#has been writing BOTH OF THEM

[seyaryminamoto]

Zuko has showed quite the character development over the course of the story. However, I can’t help but wonder if he will fall back into his old ways ? Will he fight Azula over the throne now that things are in a chaotic state?

Hmmm... well, as usual, under the cut because this sounds like very distant and dangerous territory, haha.

You know, I might try to be mysterious all I want but the truth might be a little obvious if you think about the story's direction so far, haha.

So to make this more interesting, let's stroll through the history of Gladiator's development: initially, I had no idea where this story was going past the Combustion Man confrontation. Now that we all saw it happen, I can safely say that my first real goal in the story was always that seemingly world-ending battle between Sokka and Combustion Man, the battle that seals the fate of the Gladiator League and changes the story's rhythm irremediably, for it was always going to happen as a consequence of Sokka and Azula's relationship being discovered. I did hope Sokka might rise enough in the ranking to rival him? But as the story progressed, I realized that was going to be very difficult, no matter how many events and points boots I gave him, haha.

Anyway, I digress: at that stage of building up the story, Zuko became a wild card I had no idea what to do with. For a long time, I wanted him in the South Pole. I thought it could be interesting if he found Aang indeed, but didn't just drag him back to the Fire Nation right away. How to make that happen, how to realistically develop Zuko to not be that impulsive? I didn't know right away (fortunately, my Zuki shipping buddy helped me see the light with that particular problem before long!). I actually pondered making Zuko a gladiator, fighting as the Blue Spirit (a relatively popular concept back when the story was still starting out, people REALLY loved this idea... and the minute I started writing Zuko directly, I realized it was never going to work, haha). I remember that, back when I had no idea what I'd do for the future of the story (aka, Part 3 wasn't even a blip in the radar because I was just LOST in my ultimate narrative direction back in year 1, haha), I even considered Zuko and Aang being the ones fighting Ozai, and Sokka and Azula were basically just together and reuniting? But the thing is that their reunion was going to be different back then, because... shit, this all sounds so ridiculous right now XD but at a point in time, I had in mind that Ozai would basically steal Sokka from Azula and make him his own gladiator (again, something that just made zero sense with Ozai's character). Azula would've been left bereft of what to do, and I even pondered her teaming up with Katara to save Sokka from Ozai while Zuko and Aang basically started a coup... all of which made so very little sense! I had no idea how Azula and Katara would join forces, no idea how Aang and Zuko would get that far, no clue how Sokka and Azula would be "reuniting", considering that Sokka was going to be right in the same Palace as Azula all along?? ... So, uh, yeah. That kind of weird shit went through my head.

Let that be a lesson on NOT sticking with your gut instincts in storytelling every time: marinate your ideas! Test other possibilities! Sometimes you'll strike gold right away... but if you don't, be open to other ideas. If I hadn't been? I would've fucked up this story BIG TIME x'D

So, in all of that, one of the prominent problems was obviously Zuko: wtf was I going to do with this guy if not THAT? I was rewriting his character from scratch and I knew where I'd take him by the end of Part 1, but I wasn't 100% sure of where he would go from there. After my Zuki shipping associate helped me see the light, his story became much stronger once I brought him and Suki together, and the South Pole story also became that much better because them being there would make things much more dynamic for Katara and Aang (and then also for Kino).

But the ultimate direction for Zuko isn't really something my friend could help me with, because even though she sparked the idea of Whaletail Island, I took that to a whole other level once I backtracked on the "and then they sailed away and Katara and Sokka didn't reunite" concept (which, yes, was the original way that arc was going to wrap up X'D again, as a storyteller, it's good to go against your initial impulses at times, it can be soooo much better when you do that...). We always did want Azula and Zuko's relationship to improve... but my friend certainly believed that Zuko would be fighting for the Fire Lord hairpiece and throne quite hard, and I was a little unsure of what to make of that.

Thus, for a long time, after I finally started figuring out Part 3 and how things would turn out by then, I thought I might have to write Zuko and Azula having a huge, long, tedious discussion over which of them would be better suited for the role of Fire Lord, and the decision would have been basically left to other people once they put all they could offer on the table. Back then, the idea that Zuko would have become embittered and frustrated if he lost the throne certainly was prevalent...

... But I'd dare say I'm very pleased to have discarded that concept entirely :'D

Back then, I didn't have the Southern Air Temple arc in mind. That I didn't plot that one from the get-go sure didn't help, either xD so, putting that together with the extended Azula-Zuko bonding in Whaletail Island, adding as well how much more thorough Zuko's growth wound up being all across the story... and we get a Zuko who doesn't believe his entire existence is justified by sitting on that throne.

