#i do think this is an example of an effect i don't have a name for

[quantomeno]

I typically prefer the past tense. I consider it as a 'neutral' tense: the reader is unperturbed by it and it makes sense since most of the time you're retelling an event. But the last book I read was written in present tense and I had this distinct 'there's something off here' feeling until I realised it was the tense.

Also there's a bit in The Great Gatsby where Fitzgerald switches from past to present:

At least once a fortnight a corps of caterers came down with several hundred feet of canvas and enough colored lights to make a Christmas tree of Gatsby's enormous garden. On buffet tables, garnished with glistening hors-d'oeuvre, spiced baked hams crowded against salads of harlequin designs and pastry pigs and turkeys bewitched to a dark gold. ... By seven o'clock the orchestra has arrived .... The last swimmers have come in from the beach now and are dressing upstairs; the cars from New York are parked five deep in the drive ... The bar is in full swing and floating rounds of cocktails permeate the garden outside until the air is alive with chatter and laughter and casual innuendo and introductions forgotten on the spot and enthusiastic meetings between women who never knew each other's names.

As you can see, it goes from absolute past (came, crowded) to present perfect (has arrived, have come) to present (is, permeate). It evokes a sense of energy: "the air is alive" and it feels alive because it is in the now.

The past tense is the natural tense because that's how we talk about our personal stories. But you'll notice sometimes you'll use the present tense when recounting: "So I'm walking down the street when I bump into Marie and she keeps me there talking for half an hour, and I'm standing there with my shopping bags digging into my hands and she just yaps away."

The present tense tends to make the reader feel more involved in the situation, it makes the story feel more immediate and more real because it's not relegated to the past. A perfect example would be Se una notte d'inverno un viaggiatore (If on a Winter's Night a Traveller) by Italo Calvino, which not only uses the present tense but the second person ('you') to make the reader a character in the story.

There are also times where the present tense is used in recounting history. I've seen it done. I think it has a similar enlivening effect as it does in fiction.

Personally, I think the present tense is strongest when you use it sparingly. Too much of it can grow tiring. Partly by virtue of being a less commonly used tense it has a more exciting edge.

One last thing though, and as a final reason for the present, is that it makes the reader think the story is playing out now and thus what will happen next is still variable. In the case of the past tense, it's implied that the full story is over and the reader feels the narrator knows how it will end. In the case of the present, it feels more like no one knows what's going on.

Also the past tense is comforting. It is the tense of old tales and sitting by the fireplace, the tense of legends and rumour. It igves things a sense of fixity and truth. Brideshead Revisited, for example, needs to be written in the past tense because it is all about a reminiscence of the halcyon days of youth. Dracula should be written in the past tense since it is a collection of supposedly real diary entries and so it needs to look like things were being recorded properly and fully. The present tense can feel rushed, fleeting, but the past is always there and gives you time to set things down.

As a bonus: the future tense is an odd tense because it implies a degree of certainty, but can also have the feeling things could change still. It is incredibly disorienting and weird and should be only used if you really think it helps the idea you're trying to convey. Don't do things for shock value or o be cool. Like, a future tense horror/thriller story about an impending disaster to evoke a sense of helplessness in the reader might be interesting. Also consider context, because if the story is set in the past, future tense would be really off-putting (that might be the goal, or perhaps it's because a character in the past is predicting the future, there are times I'd say it's justified).

(also obviously I mean this as 'the whole book or a significant section is written in this tense, you can of course have bits where there's a bit of future tense, like that present tense passage in Gatsby. I just mean reading a whole novel in the future would be annoying)

I am thinking about fan fiction writers, but anyone who writes any kind of fiction can answer. (As far as I’m aware, non-fiction is usually written in the past tense - but if I’m wrong do let me know!)

If you like, explain why in the tags!

When I was young I gathered that all serious works of fiction were written in the past tense (past tense third person to be precise) so that is what i did when I started writing. However my mind was blown by the power and immediacy of Margaret Atwood writing in the present tense so I started to experiment with it myself, and now i strongly favour it. I get the impression that past is still the most commonly used, but I’m prepared to be surprised!

Please share!

[monstermoviedean]

love that we're all like yeah dean is mr. monogamy

[good-to-drive]

It would be insane if we weaponized mommy issues against men the way we weaponize daddy issues against women. Any time a man criticizes a woman we go “awww poor little baby boy didn't have a mommy who loved him” and all of his beliefs become embarrassing and he has to exit in shame. Like. Don’t fucking do that, but it would be absolutely insane if people did that.

[physalian]

How to make your writing sound less stiff

Just a few suggestions. You shouldn’t have to compromise your writing style and voice with any of these, and some situations and scenes might demand some stiff or jerky writing to better convey emotion and immersion. I am not the first to come up with these, just circulating them again.

1. Vary sentence structure.

This is an example paragraph. You might see this generated from AI. I can’t help but read this in a robotic voice. It’s very flat and undynamic. No matter what the words are, it will be boring. It’s boring because you don’t think in stiff sentences. Comedians don’t tell jokes in stiff sentences. We don’t tell campfire stories in stiff sentences. These often lack flow between points, too.

