot harder in a time loop. Every small moment of tiny pain repeats again and again. Every time Sif bumps their hip on a counter the party laugh at him. Well... except for the time he screamed at them for it... or the time he collapsed into a defeated pile on the floor on the verge of tears. Heaven help me if bumping into a counter hasn't been the last straw to break my facade when the weight is too much to carry. Poor Sif... As Sif learns more about Time Craft and the country that both he and The King come from, Sif starts to gain an understanding of The King's motivations. After losing one country he couldn't bear to risk losing another home. Vaugarde was so kind to him and took him in and he wants it to remain perfect and safe forever. Frozen in time like a photograph. Now that Sif has come to recognize how important his Family Members are to him, they understand. To have people you love and consider Family is so important and the idea of losing that is simply unspeakable. It is a fate worse than the time loops. By now Sif has done the Golden Ending a time or two...

He understands why The King would do this. The final loop of Act 3 allows Sif to attempt to convince The King not to fight. The pair have attempted to bond over their roots, they have tried to force The Universe to allow them to speak the name of their nation (but it refused to be said) and now Sif wants to try and use understanding. The King agrees. He stops the fight. Asks Sif to come to his side and... Then he freezes the Family Members in time. He understands now that Sif is using Wish Craft to fight him and he cannot win on traditional terms so he decides to carve it into Sif's memory, a reminder of what happens if he continues defying The King's will. He picks up poor little pre-teen BonBon... and FORCES SIFFRIN TO WATCH AS HE CRU-

Act 4 - Shame Spiral

The curtain rises. The play begins continues. And Sif is not okay. They witnessed the game break the well established rule that the kid was not able to be hurt. Even in runs where you lose to The King Bonnie always gets away. The Family will always go out of their way to ensure The Kid survives. It's happened so many times by now one doesn't even think to question it... And the player had to watch. There is no avoiding that event. Sif will lower their guard to speak with The King and offer compassion and trust to someone they thought of as a kindred spirit and no sooner had they laid down their arms for a moment they were punished for it. Brutally. It's the rock again. Feel safe, even for a moment, and it comes crashing down to crush with full weight... only this time it's not the Sif taking the hit. Sif can take all the hits in the world. It was BONNIE. Someone else was crushed because Sif trusted. From this moment on Sif's intrusive thoughts become louder and meaner. Look above at the conversation with Odile about her roots and notice the changes between Act 3's inner monologue and Act 4's. By this point in the story Sif is losing track of how many loops they have gone through. Unless you keep your Memory of Self equipped you will find that any time you loop forwards or backwards the loop counter will jump up by leaps. Sif is so numb to the cycle by now that they're just dissociating through iterations of the time loop. Other times he 'blacks out' bits of time include sleeping at the clocktower. We learn that he never ever sleeps at the tower. He just blacks out and comes to at the house ready for the next run. All Sif can remember is what the player sees. But stuff does happen besides that which we see. It's not just the amount of time that Sif has been in the loops that is causing this degradation of mental health, though. It's the continuous activation taking a toll. When a person is continiously hyperaroused they become disaffected, chronically dissociated and begin experiencing somatic symptoms. Headache, stomach ache, exhaustion with no ability to sleep, hunger without ability to eat. At this point of the story Sif is constantly hungry and is not sleeping at all. The primary cause for this is the attachment trauma being continuously triggered. Where in early acts it was a matter of worry over losing his new family while being reminded constantly of losing his old one, now he is reminded of allowing his family to die because of his actions. The shame spiral claims him and his emotions become wild, even if he is not able to express them outwardly. This level of emotional sensitivity is a primary symptom of Borderline Personality Disorder. The similarities between CPTSD and BPD are enough that much of the discussion around the potential for including CPTSD in the next revision of the DSM centers around whether it should replace or be combined with BPD. The Foundation for CPTSD writes on the topic:

At one-time, complex post-traumatic stress disorder was proposed as an alternate form of borderline personality disorder because of the shared link to severe childhood trauma. The jury is still out to recognize CPTSD as a diagnosis in the DSM, but it is believed that the symptoms and causes of BPD and CPTSD overlap substantially, but it is not warranted to replace one diagnosis with the other or conceptualize CPTSD as a subtype of BPD. Borderline personality disorder and complex post-traumatic stress disorder are commonly found together, with between 25% and 60% of people living with BPD also having CPTSD. Complex post-traumatic stress disorder is listed in the 11th edition of the International Classification of Diseases (ICD-11), and this has spurred research differentiating the two disorders. Evidence suggests that CPTSD and BPD may represent a continuum of the stress response, and both seem to have a component of dissociation involved. The most significant difference between the two diagnoses is when they form. CPTSD typically forms in early childhood, while BPD forms during early adolescence. Having both CPTSD and BPD makes life difficult, to say the least. - (CPTSD Foundation)

BPD is a personality disorder categorized by attachment wounds. Part of the diagnostic criteria includes "Frantic efforts to avoid abandonment, whether it is accurate or not, by family and friends" It is safe to say Sif feels this way about their family. They lost their entire home, their history, their family of origin. They cannot conceive of losing the family that they have gained. The concept is simply too painful for them to consider and so emotional and dissociative barriers force away anything which could potentially bring the topic of losing them to mind. Heaven knows we can understand the impulse... But since being directly responsible for failing the promise they made to protect Bonnie this is no longer a matter of fear of the unknown, it is shame in having failed to keep a promise to protect. This shame grows and cripples Sif's emotional regulation, leaving them prone to volatile outbursts of their repressed rage. Either forcing it inwards on the self or outwards on others.

When you feel chronic shame, you believe that no amount of punishment or corrective actions would be sufficient, and you are unable to forgive yourself or have any empathy for the terrible suffering shame brings to you. It is as though chronically ashamed people have received a life sentence of shame with no hope of parole, even when they are unsure of exactly why they are bad. In fact, some people will say there is no particular reason they are bad and unworthy: The mere fact that they exist and take up space on the earth is shameful enough. They believe they are not worthy of living and do not deserve anything good. In such cases, shame is an emotion of hiding: The last thing an ashamed person wants is to be open, vulnerable, and seen by others. Thus, it is an emotion that often is not addressed sufficiently in therapy, even though it is a major impediment to healing. - (Coping With Trauma Related Dissociation - Suzette Boon, Kathy Steele, Onno van der Hart)

Act 4 is about learning the origins of the Wish Craft that rewrites the universe and allows for Sif to use Time Craft. We learn that any time they are upset they will instinctively rewrite history to prevent the things that they fear from coming to pass. This includes moments when their anger gets away from them and they lash out at their family. Some optional scenes include forcing Isabeau into a kiss or screaming at Odile when she knows too much and tries to help Siffrin. Any time these outbursts happen time rewinds and only Siffrin is left with the knowledge that they happen, deepening the growing well of shame. All the while Sif feels more hollow in the interactions he has with his Family. In forcing them to be their best selves via the "Friendquest" events every loop he starts feeling like he is manipulating them. Where he felt loved the first few times he now accuses himself of forcing them to love him.

To the degree that our caretakers attack or abandon us for showing vulnerability, to that degree do we later avoid the authentic self-expression that is fundamental to intimacy. The outer critic forms to remind us that everyone else is surely as dangerous as our original caretakers. Subliminal memories of being scorned for seeking our parents’ support then short-circuit our inclinations to share our troubles and ask for help. Even worse, retaliation fantasies can plague us for hours and days on the occasions when we do show our vulnerabilities. I once experienced this after being very honest and vulnerable in a job interview with a committee of eight. Over the next three insomnia-plagued nights, my outer critic ran non-stop films featuring my interviewers’ contempt about everything I had said, and disgust about all that I had left out. Even after they subsequently and enthusiastically hired me, the outer critic plagued me with “imposter syndrome” fantasies of eventually being exposed as incompetent in the new job. - (Complex PTSD: From Surviving to Thriving - Pete Walker)

It doesn't matter. Sif tries everything. Learns all the things that they can learn. Explores all the hidden areas of the house of change. Nothing matters. It's hopeless.