Gladiator's Zuko has stopped basing his identity on succeeding his father as Fire Lord and proving himself better than the failure Ozai thinks he is. He already proved it plenty as it is: he has a family that loves him, he's part of a community that he earned his place in, friends who cherish him and that he bonded with on his own, even a crazy brother-like bond with a dork like Kino, for whom he's basically a hero (even if Kino doesn't go all the way to hero-worship other than for comedic purposes, the guy can defy Zuko and disagree with him when he wants to...). So, does he need Ozai's approval at this point? Does his identity hinge on it that much? Or on someone else's approval?

Thanks to Guru Pathik's lessons, it really doesn't. After all the self-reflection Zuko did in that arc, this guy has reached the strongest state of balance I have EVER written him in, in ANY storyline. Even my most optimistic Zuko characterizations in canon settings, or even my non-ATLA AUs, are nowhere near as fulfilling, balanced and mature as the current Zuko in Gladiator. This is a guy who finds his mother, she tells him a LOT of wild and disturbing things, and he still manages to keep his center, even as he processes the reality of what had been going on in his life when he was a child and he was too young to pick up on any of it. It's a guy who can love his uncle without forgetting that he has done TERRIBLE THINGS. A guy who, regardless of their many differences, has grown to cherish his sister and truly wants to save her.

So... for him? The throne is not this big prize that justifies his very existence anymore. He knows he's much more than a prospect Fire Lord -- and he knows his sister is much more than that, too. Neither one is going to approach the burden and responsibility of becoming Fire Lord with the same childish attitude as in canon. They've both come way too far to treat it as some competition where they have to constantly measure against each other to prove which sibling is "better". Both have solid things to bring to the table as Fire Lords, and both will have to think about, above all else, if they want to become Fire Lord at all!

So, to answer your question more specifically...

There MAY be a fight. That fight wouldn't be like what we saw in canon. It wouldn't be chaotic, it wouldn't be overly violent, it wouldn't be the ugliest sides of these two characters colliding in a battle of mutual hubris... no, it would be a battle to conform to traditions to determine the fate of the Fire Nation. It would be a battle that truly would show how far they have come, how much they have grown, and how much respect and genuine appreciation they have for each other. Neither one would step into the dueling area under the belief that they must crush/kill/destroy the other.

And that they can do comes as the result of a ton of character growth and development for these two, in which, unbeknownst to them, they have broken the cycle of abuse in their generation, putting an end to the absolutely catastrophic mess the Fire Nation's Royal Family has constantly been engulfed by. That toxicity, as seen frequently in Ozai's flashbacks, finally comes to an end when both Zuko and Azula learn to break free from that ideology, from the terrible weights of expectations of their family, and learn to see the world through much clearer eyes than any of their relatives ever did.

... I hope that's a satisfactory answer :'D

[annasofthe11thdimension]

Waltz

[poorly-drawn-mdzs]

He is at his limit.

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[itsmespicaa]

The way I literally lost my mind when I saw them in the movie omg...after 40 years, my beloved twins are finally back together 😭🫶💖

(I spent like a good chunk of rewatches just trying to spot every single appearances of them HAHAHA- OTL i hope we DO get a sequel and when we do, hopefully the twins will be there too :"D)

[beargregor]

wait i'm curious, what makes you say that gregor doesn't like everyone else (if i read that post right)? just curious since i've never seen anyone else say that

i don't necessarily think gregor dislikes everyone else at lcb but i do think that gregor is an incredibly petty person that isn't nearly as close to the rest of the sinners and even outright dislikes some of them cough cough rodya cough cough which a lot of people just Refuse to see because he's as much of a doormat as he is. there's several examples i could get into to try and prove my point however i'll just focus on what i personally think to be the biggest ones.

additionally, this is going to be kind of long, so i'm adding a read more. read more! read it. sorry for being so wordy. i have several diseases.