So funnily enough, I had to sit through 87k words of a “romance” written just like this. It was stiff, janky, and very unpoetic. Which is fine, the author didn’t tell me it was erotica. It just felt like an old lady narrator, like Old Rose from Titanic telling the audience decades after the fact instead of living it right in the moment. It was in first person pov, too, which just made it worse. To be able to write something so explicit and yet so un-titillating was a talent. Like, beginner fanfic smut writers at least do it with enthusiasm.

2. Vary dialogue tag placement

You got three options, pre-, mid-, and post-tags.

Leader said, “this is a pre-dialogue tag.”

“This,” Lancer said, “is a mid-dialogue tag.”

“This is a post-dialogue tag,” Heart said.

Pre and Post have about the same effect but mid-tags do a lot of heavy lifting.

They help break up long paragraphs of dialogue that are jank to look at

They give you pauses for ~dramatic effect~

They prompt you to provide some other action, introspection, or scene descriptor with the tag. *don't forget that if you're continuing the sentence as if the tag wasn't there, not to capitalize the first word after the tag. Capitalize if the tag breaks up two complete sentences, not if it interrupts a single sentence.

It also looks better along the lefthand margin when you don’t start every paragraph with either the same character name, the same pronouns, or the same “ as it reads more natural and organic.

3. When the scene demands, get dynamic

General rule of thumb is that action scenes demand quick exchanges, short paragraphs, and very lean descriptors. Action scenes are where you put your juicy verbs to use and cut as many adverbs as you can. But regardless of if you’re in first person, second person, or third person limited, you can let the mood of the narrator bleed out into their narration.

Like, in horror, you can use a lot of onomatopoeia.

Drip Drip Drip

Or let the narration become jerky and unfocused and less strict in punctuation and maybe even a couple run-on sentences as your character struggles to think or catch their breath and is getting very overwhelmed.

You can toss out some grammar rules, too and get more poetic.

Warm breath tickles the back of her neck. It rattles, a quiet, soggy, rasp. She shivers. If she doesn’t look, it’s not there. If she doesn’t look, it’s not there. Sweat beads at her temple. Her heart thunders in her chest. Ba-bump-ba-bump-ba-bump-ba- It moves on, leaving a void of cold behind. She uncurls her fists, fingers achy and palms stinging from her nails. It’s gone.

4. Remember to balance dialogue, monologue, introspection, action, and descriptors.

The amount of times I have been faced with giant blocks of dialogue with zero tags, zero emotions, just speech on a page like they’re notecards to be read on a stage is higher than I expected. Don’t forget that though you may know exactly how your dialogue sounds in your head, your readers don’t. They need dialogue tags to pick up on things like tone, specifically for sarcasm and sincerity, whether a character is joking or hurt or happy.

If you’ve written a block of text (usually exposition or backstory stuff) that’s longer than 50 words, figure out a way to trim it. No matter what, break it up into multiple sections and fill in those breaks with important narrative that reflects the narrator’s feelings on what they’re saying and whoever they’re speaking to’s reaction to the words being said. Otherwise it’s meaningless.

—

Hope this helps anyone struggling! Now get writing.

[trans-axolotl]

what do you mean reverse an overdose? How is that possible?

Hi anon.

So, in my most recent post where I was talking about reversing overdoses, I was talking about Narcan (naloxone).

Narcan is a medicine that can reverse opioid overdoses. It works on any opioids, including fentanyl, heroin, oxy, vicodin, etc. It isn't effective in reversing other kinds of drug overdoses, but would still work to reduce an overdose if your coke has fent in it, for example. It functions by blocking the opioid receptors in your brain and helps restore breathing. Narcan is not a dangerous medication, and it is not harmful to your brain, which means you can be dosed multiple times without increasing harm to your body. The experience of being Narcaned can be pretty fucking shitty, because it basically puts your body in withdrawal super super fast, and you might experience some of the effects of withdrawal like vomiting, body aches and chills, fatigue, etc. But there are not other harmful side effects outside of that. Narcan is safe to give to people of all ages, including children.

Narcan comes in both an nasal spray and intramuscular injections, but it's usually easier to get access to nasal spray. This is what Narcan looks like:

[ID: Someone holding a narcan nasal spray, which has a nozzle that can be placed into someone's nose, and a plunger underneath the nozzle that can be pushed up to administer a dose. Text on the image says: Do not test nasal spray device before use. Each device contains 1 dose of medicine. Each device sprays one time only.]

How to Use Narcan

Identify signs of Overdose

Check for Responsiveness

Administer Narcan

Support (other friends/911/medics)

To administer Narcan, you first need to identify if someone is overdosing. Signs of an opioid overdose can be when someone is unconscious, unresponsive, not breathing or slowly breathing, no pulse or erratic pulse, has pinpoint pupils, and/or has blue lips.

If you see some of these things and think that someone is overdosing, the next step is to check for responsiveness. You can do this by loudly calling the person's name, saying that you are going to Narcan them, gently shaking them, and by performing a sternum rub, which is where you rub your knuckles into the place in someone's chest where their ribs meet. If they're breathing and they respond, even if it's just making noises in response to you or physically pushing your hands away, that can be a sign that you don't need to administer Narcan right away. Still, in that case, it's a really good idea to stay with that person in case that changes. If, and only if, the person is completely unresponsive, you should administer Narcan.