And with each loop The King's attack shows Sif a vision of the future. What do they see? Endless looping or... does Sif see the future beyond the loops? After the party return to their various homes? Act 4 ends with The Head Housemaiden, the only one who could have potentially held answers telling Sif outright that there was no escape... Before the loop begins anew.

Act 5 - Curtains

[Hello there. It's me, Dawn. I'm pausing the essay and dropping the cute little play structure to reiterate the Content Warnings from the start of the post. During Act 5 there are options to commit self-harm that a player may stumble across unintentionally. During previous acts one has to work exceptionally hard and against the game and characters within it to unlock a means of self-harm and it is unambiguously seen as a bad thing. In Act 5 there are no external forces to comment on Siffrin's actions.] The curtain rises. No point in wasting time. Get the actors. Make them strong. Beat the king. Do it right this time. Unfortunately our star has lost all of the mental fortitude they had. They were so strong for so long but there is only so much a person can take before they let the anger win. It is all too common for people with significant trauma to harbor resentment and anger in their soul. It sometimes remains repressed under layers of emotion numbing dissociation, it sometimes turns inwards into self-destructive acts and viewpoints and it sometimes turns outwards into explosive acts of physical or emotional violence. But it's there... lurking within the injustice of all the pain a person has felt.

When you have experienced a trauma, anger often becomes the central emotion that you feel. Angry thoughts about revenge may consume you. According to Enright and Fitzgibbons (2000), your anger is more destructive if you focus it on another person or people; it is intense, even in the short term; it leads to a learned pattern of annoyance, irritation, or frustration with others who are not the source of your anger; it is extremely passive; it is extremely hostile; or it is developmentally appropriate for someone much younger than your actual age (e.g., you act like a two-year-old and have a temper tantrum). - (The PTSD Workbook Mary Beth Williams)

and so... with the 5th act of our play about to begin, the star wakes in a familiar meadow for what may be the hundredth time... and they simply cannot take it anymore.

The actor on stage has reached Rock Bottom and likely unlocked the skill Rock Bottom to go with it, though they are beyond the silly puns now. Rock, Paper, Scissors, Breathe or Heal. Just get to The King. Just kill it. One. Last. Time. The GIF above starts with the line "YOU WANT YOUR FAMILY BACK!!! NOT THE FICTIONAL CHARACTERS THAT HAVE TAKEN THEIR PLACE!!!" Up until now we have only spoken about dissociation in terms of zoning out or blocking out memory. I now want to talk about Derealization and Depersonalization. DPDR has been a subject of other Media, Myself and I essays, most notably our discussion on Night in the Woods. To be brief about it for this essay Depersonalization is a detatchment from one's sense of self and Derealization is a detatchment from reality. Our star has become so disillusioned with the endless looping that they no longer view their surroundings as real. The people in their life are just actors in a play that they are directing. Everyone says their lines. Even the star must say their lines. But there's still some stage direction. Some purpose that our hero must fulfill. They know that there is a chance if they can just kill the king without Mirabelle landing the final shot. Then. Maybe... In their disaffected state and unable to convincingly perform their lines in the play, our star manages to upset everyone else on stage causing them to doubt if it would be safe and productive to continue traveling with such a horrible disgusting unreliable stupid person. This causes the final act to be a solo performance. One final walk through the house without friends allies family actors to help. At the clocktower the other actors talk about our star and are uncertain if they can trust them any longer. Our star reacts by rejecting them entirely and going it alone. There is a concept in BPD called Splitting in which a person devalues or exaggerates the value of an individual in their compromised emotional state. It can cost a person relationships if they act out of these temporary emotions. At the start of Act 5 the actor manages to scream at the kid for getting in danger, calls the fighter a coward and mocks the researcher for her mother abandoning her. The individual, so desperate to shield their wounded heart, pushes the people they love away because their proximity is too close to their open wounds and they push away to maintain space. This is particularly true in those who struggle to create healthy emotional boundaries. This game is such a god damned call out at times. As the actor climbs the house everything is broken. The universe itself is trying to maintain the reality of two wishes that it needs to make a reality. "Save Vaugarde" and the one the main character wished for in Act 1. Do you remember what it was? The Universe cannot allow Siffrin to remain with their Family Members if they run off alone and reject them. The Universe simply cannot accomodate such a reality. Everything is falling apart. What proceeds is the ISAT equivalent of a Genocide Run in Undertale. Everything is broken and wrong. Rooms are breaking the collision boundaries of a video game, textures are cut wrong, doors lead to the wrong location, time is looping without rhyme or reason. And the menu is blunt. You cannot change your equipment, now stuck with Memory of Emptiness with the description (Nothing comes to mind, hahahahaha!) Some rooms contain hallucinations that make our star feel more abandoned and empty and mournful of their situation. In rooms where they would normally receive a modicum of physical comfort brushing against the other actors there is nothing now.