Pt1. gregor is the type to try and get along at least decently with everyone, especially if he gets a good first impression from them.

this is less a point in favor of gregor's distance w/ the rest of the sinners and more just a contributing factor to it. once again there's several examples i could point to here but i think the most in your face one happened in canto I with yuri, as several people have pointed out. even before gregor comes clean about growing attached to her as quickly as he did because she reminds him of his sister, we get this interaction.

i'll go ahead and make the disclaimer now that i don't necessarily think gregor is the most reliable of narrators, especially when it comes to his feelings and interactions with most people, but from the way he acts when the topic of yuri comes up (and the way we still see him act even all the way up to c7, nearly a whole year after yuri's death) i don't see reason to question his sentiment here. gregor immediately got that aya and yuri were close, potentially even taking note of their traded belts, and went out of his way to get something nice for yuri despite hardly knowing her.

i feel like a lot of people have forgotten as much, especially since it's been so long since c1, but gregor actually spent a good bit of season 1 doing the exact same thing with the other sinners! gregor reads a connection between him and ishmael pretty quickly despite getting off to a rocky start

mostly because gregor can tell that ishmael is pretty sardonic in a very similar way to him. there's been multiple instances where ishmael and gregor have essentially expressed the same sentiment at different moments, most notably gregor's little argument after ishmael got shot with a decay ampule in c4

and ishmael's response to pilot talking about self-sacrifice in c5

i could go ahead and pull up more examples, but in general pm has gone out of their way to show us that gregor and ishmael are pretty similar, so it makes sense for gregor to assume that they're friends, right?

this will be pushpin 1. keep note of this for Later.

ishmael's only the first sinner we see gregor trying to do this with in s1, we also see him try it out with heathcliff, sinclair, and ryoushuu

he's tried to get along with charon, being one of very few sinners that we've seen actually try to establish a connection with her at all

even rodya, despite my insistence that gregor doesn't like her nearly as much as the fandom thinks he does

all of these seem pretty fine and dandy, right? sure it frequently leans towards self-degradation, micromanaging, and commiseration, but gregor can at least be pretty chummy with most of the sinners, can't he?

Pt2. hell's chicken was more than just comic relief guys please

i'm fully aware that this is quite the hot take, but i think hell's chicken deserves a lot more credit for character writing than the fandom gives it. hell's chicken gave us foreshadowing for several events, such as the donqui bloodfiend reveal

heathcliff's distortion in c6 (as well as hong lu's highly speculated distortion at some point in the future)

and ryoushuu and sinclair's continued connection by making him the odd one out on her team

which, hey! that implies something about gregor's odd one out, don quixote, too, doesn't it? yes. yes it does. that's pushpin 2. keep note of that for later.

speaking of pushpins, hey! that's pushpin 1!

splitting into teams is one of the major events in hell's chicken, and most of the sinner's choices are either motivated by very little, backhanded, or motivated primarily by not wanting to be on the opposite leader's side. i didn't include all of the picks, just because i feel like including most of them already gets this across, but i think gregor took one major thing from this: most of the sinners, when push comes to shove, will only side with gregor when they refuse to or can't take his opponent's side.

now, don't get me wrong, i'm fully aware that this is primarily intended to be comedic relief, but when gregor is being described as having his trust broken by ishmael or nearly crying because no one on his team properly sided with him for him, i feel like it's pretty fair to read into this.

something that i think is pretty important to remember in conjunction with this is that we know that gregor is the type to hold a grudge, both from his general attitude towards the G corp soldiers in c1 as well as his continued distaste for vergilius

even beyond the splitting into teams of hell's chicken, the sinners have given gregor plenty of reasons to feel bitter. i feel like this is something people have noticed but haven't really put a finger on, but it's kind of wild just how often the rest of the sinners make gregor the butt of the joke

and sure, we could argue that a fair few of these aren't really made with any ill intent. quite a bit of it could have been meant as harmless teasing, but with gregor being more sensitive than most, it coming from nearly all sides, and as often as it does? yeah, i think he's prone to taking it a bit personally.

Pt3. yes i do still think gregor was the third most important character in canto VII you guys gotta hear me out okay

of course, all of this leads up to the bit of the story i highlighted, doesn't it? c7? i totally get why people haven't really picked up on all the gregor things i did in it, seeing as they were mostly not *directly* said about him or by him.

personally, i think that gregor's distaste for talking about himself on any serious level and thus leading to him getting sort of "sidelined" narratively (which i take issue with that claim, but still. it's effective for getting what i mean across atm) is supposed to lead players to take a deeper look at the times gregor gets held up to other characters and compare and contrast what's being said about them by the matchup. as i showed earlier with his immediate latching onto ishmael, i think this is something gregor himself is at least partially aware of too.

so, that begs the question, who was gregor compared to in canto VII that makes me think it's one of the most critical pieces in understanding his character?

really, i'd like to avoid getting too lost in the analysis of this canto specifically, since i'd like to do a proper post about this later, but i figure i can bury the lede a little before doing it properly.