Once you've determined that someone is unresponsive and overdosing, the next step is actually administering Narcan. Narcan comes in packs of two nasal sprays. Take the first nasal spray out of the box, put the nozzle in the person's nose, and press the plunger. If the person is still not responsive after 2-3 minutes, take the other nasal spray out of the box and give them another dose. I try to use the lowest number of doses possible to try to reduce the withdrawal experience, and I stop giving Narcan once someone is breathing and responsive. If they still are not responsive or breathing, and you know how to give rescue breaths, you can start administering rescue breaths. If you have to step away for any reason, turn the person on their side in the recovery position first.

After someone's overdose is reversed, it's really important that whenever possible, someone stays with them for at least an hour afterwards. Narcan is active in the body for about 30-90 minutes, so depending on what someone's original amount of opioids was, they might start overdosing again and need you to give them Narcan again. This is also why it can be important to try not to use again right away, which is really fucking shitty when you're trying to use cause you don't want to be sick, but unfortunately using right away can also put you at risk of overdosing again. When people come back after getting Narcaned, it can be a pretty disorienting and uncomfortable experience. You might not know who Narcaned you or why they're in your space, might be feeling really fucking shitty because of withdrawal, and might want to be left alone. If you've just Narcaned someone, introduce yourself and explain that you just gave them Narcan, listen to what they tell you, empathize with their feelings, respect people's boundaries, and give them space if they ask for it. Understand that they're probably feeling pretty fucking shitty in their body, that it fucking sucks when your high gets ruined, and they (justifiably) might not feel happy about the fact that you Narcaned them.

Pretty much all Narcan trainings will tell you that it's "recommended" to always call 911, but we all know that this is not always actually possible in a lot of situations and that cops always fucking make the situation worse. My policy is that I always, always ask for consent before calling 911 and if someone says no, then we brainstorm other ways of keeping safe and we don't fucking call the cops. If there's a situation where I do need to call 911, I never tell the operator that someone overdosed, because that usually gets them to send out the cops alongside ambulance, which can cause delays to care, put a lot of people at risk, and also put people, including bystanders, in legal danger. If I have to call 911, I say that my friend has collapsed/fainted/isn't breathing and keep it more vague, and when paramedics actually arrive on the scene, that's when I tell them more information about the overdose, what drugs someone took, and how many times I've administered Narcan.

You can get free Narcan a lot of places. Next Distro has resources for getting free Narcan by mail for almost every state. If there's harm reduction orgs in your area, they will have free Narcan. There's also a lot of Department of Health programs for free Narcan. Most pharmacies now also have Narcan available over the counter, but that's usually really fucking expensive and often pretty hard to shoplift cause they keep locking it up.

Even if you don't use drugs and you think that your loved ones don't use drugs, it's super important to have Narcan as a part of your first aid kit and learn how to use it. You never know when you're going to need to use it, and it's super good to be prepared ahead of time, in case your friend/family/neighbor/classmate/coworker ends up overdosing while you're there. Or in case you end up overdosing and having Narcan on you means that bystanders can help support you through it.

Here's a guide that goes a little more in depth into how to use Narcan.

Please feel free to ask if you have any other questions about Narcan or other harm reduction topics!

[neolithicsheep]

I've been meaning to write this down for some time because there are some fundamental errors that people keep making in crowdfunding/sales that shoot their campaigns in the foot. So here's a list of easy principles.

Who am I and why should you listen to me? I am a freelance chaos marketer who has raised well over $100,000 when totaling up various crowdfunding campaigns, mostly for aid to Afghanistan. In addition I've managed to successfully market everything from stuffed plush koalas to hydration salts. Why am I putting this out here for free? Because despite a years long track record of success in social media marketing no one will hire me because I don't have a college degree, so I might as well help people out who can't afford to hire full time marketing. 

If you'd like to hire me to help you evaluate your marketing and sales and teach you better skills on a 1 to 1 basis then hit me up, I am often willing to barter, esp with artists in a variety of mediums! 

Anyway on to HOW TO CONVINCE PEOPLE TO GIVE YOU MONEY:

TL;DR: use positive messaging that humanizes everyone involved and make it as easy as possible for people to give you money.

1. Shame and guilt are demotivators. They will not inspire people to give you money. “Why aren't people helping” “I guess people don't care” “This isn't getting enough shares/donations” etc etc. Online fundraising is often frustrating, heartbreaking, and will make you angry, especially when there's a humanitarian crisis involved. It is critical that if you are raising funds for someone else that you have a place to vent that is not the audience you would like to donate to the cause. 

2. Use motivating messages instead! “You can help!” “Even a small donation is important because it tells Recipient they're not alone, and people care” “We can't fix the whole world, but we can make this one thing right, and that means something”. Emphasize that this is a problem that the reader can help fix with even a small effort. With items for sale, tell a story. "I drew this thinking about how safe I always felt under a tree in my childhood backyard". "I chose the colors in this shawl to remind me of sagebrush and piñon pine in my favorite place."

3. Make it easy for people to give you money. Never talk about your product or cause without a link that leads directly to where people can give you money. They should be able to click one link on your post and land at the fundraiser or your shop. Every required click is going to lose people, so minimize the number of them required. This also means if you have a list of fundraisers for people to choose from the ones at the bottom will be neglected - people will hit the ones at the top. Be sure to take those off when they're met or periodically shuffle the list around to make sure everyone gets a chance to be in the first 5 spots. In online stores people will often only look at the first page or two of items so be sure to shuffle things around and remove out of stock items that are taking up prime real estate.