(Aaaaaaah…) (You rub your arms once, twice, thrice.) (Your throat tightens) (You feel like you're floating in your own body.) (If only someone would touch you to make sure you're real! Someone, anyone!)

This is an example of extreme depersonalization. Also the garden has a table with 4 healthy plants and 1 dying plant to the side. Our star notices it and it acts as a visual indicator of the barriers between the director and their actors. Some of the other rooms on the Act 5 climb depict overt self-harm...

It can be understood as a substitute action for more adaptive coping that attempts to deal with a variety of overwhelming problems, many involving too much feeling (for example, loneliness, abandonment, panic, inner conflicts, traumatic memories) or too little feeling (numbness, depersonalization, emptiness, feeling dead). Self-harm is thus often related to the need for regulation skills, that is, finding ways to modulate and tolerate unbearable inner experiences, such as painful emotions, or traumatic memories (Gratz & Walsh, 2009; Miller, 1994). Some people harm themselves in secret and carefully hide the inflicted wounds from others. Other people harm their bodies in places that are visible to people around them. (Coping With Trauma Related Dissociation - Suzette Boon, Kathy Steele, Onno van der Hart)

The shame only increases upon doing these optional (but distressingly unprovoked) actions. Honestly, if I had one criticism of the game and its depiction of mental health it is that there is no way to know that looking at the cupboard with the eye patch conversation would cause a self-destructive action. As someone with extreme sensitivity to depictions of suicide and self-harm I felt that having no agency or warning over that (I had no reason to assume this would happen. Any other form of self-harm requires selecting a menu option. This one jumps out at a player unexpected) was... unfair. It is noted in monologue that breathing exercises no longer work by this point of the narrative and due to not being at the clocktower our star is proceeding with no food and no sleep. Their already bottomed out mental and emotional state is in sore need of external intervention. Something the actor both desires and rejects in equal measure. Upon finding and fighting The King our hero is frozen in time and locked in a dream. Placed face to face with their worst fears and worries of how their actors Family would perceive them.

(source: ISAT Script Project)

After the screen stops being blurry and the player wipes the wet spots off of their Nintendo Switch. The fear of being perceived. The fear of being seen as manipulative. Being seen as insincere. Being seen as lazy or too afraid to change. Callous. Aimless. Manipulative. So many survivors have these negative scripts and inner critics. Caught in their cycles. Their own little loops. But there's still hope. Family. The chance to be vulnerable. The game concludes with Sif's Family saving him from The King. But even though The King's spell is broken and the people of Vaugarde are unfrozen the sky has a giant red crack in it. Sif's wish is still tearing the world apart. Realizing that when the quest is over everyone will go home Sif has their temper tantrum, becoming the final boss in which every move is a choice to either lash out at the party or lash out at themselves. A boss mechanic version of the final embers of a violent extinction burst. That is to say a person who does not have control over their ability to maintain a sustained behavior will lash out and attempt to assert control in order to prevent losing the conditioned routine.