c7 features several characters being made to perform in sansón's play, acting out the relevant backstory for this segment of the plot. a lot of these characters have rather direct, degrading reasons for playing the roles they do.

outis, a character with an inflated ego who wants her journey to have a purpose, is made to play an aimlessly wandering villager with a single line.

hong lu and ryoushuu, two characters for whom families and the expectations placed upon them are likely going to play a major role, are made to play bloodfiends.

rodya, a character who resents her lot in life and is constantly shown to be eager to leave her destitution behind her and become someone special, is made to play a helpless villager that's too poor to even offer any money to the hero that saves her.

heathcliff, a character that has spent most of his life getting dehumanized by comparing him to beastly animals, is made to play a literal bear whose sole purpose in the plot is to get beat up and then quickly left by the wayside.

sinclair, a character that has two opposed parties essentially treating him as a macguffin to procure for their side, is made to play the character who was arguably the catalyst for this entire canto, not to mention playing a decently major role in ruina.

our star don quixote is made to play her father, the first kindred, but there's someone by their side the entire time, isn't there? don quixote's dear, steadfastly loyal companion. a character which don quixote has tasked themself with getting to come out of their shell?

hello again, pushpin 2.

gregor has been made to play our unreachable star, sancho. someone had to, of course. you can't really tell a story without it's main character, now can you?

now, i should once again give a disclaimer. i am not trying to say that i think adapting what happens to donqui/sancho in c7 to gregor is the road pm is going to take here, not only would that toe a bit past the line of foreshadowing, but it'd also just amount to rehashing that plotline again, which i don't think would make for a particularly exciting story.

what i DO think is that we can take a lot of the things that are said to either directly be the case for sancho and use them to inform how we see gregor.

and god, does playing sancho have some fucking implications for our favorite ossan archetype.

starting off, the earliest moment we get to see of sancho is quite literally her just waiting for death to take her in a pile of ashes.

which, i should remind everyone, is actually pretty damn close to what happens to gregor's literary counterpart at the end of the metamorphosis. gregor samsa experiences one final breaking point that pushes him over the edge and makes him decide to just wait for starvation to take him.

gregor and sancho both consider themselves to no longer be human, something which sancho goes out of her way to highlight repeatedly throughout the canto and gregor is quick to get defensive on her behalf for when outis starts really tearing into her

sancho spends quite a lot of this story denying herself the joys of community and friendship, despite knowing that, even with the rest of the sinners frequently making jokes at her expense and outright insulting her, they were things that she desperately craved.

and, while this is getting into my "outis is a red herring meant to distract us from gregor's eventual betrayal" theorizing, i also think it's worth noting for this discussion that sancho's fellow kindreds, her family, all seem to be under the impression that she dislikes them and ultimately her departure was an act of betrayal

and that, despite gregor being one of LCB's resident mood makers and attempted conflict de-escalators, one of the sinners that's most prone to making appeals to the bonds they've all forged together, only him and faust remained silent during everyone's speech

so yeah, i think there's quite a lot of little details and hints building up to the reveal that gregor's not quite as fond of everyone as he presents himself to be. i do think a lot of this ultimately comes down to gregor getting in the way of his own happiness, similarly to donqui, particularly because he's been frequently portrayed as something of a self fulfilling prophecy, especially by giving him as many christ allegories as they have by way of priest and garden of thorns. gregor is convinced that the rest of the sinners don't like him because he's not convinced anyone could like him, so he convinces himself that he hates them because why should he care if someone that he hates hates him too?

a lot of this ultimately ties back to my personal interpretation of what happens in the metamorphosis as well as my own theories regarding all the times gregor has made weird callbacks and references to lobcorp and ruina, but yeah. i think about this guy and his deeper characterization a fairly normal amount, i think.

to end this off i'll highlight one of my favorite little "gregor is fucking seething and trying so hard to keep it cool" moments, in the credits CG for c7 we see rodya teasing him by drawing a little horse on his window and actively pointing and laughing at it, which gregor really doesn't seem all too pleased about.

i personally think this ties into the other cruel part of sansón forcing gregor to play rocinante, which is the more literal "he's actually just straight up playing rocinante" side of things. gregor was quite literally made to play something less than human, less than even animal really, as he was reduced to nothing more than the shoes don quixote wore as she got to play the leading role. sansón directly makes jokes about gregor being nothing more than shoes in the play twice, which adds to this reading, i think.

this, imo, really plays into the adaptation of the metamorphosis! i've seen a lot of readings for the book that posit that, despite being the protagonist, gregor samsa can't really be considered the main character due to nearly everything he experiences in it being used to further his family's character development at his expense, which i think fits nicely with limbus gregor seemingly having the most said about him through indirect means by holding him up to other characters. also it's rodya carelessly making fun of His Big Major Insecurities™ again like she did in c1 which i always find fun. rodya i love you but god you're the worst.