4. Humanize the recipient - this can be tricksy when raising charitable aid because you don't want to be exploitative. But to use my last Afghan campaign as an example, “We need to raise $500 for an Afghan family” is less effective than “This Afghan family's home was damaged in heavy rains that caused extensive flooding. They only need $500 to repair and rebuild so they can stay in their home and not become displaced.”  If possible, tell as much of the recipient's story as they consent to. Eg “Fred is seven and loves dinosaurs. His favorite is brontosaurus, and he carries a stuffed one with him everywhere. He wants to be a paleontologist when he grows up and discover a complete brontosaurus skeleton that he can give the same name as his stuffed friend. Unfortunately he's also a trans boy living in Texas and his family needs $1500 to rent a Uhaul and get to Colorado so he can grow up in safety and do that.”

5. If you're not the recipient, humanize yourself while you're at it! “I'd be really grateful if you all could share or donate” “This fundraiser really means a lot to me because…” “Thank you so much for any help, whether sharing or donating” 

6. Treat the audience like humans. Speak to them like they are people you're having a conversation with, not ATMs. This ultimately is the goal of not using shame/guilt and humanizing yourself and the recipient. 

7. Set low goals and bump them up when met. One of the weird things about people is they prefer to give to successful fundraisers. Yeah I don't know either. So you're more likely to get the full amount you need if you set a partial goal initially and then raise it when that's met. Raise it in small increments and raise it repeatedly as those goals are hit to keep momentum going. You can't always control this so if you're boosting someone else's fundraiser you can do it artificially via asks like “Hey y'all can we get together and put $500 on this?”

[doberbutts]

I also think that when I see people demanding a *unique* oppression, that they are asking for something impossible and also are very much misunderstanding intersectionality in the first place.

I don't believe any oppression is truly unique. I do think there are faces of oppression that change with the demographic, but more likely than not you as Oppressed Group X have way more in common with Oppressed Group Y than you might think.

But also, Crenshaw's original paper on intersectionality discussed a specific context: black women being skipped over for hire where black men and white women were both getting hired, making that specific context unique to the intersection of black womanhood.

People get skipped over for jobs they are more than qualified for all the time. Even within the paper itself, there is discussion about this happening to black men and white women at other companies, just that this specific company was excluding specifically black women from its pool of candidates due to their specific bias against black women.

Experiencing workplace discrimination and hiring discrimination is not at all unique to black women. The *context* was. It was not "just racism" because black men were being hired, and it was not "just misogyny" because white women were getting hired. It was the intersection of both that resulted in black women being excluded.

When a trans man states that he is being removed from, say, a reproductive rights conversation and it's happening specifically because he is a trans man, what's meant shouldn't be that no one else struggles with reproductive rights. It means that it's not happening to the cis women who are actively leading the conversation, nor is it happening to the cis men who are pitching in. It is, however, happening to anyone with a uterus who is deemed as too "gender devient" to count: trans men, trans women, intersex people, and nonbinary people. Albeit, for different reasons, and the face of which changes depending on the demographic of the person receiving it.

But the conversation around reproductive rights is also one that must include disability, must include race, must include sexuality, must include class, must include age, because these things also have a direct effect on discrimination within the medical field and whether someone truly has access to the autonomy needed to make reproductive choices of their own without others choosing for them.

Similar to how we can understand the context provided in Crenshaw's coining of intersectionality to examine how black women specifically were experiencing something that neither black men nor white women were victim to within that specific example, so too must we understand that these are contextual and circumstantial conversations that will not always be truly unique.

After all, black men and white women do both get rejected for jobs on account of race and gender. Cis women and other marginalized genders frequently must battle for their right to make their own reproductive choices.

But when someone says "this happened to me due to the combination of my race and my gender", we must understand that likely the combination, the intersection, created a unique scenario that cannot be understood by only examining a single piece of that person's identity. So, too, must we understand the same when someone says "this happened due to the combination of my transness and my gender".

So when I see a challenge to name something unique from someone also flinging around the "learn intersectionality" phrase at those who are trying to describe the things that happened to them that hurt them, all I can think is that clearly that person does not understand interaectionality. Nor have they ever actually read the words of the woman who coined it. She's still alive. Her TED talks are on YouTube. Many of her essays are online for free.

Finally, I must remind these people that Crenshaw is not the woman who coined misogynoir, and while both Crenshaw's and Bailey's theories do work in conversation with each other, being discussed by different people does mean there is not a 1-to-1 basis to compare them to. There will be disagreements and inconsistencies between the two because they are two different people.