An extinction burst is characterized by a temporary increase in the frequency, intensity, or duration of behavior being extinguished through operant conditioning. This phenomenon occurs when the reinforcement for a previously learned behavior is removed, leading to an initial escalation of the behavior before it decreases and eventually ceases. While not all instances of extinction involve such bursts, they are observed in some cases, particularly during the treatment of problematic behaviors. Extinction bursts can complicate the treatment of behavioral disorders, as they may temporarily increase undesired behaviors like aggression or self-injury, making it challenging to assess the effectiveness of interventions. (*)

In this case Sif is lashing out because he has no way of preventing his Family from going back to their lives. It's a destructive and unhealthy mechanism. The fight ends with everyone refusing to let Sif run away or hide anymore. He is forced to admit that his wish was to stay with everyone. That he didn't want the family to go away. He opens himself up to the vulnerability of being seen of being understood and yes, even potentially rejected. The Family agree to travel together at least long enough to get Bonnie back to their sister. But there are no guarantees what happens beyond there. There is love. There is acceptance. There is honesty. There are no more time loops. Maybe now, finally... there can be change. Growth. Tomorrow.

In time loop fiction everything eventually loses meaning. There are no permanent consequences, no external pressures, nothing inherent to strive for, no meaning but what the protagonist(s) give themselves. The option to just accept things and remain is always there as Andy Samberg's character in Palm Springs does. The option to never stop trying to escape is there for those like Keiji in All You Need Is Kill.

The brilliance of In Stars and Time is that there are two wishes that are influencing the universe. The wish of the people to save Vaugarde from being frozen in time and Siffrin's wish to remain with his family. Change and Stagnation. That's what it always comes down to in these time loop stories and the conflict in this game is that those two forces are playing against one another. The only outcome was to give up on one or the other. As we'll learn in Act 6 there is no reality where Siffrin gets to stay with all 4 party members. They will have to separate at some point. Accepting change is accepting that things can and will and do end and life will go on and you have to be okay with it. Many of our essays have focused on representation that includes a healing journey from Ange Ushiromiya accepting the circumstances of her tragic past to Elliot Alderson's 4 season long representation of trauma therapy for dissociative clients. I think the thing I love about In Stars and Time is that it's the long and arduous process of a chronically traumatized individual asking for help. It's the first step on the healing journey. Acceptance. Siffrin spent the entire game in denial and rejection, making jokes and pushing things aside. Our long and hard journey was just getting to the point where they were able to recognize and admit it. And I really hope that Sif and their family members will be okay. I wished on my leaf for Sif to see Ka Bue with Odile. I hope they get to go. But as insertdisc5 says when asking any questions about what happens next "it's your turn" -

Stars that was a long one. Thank you for sticking with me if you read the whole thing. We like to write these essays as a matter of helping our study on dissociation (we, ourselves, are a DID patient and reading and comprehending this material is essential to our recovery and treatment) and providing a little insight to bits of media that are positive examples of what we go through. If you enjoyed always feel free to leave an ask or leave some silly tags. I never care if I get a flop post as writing is its own reward but the encouragement is good for my ego <3

Special thanks to @insertdisc5 for answering when I reached out for comment on the writing of this essay. The reply was helpful and encouraged us to take our time and write this with extra care. (In Stars and Time can be found on Steam, Itch, GOG, Nintendo Store and Playstation Store. The Prologue Game can be found on Steam and the Start Again comic on insertdisc5’s website) Media, Myself and I is a series of Tumblr Essays for positive depictions of dissociative disorders. Other essays include: A History of Murder Alters Discworld and Plurality Incidental, intentional and accidental representation Gender, Dissociation and Clinical Stigma in The Third Person Recontextualized Memories in Umineko Derealization in Night in the Woods and Metal Gear Solid The Dangers of Hypnotic Personality Play in Penlight System Origins in The Incredible Hulk Relationships with Systems in The Incredible Hulk The Healing Journey in Mr. Robot

...wait... what happened to Act 6?