[twentyfivemiceinatrenchcoat]

imagine being a shy little intern at jujutsu high and getting the fattest crush on gojo because he’s just. so strong and cool. you idolize him. you want to be his friend. and he seems to take a liking to you; he’s cheery and encouraging and sweet in a roundabout way. you feel like you’ve grown pretty close to him.

imagine him falling asleep right next to you on a sofa in the cafeteria. you can barely tell, with his blindfold still on. but you scurry away to find a blanket, happy that he trusts you enough to rest in your proximity, ready to wrap it around him —

only for it to slip right off. rejected by his infinity.

(he never turns it off, around you.)

[hoshiina]

— a guy asks for your number ft. hoshina, narumi, reno

warnings: mentions dick and profanities in hoshina's

[lotus-pear]

i think you guys are onto smth..

i unironically got invested in this HELP

[turtleblogatlast]

Small but significant character moments that I actually really adore are from both the times we see the boys as tots. There is a reoccurrence that happens in both of them that I find so incredibly interesting.

For the turtle tot short, Splinter leaves the boys with weapons. In the short, Raph is the one who suggests they do “what Lou Jitsu would do” and Leo is the one who takes point when Splinter comes back to reprimand them. Leo, in taking point, is the one to defend them and get Splinter off their tails.

And then, in the flashback regarding the Kuroi Yōroi helmet, Raph is the one who grabs and throws “Skully” as a way to replace their missing ball which breaks it into pieces, but Leo is the one who speaks for the group and rushes into action to fix the teapot.

I love this for multiple reasons, but the biggest are how it shows that Raph has always been inclined toward the bold and fun and making the plans to include his brothers in what he loves and believes they’d love, whereas Leo has always been inclined to be the “Face” of the group and shoulder the attention even if it’s potentially negative all while coming up with on the spot attempts to fix the situation.

[theactualsunshinechild]

I think Aventio and Screwtio shippers shouldn't fight. After all, Ratio has two hands!

That's right. Two hands.

One for his chalk.

One for his codex.

Both of which he's holding in an embarrassed death grip as they chat away with each other about him.

[luxaofhesperides]

For ghostlights: baby Ellie + tired Danny + Duke the baby whisperer?

He has no idea how his parents did it. 

Babies are exhausting. Toddlers more so. Any infants in the strange stage in-between? Doubly so. 

Ellie is wonderful and sweet and cute and such a terror that Danny genuinely has no idea how his parents managed to raise not one, but two kids. For all their eccentricities and absent-mindedness, he and Jazz turned out pretty well. Ignoring the whole halfa thing because that’s more his fault than theirs even if Jazz says they shouldn’t have created the dangerous environment in the first place.

That environment is exactly why Danny refuses to let Ellie go to his house in Amity Park. His parents say they’ve disabled all the weapons and ecto-sensors since he’s had to reveal himself as Phantom, but he knows that things slip their minds and if they can’t guarantee that the house is safe, then Ellie isn’t going in there. Simple as that. 

This means that they live somewhere else now. Danny had thought about it, during the hours Ellie was asleep and he was awake, exhausted and worn down to his bones, and took Jazz’s advice to accept Vlad’s offer of buying a house for him. Except he argued Vlad down to an apartment in a city of his choosing where he wouldn’t stand out too much and he would be safe, or as safe as he can be, from anyone trying to hunt down ghosts. 

So here they are. Standing in the empty living room of their new apartment in Gotham. 

Gotham may not be very safe as a city, but it’s good for two ghosts trying to pass as normal. 

Danny sighs yet again, and looks at the space he’ll need to fill. At least Vlad is footing the bill. It’s the least he can do for creating Ellie. Frostbite was the one who was able to stabilize her, though it was almost too late and resulted in her reforming as a baby, just one and a half years old. Jazz is the one who’s choosing most of the furniture, thankfully, so it’s something that Danny doesn’t need to worry about it.

It’s a new start to their lives and it feels so empty. So overwhelming. How did his parents do it? How do any parents do it?

Ellie smacks a small palm against his cheek and babbles lightly.

“I know, Ellie,” Danny says, giving her a tired smile. “Don’t worry, we’ll have this place looking good in no time.”