[prettykikimora]

Americans have a little adolf hitler living inside every single one of them, and it comes out when they're mildly inconvenienced by or convinced they're under threat by a minority. Most people with the money to order food service all the time are making decent living, without what other nonsense classifications of hypothetical people you want to use as a cudgel, terrified white women looking you dead in the eye and saying it's feminist and empowering women's safety to automatically assume all men of color are out to get you because they expected a woman delivering their sandwich, and man showed up instead. We live in a hysteria culture, a fascist fourth reich society. It tells you to be afraid of everyone.Don't look at the statistics that's say a majority of assaults are carried out by people who know each other, just distrust people of color, EASY! You will be bought and sold if it means someone can get their treats on time. " I am disabled. I don't have to think about the consequences of my actions. I will report my food service workers to show up as someone different then what was shown in their picture." As if anyone who isn't insane even looks at that anyways. It is vastly entitled and disgusting to eliminate effectively this underground economy of people who are for whatever reason, unable to find normal work, use their friends account for doordashing. This is a common and unspoken practice and i'm afraid now got the little nazis on the internet here are raising a nothing fuss about it that's soon, we're all going to need real ID's and scan our Fucking eyeballs with our phones just a log into a fucking food delivery app to deliver j. fogle's forty five dollar single item from across town, being your personal chauffeur for a cup of coffee. It's a lack of respect for workers. A lack of respect for poor people, a lack of respect for felons, migrant workers, trans people, people whose account is just fucked up, it's just next door type people fuckin locked away in their house or work. Brain's becoming more and more fascist by the day because they live in a suburb and are disconnected from the lives of the average working person and they lack the compassion. pretty soon we're not gonna be able to do anything dude. Don't tell these petty bourgeois little creeps about selling food stamps.

I say all that having a big, stupid argument with people because, of course, like a golden trumpet sounding, a chariot from the gods raining down on us, The one pure example for them to point to of the person I tried to defend specifically bringing up this point that just because someone has a criminal record, they're not a danger to you specifically, unbeknownst to me for whatever fucking reason is a guy who Lost his job for a doordash because he killed somebody in a hit and run. And then it becomes something totally different, it's not a leftist, defending compassion, people down on their luck, and the rights of the lumpen proletariat, It becomes me suddenly saying "nobody should ever get a background check, meryl thinks it's cool That guy killed a guy, and it's still driving for doordash because he uses his friend's account now."

Doesn't that just figure.

You don't just get sent to jail forever. Life continues when you get out and you gotta do what you gotta do. A felon working for the Western express trucking company just brought you your groceries, a felon put out the fire Engulfing your forest. A felon made the hubcaps for your car and like a million other things, because the American economy is predicated on slavery still play another name, which is why the state of California voted against ending slavery buy another name Because it would mean higher prices and less jobs like ancient Rome, California is a disgusting place that grew so large because of efficiency in subjugation.

[t34-mt]

pilots have had an overall, fun fact. I don't think I've posted about them publicly for a while. freaks from moon sat'tchuckthuck (kyhuine given name in their study of astronomy on altuyur)

22-08-2024 edit: extra colors examples and an actually rendered version (oc)

you can view the evolution of their design under the cut ->

these have never been posted before because i thought they sucked, and also just because i didn't feel like doing it. several sophonts existences in the solar system are friend-only information atm lol

the first version has been posted on their first post, as much as i still like the mecha design by itself (despite the fucked up leg placement) , i think it should only have a single pilot, and i also don't think there was much thought put behind how people sit in there etc.. So it looks a bit awkward overall. their first design was just a quick doodle i need to draw as fast as i can before i forget the idea, so it's not good LOL. its wonky, very wonky.

this one is from march 2023, there isn't much change between the two but i still think they're interesting to have in the row. the clothes look awkward, i don't think i thought about how they'd be put on by the pilots, the layering, and so on. what used to be manipulator limbs look award too

this is when i was trying to make them more fun. i shortened them, made them longer and blabla.. but in the end, they just looked like corgis/ dogs to me and i wasn't satisfied with that. Not that i think sophonts can't look like x earth animal, this is just me wanting to feel satisfied with my own work and not wanting to make dog 2. i don't know the exact date of this drawing, but im assuming its in late 2023

in may 2024, the current design of pilots was made. funnily enough, it just came to me one day. My brain flashed an image and i tried to draw it as fast as i could. compared to the top drawing the limbs for carrying their youngs weren't finalized.

the crest changing between every drawing / versions doesn't matter. because their crest changes color constantly to communicate and speak with each others. like a sort of cuttlefish skin effect, i guess pilots can still be fully white. it's just their coat for when temperatures drops. But since their moon is going through an ice age their body keeps is disoriented constantly. Workers who stay outside all year will have a winter coat constantly. But people who work / stay inside all the time are in heated environment, thus their winter coat never start up. and so on with that

heres test of the freak with winter coat ->

their texture would be horrible, the end bits of their fur is harden, its so thick and packed and feel like velvet. even the non winter coat still feel like velvet

Despite the current design having longer legs, they're still small guys because that's more fun. Pilots are 100 cm (3ft) tall. you can pick them up (they might be sized wrong on the doodle whatever)

[wheelie-sick]

people way underestimate the needs of wheelchair users.

there's a lot of what I'll call walkism (bias towards pedestrians and against wheelchair users) among disabled pedestrians (people who primarily walk, assisted or not, as their means of mobility)

diminishing our needs is walkism.

people within the community see us as ableds minus legs. they see our disabilities as simple- just can't walk, it's that easy. they see us as having low accommodation needs and as having the accommodations that we do need met. they see our access barriers as being as simple as ramps and curb cuts.