I did say Loop deserved their own essay, didn't I?

[unadulteratedsoulsweets]

A DC X DP IDEA #30

Salvage Tomorrow.

Imagine dis...

Every flash who has ever gone back in time tried to make the future a little bit better. From the main Flash Barry Allen to his future grandchild, Bart Allen. But he came from a desolate future, a future of ruins. He may have the power from the original Flash but it had been watered down, he may be fast but not as fast as the fastest man in the world, so the question is… 

How did he come back to the past?

He did not have enough energy or power to travel through the speed force and through time to safely arrive in the past without disintegrating himself… So how?

….

Danny Fenton also known as “Phantom” was thrust into another mission by Clockwork but instead of his usual errands where he needs to retrieve something, this time he needs to ensure a certain event must happen.

When Danny asked which point of time he would be sent Clockwork admitted that he would be sent to the future where Dan came from.

That startled Danny because as far as he is concerned the future is now gone and the main event where Dan is formed has been avoided, also Dan is slowly mellowing out and he is very sure Dan developed a soft spot for him. Clockwork sensing his ward’s question chose to open a portal to that timeline and began to explain. There is another event that must take place just as after Dan goes back in time just to ensure he was made, a speedster was supposed to travel back in time to prevent another major apocalypse and he needed a bit of help.

Clockwork also suggested Dan to come along, Dan is a bit skeptical since he left an impression on the remaining humans. Danny assured him that he could do this alone and he had done it multiple times. Dan just snarked back that Danny might be attacked and it would be a shame if he died from a puny human.

With much more arguing Danny was sent back to the past to help the Flash at the time to go back in the past.

…

When Danny gets to the end of the portal, The scene surrounding him is eerie, with degradation and ruins that represent the once-thriving society that he remembers. Collapsed buildings and overgrown plants litter the streets, showing the remnants of a once-thriving community. Danny can practically taste the ash that clung in the air.

There he was, He couldn't help but wince at the future that his future self did, no wonder the Observants wanted him dead the moment Danny gained his ghostly powers. He can barely sense any living being as for the undead one, immediately cleared out of his way the moment he even breathed in his direction. Using invisibility he flew to the nearest human camp that he had sensed after 3 days of exploring for any signs of life. According to Dan, Danny remembers, that he knew there was a small group of humans who survived the initial killings and tried to hide from him 

He saw that the majority of them were civilians living off the scraps they had found in the ruins of their cities. Some were trying to plant some seedlings into the soil, but Dan had poisoned the soil with ectoplasm as a form of a slow execution or some sort. All of them are weary and vigilant as if Dan would come back any moment to finish them off.

Of course, Danny can't just stroll there, from the way they tense they would run off any minute plus he didn't know which one would go to the past. 

At first, he started off helping them in terms of small things like if they were a bit cold during the night a few more blankets would appear. They were running out of drinkable water, a trail suddenly appeared towards a small creak that wasn't infected by the ectoplasm. 

At first, everyone was able to brush it off as a stroke of luck but then the remaining heroes or those who have a connection to the said former heroes began to doubt the sudden gifts they tried to catch the person giving them gifts but it took a child’s laughter to catch their invisible helper.

…

Danny was just dropping off another small batch of supplies hidden a few feet away from the main group so that when they went exploring they could find the said supplies. The group for exploration left the camp leaving with a few children who had survived along with some young adults to watch over the said kids. One of the kids began crying as if their situation finally sunk in, Danny who was still invisible tried to comfort the child but it was then the group to explore went back and Danny forgot to turn on his invisibility, Let us just say panic ensued.

…

After the entire fiasco of yelling, shouting, fear, and screaming they can talk civilly to each other after a few weeks of Danny proving himself further that he is not Dan despite looking like a smaller carbon copy of the man.

Danny didn't want his relationship with Dan to be known so he let them draw their conclusion, he heard from afar that they were slowly trying to trust him as if he was truly Dan they would have killed them already since Dan broadcasted his fight, do you even call a massacre a fight? To enjoy their screams.