He adjusts her in his arms, then heads towards the bedroom. It’s the only room that has any furniture, and all that’s there is a bed, a crib, and a bookcase. There are a few boxes on the floor, labeled ‘bedroom’ and ‘clothing’ and ‘books’. Most of it came from his bedroom in Amity Park, but he’s pretty sure he caught Jazz sneaking a few things in before they closed the boxes and loaded them up into the car. 

“Can you be good for five minutes?” he asks Ellie. 

She babbles again and smacks his shoulder.

“I’m taking that as an agreement. Just let me open these boxes and start unpacking before you start causing trouble, okay?”

Ellie makes another sound, but it seems agreeable so Danny carefully lays her down in the crib and gets to peeling off the tape on the boxes. The opens the one labeled ‘bedroom’ first, finding blankets and sheets folded and stacked in vacuum sealed bags. One of them is his old childhood blanket, the one he carried around everywhere that was faded with age, barely blue, with white bunnies decorating it. 

He was so small when he had this. It makes him oddly emotional to unpack it and pass it on to Ellie, draping it over her so her pudgy little hands can grab at it. 

This is no time to cry, though! He forces himself to focus and makes his own bed, shaking out the sheets and fluffing up the pillows. He’ll worry about washing everything later; Vlad made sure to get an apartment with an in-unit washer and dryer, which means he was actually sensible while apartment hunting for Danny. 

He doesn’t mean to flop onto the bed once it’s made, but he ends up there anyways. He’s barely gotten a full six hours of uninterrupted sleep since Frostbite deemed Ellie healthy enough to leave his care. The drive up to Gotham was long and wore him down to his bones.

He doesn’t mean to fall asleep, but he does, drifting off as he wonders, distantly, when Jazz will be back from getting them dinner.

Ellie wakes him up at dawn with a loud cry. Danny jolts awake, heart pounding in his chest as he panics because Ellie isn’t here, she’s supposed to be in his arms, where is she? And then he sees the crib, where Ellie is staring at him through the bars, and he nearly collapses with relief. 

“Morning, El,” he says, voice rough from sleep, as he picks her up. She just stares up at him, then leans forward and rests her head against his shoulder.

It’s quiet moments like these that make his heart melt. Ellie’s had a hard life already; he wants to give her a better one, this time around. 

A quick check of the time on his nearly dead phone shows that it’s barely past six in the morning, and Jazz texted him a few times. All about furniture, saying that she didn’t want to wake them and that food is in the fridge. 

It’s only the mention of food that makes him realize how ravenous he’s feeling. Danny makes a beeline for the kitchen, ignoring everything else, and pulls out the boxes of take-out Jazz left stacked in the fridge. He devours it like he’s been starving for weeks, then gives Ellie her Ecto-Jello, the only food she’s allowed to eat until Frostbite gives the okay for solid, human food. 

Once he’s got her burped and cleaned up, Danny looks out of the kitchen and realizes that Jazz was very productive while he was asleep. The living room isn’t empty anymore; a dark green couch is against the wall, a low, rectangular coffee table made of dark wood in front of it. Two armchairs are on both sides of the couch, and a television has been installed, fixed into the wall. 

Jazz is asleep on the couch. Her legs hang off an armrest and she’s drooling slightly. 

Her phone is charging on the floor, so Danny takes it and snaps a picture of her for later teasing, then sends it to himself and writes a note to her that he’s going out with Ellie to explore the neighborhood.

He’s finally feeling more settled, energized from sleep and food.

In the warm dawn light spilling in through the windows, Danny looks down at Ellie and thinks that they’ll be just fine after all. 

. . .

Four months ago, Danny had hope. He was optimistic. 

Gotham was a fresh start, a new lease of life for Ellie. It is Danny’s attempt to be a single parent, sacrificing college for Ellie, and he’s planning to go out and beat the gangs black and blue if they start anymore shootouts in the next year.

He had just gotten Ellie to sleep. She was actually peacefully taking a nap.

And then a drive by shooter raced down the street, gunshots echoing down the road, and Ellie work up crying. She still hasn’t stopped, despite how Danny rocked her, soothing her as best he could.

They had been outside when Ellie fell asleep, her head on his shoulder. He had been catching up with Sam and Tucker when the car drove by, people ducking and crying out to avoid the bullets. Danny instinctively covered Ellie and made them both intangible, saving them from any stray bullets, but they ruined her nap and he needs to make them pay for that. 

“Shh,” he soothes, “You’re okay. We’re both fine. It’s okay, El, it’s okay.” 