we are frequently compared to low support needs (LSN) non-physically disabled people by ablebodied disabled people and physically disabled people alike. we are compared to people who walk through life (literally) with little to no support, who make it through school with minimal accommodations, who have access to the whole world.

people are so incredibly out of touch with what wheelchair use actually looks like. people don't personally know wheelchair users, often don't even follow them on social media. people assume they can understand our entire lives by looking at our wheels and imagining. that doesn't work.

this belief that our disabilities are simple especially goes for paraplegic wheelchair users who are so often used as the "closest to abled" examples. they don't consider how many paraplegic wheelchair users experience things like spasms, chronic pain, bladder spasms specifically, both urinary and fecal incontinence, among much else that I'm sure I'm not aware of as I am not paraplegic. they especially don't consider that fact that wheelchair use is absolutely not close to abled.

they don't consider the extent of needs that full time and near full time wheelchair users experience. have you ever had to wait in the grocery store parking lot for 30+ minutes so an accessible spot with an access aisle could open up? how deep is the washing machine in your apartment? how large is the room it's in? is your sink too tall? what about the cabinets? how high is your bed? how low is your dining table? how easy would it be to fit a wheelchair in your car? how reliable is your bus? how reliable are the people on it to not put their groceries in the wheelchair spot? does your workplace have a ramp?

when people become wheelchair users they often have to uproot their entire lives to rebuild in a way that allows them to access things as vital as their home and workplace. when people already are wheelchair users they experience shortages of everything- jobs with accessible buildings, apartments they can get into and use, cars they can put their wheelchairs in easily.

this isn't even getting into things like access to businesses and other locations wheelchair users may want to go.

wheelchair users always have significant disabilities. yes, always. yes, even that disability you think is mild. people don't end up as wheelchair users because they have mild chronic pain or lose balance occasionally. people end up as wheelchair users because they have significant mobility disabilities. significant mobility disabilities rarely act alone. I cannot name a wheelchair user who only experiences mobility disability. everything, yes, everything comes with other effects.

while I've spent a lot of time talking about the comparatively low support needs wheelchair users there are high support needs wheelchair users as well. people only look at those of us who have ability to do all or most ADLs with our wheelchairs, this is not the case for every wheelchair user. there are wheelchair users who use group 3 powerchairs. there are wheelchair users who transfer via hoist. there are wheelchair users who need to control their wheelchair with their breath. there are wheelchair users who can't move their wheelchair independently at all and rely on someone else to push them. there are wheelchair users whose disabilities cause significant disability in areas other than mobility meaning they have feeding tubes, ostomies, suprapubic catheters, and ventilators. these presentations of disability are not even uncommon.

true high support needs wheelchair users are so often erased from every conversation (including conversations among wheelchair users) but I have not once seen a pedestrian mention quadriplegia & tetraplegia or muscular dystrophy or spinal muscular atrophy or any other number of conditions that leave someone needing both a wheelchair and very high support. I never see mentions of intellectually disabled people who use wheelchairs for conditions connected to their intellectual disability and I never see mentions of conditions like sanfilippo syndrome.

ultimately though, wheelchair users are just not a monolith. I will stand by the fact that, while some wheelchair users may have low support needs compared to other wheelchair users and high support needs neurodevelopmentally disabled people, none of our support needs are so low that they are at all comparable to those of low support needs non-physically disabled people. it's erasure of our disability to suggest there is no difference in support required between a low support needs autistic person and a wheelchair user on the low support needs end of the wheelchair support needs spectrum.

it is especially erasure to collapse all wheelchair users down to the lowest level of support needs a wheelchair user can have. it pretends that our higher support needs siblings don't exist.

the community does not understand us or our struggles. it won't understand us or our struggles until we are included, until people stop seeing us as the most privileged part of the community and until people stop minimizing our struggles. walkism is the reason wheelchair users have built our own communities separate from the rest of the disabled community. it is made clear time and time again that we are not welcome and we will not be understood.

A note: by wheelchair user I am specifically referring to people who use a wheelchair on a regular basis for day-to-day tasks. for the sake of this post I am not including people who only use wheelchairs at the mall/Disney/theme parks/other long distances.

[all dividers are described in alt text]

[gotham-daydreams]

Not Here

[Yandere! Platonic! Neglectful Batfam × Gender Neutral! Sibling Reader]

[Warnings: Mentions of neglect, Mild Yandere Behavior, Batfam being hella stupid.]

(Not really proofread. The birds and bats seeing that y'know- maybe not paying attention to people and neglecting them isn't a good thing. Chaos ensues. More of a development thing. Might be a little ooc?)

Tags: @bigcandlesmolbrain

Chapter 2 of this post. Chapter 3 Pt. 1, Pt. 2. [Series Masterlist]

๑۩۞۩๑—————————————————————๑۩۞۩๑

Bruce liked to think he was a good father, for anything that was worth. Or at the very least, a decent one.

He wasn't perfect by any means, but he felt like he raised his children the best he could, and had made them into responsible and diligent adults. Dick was a great example of this, and even if Damian was still growing up, Bruce had hope that he'd turn out to be good as well. The hardships his current Robin had to face would pay off in the end, Bruce was almost too sure of that.