Danny was too elated to hear the good news that he missed their conclusion of him being Dan’s son who is trying to do good despite their father being the cause of such an apocalypse.

A Bat, from the insignia etched to their chest, finally interrogated Danny on why is he there and Danny homestyle told them that he could be a battery. At first, a flash of surprise etched on their face then went back to their neutral form. The said Bat member asked how Danny knew, Danny evaded the question and proceeded to insist that he could help whomever they were sending to the past since not only they are missing the needed parts to their machine but they also needed a battery powerful enough to power up the machine.

…

After a much-needed trade and interrogation, they finally decided to let Danny help. With Danny’s expertise, they were able to finish the pod to let one of them travel back in time. Bart Allen was chosen as not only he is a speedster but when it comes to the delicate balance of time travel the Flash’es are the ones to handle it. 

Just as they fire the pod that contains Bart, Dan suddenly appears looking grimly at the group, Danny, and the machine. Bart’s final moments before he was sent to the past were the horrified looks from the group that protected him and Danny’s scared/grimacing face at the face of Dan.

…

The last remaining group of humans slowly disappears as a result of Bart’s change in the timeline. The Bat looks at Danny with a determined look trying to blurt out codes to Danny that if he ever needed help the Bats in the past should recognize the code. 

Bart and The Last Bat can’t help but get close to the ghost boy who despite his father tries to do good.

…

As the last human disappeared Danny can’t help but blurt out to Dan that it was hard to gain their trust, and that’s why he was late. Dan just rolled his eyes and told Danny that he was there to fetch him since this timeline was about to vanish. Danny the ever petulant child let Dan drag him by the collar to the portal as he watched the reality he knew for a few weeks gain cracks and destroy itself.

Surely Danny thought, he would never see Bart again. He had been Phantom since he was 14 and it had been 3 years since his accident and there had been no contact from Bart.

…

Meanwhile, Bart has been trying to find a Phantom ever since he went back in time. As if the universe is against him when it comes to trying to find Danny, something is at foot and needs his full attention. During his mission, the theory “Phanton is the son of Dan” solidified when he saw multiple cave paintings and even mentioned Dan. Which made Dan old enough to procreate.

…

It was a mission gone wrong that reunited the two. Bart along with Kon and Tim on a usual mission to bust some villain's butt, but of course when things got too well things went sideways, and able to kidnap them.

Opening his eyes, Bart took a good look around him, he was cuffed with anti-meta cuffs that dampened the powers of metas who committed a crime. He along with his teammates are all tied up in some sort of Occult Ritual for the Lazarus pits. Bart joked to Tim also known as Red Robin that this only happens in Gotham and they were states away from Gotham. Tim who is looking at their predicament with seriousness chose to ignore Bart. Bart looked a bit bored and thought that this must be a good idea to page Danny.

As the cult group tries their botched pronunciation of Esperanto, Bart who is known as a man of science just like the original Flash and Wally, clears his throat and begins chanting alongside the cultists. As the mist suddenly invaded the room, ice began sprouting from the floor trapping the cultist inside of them.

Both Red Robin and Superboy are now on the edge seeing the cultists were able to summon something and Bart is now smiling across his cheeks since he recognizes that ice anywhere.

Bart yelled out to Danny in the mist, both Red Robin and Superboy were now looking at him with surprised looks as someone responded to Bart. A white-haired teen wearing royal regalia from his head to his boots with glowing green eyes reminded Tim of the Lazarus pits.

The mysterious white-haired teen greeted Bart tiredly as seen from the deep eyebags below his eyes. Bart immediately went to chatter Danny’s ears off as Danny tried to free them from their bindings. Just as Bart excitedly introduced Danny to his friends, Danny immediately went alert and told them to hide immediately. Tim and Conner who are still distrusting Danny, suddenly yelped at Bart as he dragged them to hide behind one of the ice pillars. 