Her little hands clutch at his back, twisting the fabric of his shirt, and she lets out a heartbreaking wail. He pats her back, hurrying down the street to get back to his apartment building, ignoring the looks people were giving them as they passed by. 

“I know it was scary, but you’re alright. You’re always safe with me, El.”

Ellie’s cries down down a little, but they don’t stop. She whimpers, burying her face against his shoulder as he finally reaches their apartment building.

The door’s locked, which wouldn’t be a problem except Danny can’t get his keys from his pocket. He knows he has them! But his pocket refuses to relinquish them and he has to stop every few seconds to pat Ellie’s back, trying in vain to calm her down. 

“We’ll be inside in a second,” he tells her, trying to keep the frustration out of his voice, “as soon as I can get these freaking keys!”

“Hey, you alright?”

Danny startles, whirling around so fast it makes Ellie go quiet, clinging to him so she doesn’t get flung into the air. There’s a guy standing before him in a gray hoodie, looking at him with clear concern. It speaks to Danny’s level of constant exhaustion that he hadn’t clocked someone sneaking up behind him. 

The guy offers an awkward smile. “Sorry, didn’t mean to scare you or anything. Um, do you need me to open to door? I live here too.”

Danny wonders for a moment if this someone dangerous, someone hoping to hurt Ellie, but she starts to cry again and he steps to the side. “Please. I can’t get my keys.”

“I’m Duke, by the way. I don’t think I’ve seen you around here before.”

“Danny,” he replies, watching as Duke pulls out a large key ring, jangling with the amount of keychains on it, and easily opens the door. “I’ve been here a few months, but I’m usually inside. Or walking around in the mornings with this little monster.”

“That would explain it,” Duke says as he holds the door open, letting Danny in first. “I’m usually in classes at GCU, but I decided to take a mental health day after my lab, so here I am.”

Danny walks in and waits for Duke to follow, making sure the door closes properly behind them. “Thanks. How is GCU? What do you study? I was thinking of going there myself once she gets a little older and can go to school.”

“Oh, I’m majoring in English and Human Services.” He goes to say more, but Ellie wails again and Danny winces.

“I’m so sorry. That drive by woke her up and it’s really rattled her.”

“Hey, no need to apologize. I get it, Gotham is rough to kids.”

Danny tries rocking her back and forth, but it doesn’t help. He resigns himself to another hour of her crying before she exhausts herself, and makes for the stairs, going up to the fourth floor. Duke holds open the door again, then follows after them. It makes Danny wonder if Duke is planning to do something to them, then decides he can beat Duke in a fight, so it’s fine.

Duke doesn’t try to hurt them or steal Ellie away. He opens the door to their floor and stops before they do. “I’m in here,” he says, “If you ever need me to open more doors.”

“Thanks. Um, actually, I might need help opening mine?”

Duke just smiles and makes his way back to them, following them farther into the hall until Danny stops in front of his apartment. 

“If I could just get my keys,” he starts.

“Here, let me hold her for a second so you can get them,” Duke offers. Danny wants to insist that it’s fine, but Ellie cries directly into his ear and Danny, at the end of his rope, passes her over. 

Like magic, Ellie settles as soon as she’s in Duke’s arms. She sniffles and hides her face away, clutching to Duke’s hoodie, but she stops crying. They both go still, surprised, and stare down at her. 

“Seriously?” Danny says as he finally pulls out his keys, “Are you trying to say that I’m the problem?”

Ellie babbles lightly, and Duke turns his head to futilely hide his grin.

He grumbles as he unlocks the door and pushes it open. Ellie is acting as if she’s never been upset before a day in her life, making herself at home in Duke’s arms. 

“I can’t believe this. Betrayed by my own blood.”

Duke laughs as he follows Danny into his apartment, lightly patting Ellie’s back. “It’s always the smallest, cutest ones that do this.”

“Yeah? Do you work with a lot of kids or something? Used to being betrayed by the little ones?”

“I don’t work with kids per se,” Duke says, “But my foster family is a hot mess and the youngest of them likes to keep us all on our toes.”

“Family,” Danny says in a tired, fond tone.

“Family,” Duke agrees.

With his door open and Ellie calm, Danny’s ready to just lay face down on the floor for the rest of the day and not deal with anything else. He moves to take Ellie back, holding his arms out, and Duke tries to pass her over.

The key word being tries. 