Those he decided to take under his wing had their flaws, yes, but even if he didn't say it out loud or point it out often. He did believe that they were good at what they do, or at least were on the right path to becoming good vigilantes. Bruce couldn't help but be proud and prideful of where his children and sidekicks were, and could only look forward to how they would continue to develop as time went on. Despite their feelings towards him, and his own faults, mistakes, paranoia, and so on. Along with how he felt about them, and their flaws — he couldn't help but respect the people those in his little mess of a family where becoming, and turning out to be.

Or maybe he was both overestimating and underestimating himself, and the true effects he had on those he decided to look after.

Since, for a few days now, he felt like something was... off.

The Manor seemed quieter these days, and even if he couldn't remember a time where it was particularly loud, the detail felt misplaced to him. Sure, he hasn't hosted a gala or party in a while, but that didn't feel like it was the reason why the silence suddenly bothered him.

Bruce tried to think of all possible reasons, a little surprised himself that this feeling of his was bothering him so much, but the more he thought about it the more confused he became. There didn't seem to be a particular reason for this... and yet, just as he was about to put this feeling aside, he heard it.

["I, um, I was just wondering..."]

["Oh, uhh, that's quite alright! Oh, one moment please... oh! Second chorus... T'was brilling, and the slithy toves, did gyre and gimble in the wade..."]

It sounded like some sort of... play? Bruce wasn't too sure, but still decided to check it out regardless, wondering why something like that was playing in the first place.

So, allowing the sounds of the play to guide him, he continued on.

["Why- why you're a cat!"]

The voices grew louder as Bruce drew closer, interest peaked as he tried to recall and see of he knew this play. The lines sounding familiar, now that he was really listening to them.

["A Cheshire Cat. All mimsy were the borogoves..."]

Once Bruce rounded the corner he saw a... familiar face on the screen.

A student play was being filmed, and the play itself was Alice in Wonderland.

Whereas Bruce didn't recognize the actor for Alice, he did recognize the actor for the Cheshire Cat, but couldn't quite put his finger on it...

Was... was that...?

"Y/n?" He whispered your name, voice barely above a whisper.

No, it couldn't be. You didn't participate in any plays, and surely if you did he would've known about it. Even then, that didn't explain why he was seeing this now. The play itself had to have been a recording, since you looked so young...

How long ago did this take place?

["Oh, wait! Don't go, please!"]

["Very well. Third chorus..."]

["Oh no, no, no... thank you, but- but I just wanted to ask you which way I ought to go."]

["Well, that depends on where you want to get to."]

["Oh, it really doesn't matter... as long as I g-"]

["Then it really doesn't matter which way you go! Ah-hmm.... and the momeraths outgrabe..."]

Bruce was staring so intensely at the screen that he hardly noticed how the lines and voices faded into the background. His focus centered on you, disbelief gnawing at the back of his head.

He had never seen you smile like that before, not during all the times he's seen you anyway. Even if those moments themselves were small and short from what he could remember, the smile you wore during your performance felt... new in a way. Like something he hadn't seen before — not on your face anyway. Though that wasn't the only thing that made Bruce feel weird as he watched the play.

It wasn't anything to do with your acting skills. They were fine for the most part — and honestly considering the age you probably were during the time of the play, they might've been above average, or even a little higher than that. Not even the girl who played Alice, who also did relatively well, was the source of this odd feeling.

It wasn't the costumes or the set up, or even the lighting, and how he could faintly see the silhouette of other actors and such just behind the curtain, because of the camera angle. No, it hardly had anything to do with anything like that, but, how should he put this...

... How come he didn't know about this? How come he wasn't aware of this play before? Let alone that they had a recording of it, and that you were even a part of it... but Bruce still felt bothered by this whole realization because, well.

Why didn't you tell him about this?

"Master Bruce?"

The sudden voice snapped Bruce out of whatever trance he was stuck in, as he whipped his head around to face the source of it.

He huffed softly, "Oh, hey Alfred." Bruce greeted calmly, acting as if the butler hadn't caught him off guard.

Alred couldn't help but raise a brow at that.

Almost in a silent, embarrassed way, Bruce glanced off to the side only to notice that the recording was still playing, and so he decided to ask about it. Since, if someone knew anything about anyone in this Manor, it would be Alfred.

"Say... what's this playing on the TV?"

"It's a recording of one of Master Y/n's plays, Master Bruce." Alfred answered simply, almost as if it was common knowledge. "Apologies if it's too loud, I decided to play it while cleaning. I can change it or turn it down if you'd like."

"No, no it's fine... but since when has Y/n acted in plays? I don't remember hearing about this." Bruce stated, confusion growing as another emotion began to swell in his chest. One he was all too familiar with, but ignored for the moment.

"Since middle school, if I recall correctly, but it was only while they were younger. Having only been in three school plays in total, I believe." Alfred moved closer to Bruce as he looked at the screen, eyes softening for a moment as he watched you move along the stage. You had grown up so much since then, and the stage fright you used to have felt like nothing more but a faint memory now.

You wouldn't believe how incredibly proud of you he is.

"It's a shame they didn't do any more afterwards, since it would've been nice to have a few more recordings of their performances, but I suppose that's what happens when you find a new passion." He looked back at Bruce. That previous softness in his gaze nowhere to be found.

There was a certain way how his eyes looked at the billionaire, as if expecting something. As if expecting this.