Tim the ever detective tried to ask what was going on and Bart just hushed them with an attitude that they had never seen from the time-traveling teen. A green glowing portal appeared behind Danny and what emerged made Bart’s face turn paper white.

Tim has questions about what is happening and opts to stay quiet and observe. Bart whom Tim knew as cheerful, chatty, and optimistic about the dire situation suddenly went quiet and began to fear whomever appeared behind “Danny’s” back.

The thing that emerged from behind Danny is a larger, buffer version. Of himself with a few details and traits missing from their savior to the newcomer. Danny tensed and asked why is he there and the new commer smirked grabbed “Danny” by the collar and dragged “Danny” towards the portal while “Danny” was weakly protesting.

The moment the portal disappeared Bart looked in the direction where their savior had been dragged off with a mix of confusion and dread and immediately barked at Kon to break the cuffs that hindered his powers while marching towards the direction to the nearest Zeta tube.

…

Danny just answered a cult’s calling not because he wants to evade his paperwork no sir, he is one responsible halfa and he would never use every excuse he can come up to escape paperwork. The ritual that the cult is using is powerful… oh no….. He deadpaned at Dan as he disappeared from the castle.

When he did appear at the scene he immediately spotted Bart, no wonder he heard a familiar voice in between the botched Esperanto. Danny is just happy to reunite with his friend when he feels Dan is fetching him. Danny told Bart and his friends to hide as Dan might scare them, first impression people!!!

Danny wants to introduce to Bart a redeemed Dan after he asks Bart if he is okay with seeing the person who turned the world into ruins. He may never listen to Jazz when she rants his ears out but some knowledge tends to stay you know.

Dan just smirked as he dragged Danny away knowing that another pile of paperwork added to the mountain of it. Danny just whined to Dan about why is he even doing this when Dan is the regent, it was agreed upon by the Ancients that Dan should be a stand-in as the king of the Infinite Realms while Danny finishes his royal studies to become king and his human life. Dan just said that he just has to look pretty while Danny does the actual things.

Danny just pouted at the notion, as he lay his head on the table that impressively holds the tons of paperwork that reaches to the ceiling of the former king’s castle he can’t help but notice his relationship with Dan. Gone with the anger and malice, replaced with fondness and affection between them, brother, a word Dan accidentally muttered when he thought he was asleep. 

Dan is painting himself a target, Danny mused, with the GIW doubling their efforts, despite their continuous idiocy the rare times they managed to capture one is devastating. Any none ghost knew that there was a new king but not who, with Dan’s appearance could easily gain all the enemies of the real king aka HIM. Declaring Dan as the king is keeping him safe and unknown to everyone aside from the closest Ancients who knew the truth.

 A ploy to keep him safe.

Danny just sighed and wished Bart could help him out of the paperwork. 

…

Meanwhile, the JL is in a panic, Time travelers typically avoid telling directly what’s going to happen to avoid further complications the moment they step their feet, so they try to steer the present just a little bit for a better future. So when Bart, the time traveler from a desolate future bursts into the meeting room full of the founding members with two of his teammates trying to catch up to him, about Danny. Flash immediately jumps into action telling Bart to stop what is doing, Bart reiterates that Danny is not his father and Batman immediately barks out a report.

So Bart explains, explains a ruined future,  a future full of poison that seeped into the soil and water rendering everything dead, a future where there were only small groups of humans, a future where it was ruled by a tyrant named Dan, a future where his only son Danny Phantom defied the said future so that Bart could go back and change the future.

Constantine explained that they have to be careful, with Dan being the king of the Infinite Realms, they have to tread carefully, or else it may be seen as a declaration of war. If Trigon only conquers different realities then Dan has the power to destroy the universe and realities as they know it. He can make Trigon and Darkseid out of the business.

…

PS: If someone out there wants to continue or make a fic about this you are free to do so, don’t forget to tag me though.

 PPS: I am now confused about which prompt I should post due to my idiotic self mixing up the date so we’ll go back to the former schedule.