Ellie tightens her grip and kicks at Danny. She refuses to be taken away from Duke, making him awkwardly try to pry her off his hoodie. Danny really hopes Duke doesn’t notice how she goes slightly intangible to make his hands fall through her arms and legs. It shouldn’t be noticeable, but it’s hard to focus on anything but a kid that clings to you, so Danny holds out for Duke’s goodwill and silence.

“As nice as it is to meet you, you need to go back to your… parent?” Danny nods when Duke looks at him in askance. “You need to go back to your parent. Okay? Come on, kid, he’s waiting for you.”

Ellie shakes her head, makes a frustrated noise, and then turns and reaches out a grabby hand towards Danny. 

She still refuses to be taken from Duke when Danny tries to pick her up again, so he settles with just letting her hold two of his fingers. 

“I’m so sorry about this,” he says to Duke, face burning. This is why he hasn’t been going out and being social since he moved in; Ellie is a handful even on the best days, and Danny doesn’t want someone to judge him as unfit to parent her and have her taken away.

Duke shakes his head, stepping closer. “It’s all good, man. I don’t mind. It’s not like I had any plans today. I’m already skipping my classes, might as well spend it with you two than sleep all day.”

“Are you sure? I’d be happy to invite you in, but I know Ellie can be a lot and not everyone wants to spend their day off with a baby.”

“I’m sure. Besides, I’d just be down the hall anyways. It’s no skin off my back, man.”

“Well,” Danny says, stepping to the side to give Duke full access to his open doorway, “Come on in, then.”

Ellie keeps them connected, one hand in Duke’s hoodie and the other holding Danny’s fingers, and though her cheeks are still red from how hard she had been crying, she’s calm now with her eyes shining with mischief. 

As the door closes behind them, Danny realizes that this is the first time someone he’s not related to has been inside his apartment. Not even Vlad has come in, always choosing to invite Danny and Ellie out for lunch instead. 

It should make him nervous, but Duke is calm and easy going and kind. 

He’s making silly faces at Ellie to make her laugh, completely at ease with her in his arms, as if he’s done this a thousand times before. 

Gotham is a second chance at life for Ellie. It’s a sacrifice for Danny, to be alone and without friends or family around. He’d been ready to give up everything for Ellie, to focus solely on raising her, but with Duke filling his apartment with laughter, he thinks that he can make a life here too.

All he needs to do is take that first step, reach his hand out, ask Duke to stick around.

He can do this.

[deoidesign]

Portrait of a vampire

Photo of a werewolf (who doesn't trust cameras)

As a treat I like to paint my characters realistically from time to time... so I can see them...

Webcomic

[lovesickeros]

popping in randomly after almost an entire month just to talk non stop about the tsaritsa again everyone sit down.

specifically just thinking about the implications of tsaritsa's ideals originally being about love + the abandonment of those ideals to complete her goal of, presumably, destroying Celestia or whatever she's cooking up. to the point even her people don't love her and I probably don't even remember a time her ideals were of love. now it's all just ice and snow and cold.

which makes romantic fics w her even funnier because she's purposely removed this part of herself and suddenly reader walks into teyvat like they own the place (they do) and I can only imagine her reaction. angry, probably. because why you? what are you doing to her that's caused her hundreds of years of strict adherence to rejecting "love" both from others and to others to just. collapse. absolute shattering of her world and you probably don't even know it bc if nothing else she's good at hiding it. a lot of denial. tries to pick you apart and see what's makes you so different.

and oh she just hates it. she loathes it.

basically one sided enemies to lover trope because she can't stand you for a while but if you stick around she starts warming up to you and it makes it WORSE. so much worse. tries to distance herself but your just everywhere and it gets on her nerves because why does she love you? she isn't capable of love, not anymore. she thought she was.

g-d forbid one of the harbingers or PIERRO notices she'd never live it down. might even consider the implications of just killing you (she doesnt). worse if you know about it and act like a brat she will lose her damn mind

just the tsaritsa being an absolutely horrible mess internally.

[poorly-drawn-mdzs]

In Stars and Disco

(Disco side of the swap)

[magpie-trove]

Actually I don’t think you are actually fr an adult author if you can’t write something without a s*x scene in it

[haaam-guuuurl]

Love the flavor of soulmates that is a main m/f partnership dynamic that's mostly platonic but also romantic but also dysfunctional and yet completely essential - like these characters would not work without each other, but they barely work with each other, and most importantly they know each other carnally better than anyone else, but it's also not about sex at all it's about the partnership and navigating the highs and lows of intimacy and letting someone in, but also maybe they do fuck, but also maybe don't, but also...