Alfred had higher hopes, but you had left for a reason. Even if he knew what that reason was, it was only now did he see it more clearly. Especially as he witnessed Bruce's face shift into one of shock and surprise.

"They've always told you, Master Bruce, but you're schedule has just always been too full." Alfred handed Bruce a piece of paper, and Bruce took it wordlessly, looking it over.

It was a flyer promoting a play — the Alice in Wonderland play that was still going in the background — with the dates and times listed below, along with some of the cast members. Your name stuck out like a sour thumb compared to the rest.

Bruce did remember seeing this before, but one thing did still confuse him as he looked back at Alfred.

"I'm pretty sure you gave this to me at the time, not Y/n."

"That I did, sir, but that was only because Master Y/n was having some trouble with catching you attention, because they had wanted to give you the flyer themself. So I offered to give it to you for them." Alfred replied truthfully, cleaning up a little more while he was at it, and leaving Bruce to his thoughts for the moment.

He didn't remember you trying to catch his attention... but if what Alfred says is true then that makes sense, even if it made Bruce feel bad in a way. The feeling growing a little more when he realized something Alfred had said.

"And this happened all three times?"

"You sound surprised, Master Bruce."

Bruce ran a hand through his hair, eyes pinned on the flyer as he pressed his pursed into a thin line. Countless thoughts floated around in his head, all of them jumbled up and messy as he just didn't know what to make of this. Missing one was probably fine, and maybe two at a push, but all three? How could he have missed every single one?

Sure he was busy, but he didn't think it was this bad. Did he just forget? How did he not notice such a thing had slipped right past him?

All Bruce could do was sigh. There was nothing he could do about it now, and even if there was a way to make it up to you, he didn't know where to start, or if that would change anything to begin with. Besides, he didn't even know how long it's been since these performances had happened.

...

Wait a minute-

"Alfred, how long ago was this?"

Alfred just looked at Bruce, brows just barely creased before he took a breath of his own.

"A few years ago, sir."

What?

At the look of disbelief on Bruce's face, Alfred could only stand and straighten himself out as he calmly asked, "How old do you think Master Y/n is, sir?"

"Oh, well, they're..."

... Bruce couldn't even think of an answer.

Obviously you had to be in highschool since it had been years since you've performed in a play, with the Alice in Wonderland play being one of them, but how old were you exactly? What year were you in? Were you a sophomore? Junior? Surely you weren't a freshman, but even then — what high school did you even go to? Bruce didn't think you were home schooled, or else he'd definitely notice that... or would he?

Oh no.

What if you already graduated? What if you already had gone and done something that not even Alfred knew about? Did you have a job? Where would you even work? Were you already in college? What college would you even go to? Did you manage to get a scholarship? What would be you major? Where would you be studying? Would you even stay in Gotham? Were you even old enough to be out on your own? Could you even drink yet? Could you drive? Did you own a car? Or even a motor bike? When was your birthday? Did it already pass? What's the month? The day? The year?

How old are you?

"I... I think I'm going to go and just check up on them." Bruce couldn't answer, and while he had a vauge idea. That's all it was, an idea. So he moved the subject along, and made his way up the stairs, leaving Alfred behind. Just watching as the world's greatest detective left the room, all because he couldn't figure out the age of one of his own kids. One he had chosen to take in and watch over like all the rest, and yet left behind all the same in the process.

Alfred could only sigh to himself as he paused the recording of the play. Ejecting the disc and putting it in its respective case, and placing it in its usual spot.

This was the only way, he decided. This was the only way.

--------------

Bruce didn't feel much better by the time he reached your room. It took him mistakenly stumbling into two guest rooms before he finally reached it, and honestly he felt more regret over that alone.

Most of this time he hardly remembered that the room before him now was even occupied, let alone that you had claimed it as yours. What didn't help was that it was only now that he remembered introducing this space as your own, and yet he had forgotten that small detail so quickly.

Regardless, Bruce just pushed that all to the side as he knocked on the door, taking in a breath.

"Y/n?" He called out, only to get no respose. So he tried knocking again, but he still got nothing.

Sure, he was getting a little confused, but just pushed that to the side with everything else, as he stared down at the door knob.

... Should he?

He had to talk with you eventually, especially considering what he just figured out and how little he actually knew about you. He needed to talk with you. He couldn't just let this slide, not with what he knew now. He couldn't. He wouldn't.

So, be tried the knob, and was kind of surprised that it was unlocked. Though besides that little strange detail, he gently pushed the door open, and took a peak inside.

Oh. You weren't even here...

Bruce didn't know how to feel about that.

Regardless of that, however, he opened up the door a little wider, and stepped inside. What he saw only made him more confused, but also feel so much worse when he looked all over the room. How could this be...?

Various things were on your desk, shelves, and hung on the walls. Your room looked surprisingly clean, but honestly Bruce doesn't know what he was expecting. After all, he didn't even know your exact age or hardly anything about you, and even then — by the looks of things, he had missed out on so much more than he originally thought.

Trophies, awards, medals, and certificates were littered about your room. The very sight of them made the paper in Bruce's hands feel so much heavier, and yet he still held onto it as he further inspected the awards, and few pictures hung on your walls.

Every color was here, from bronze to silver to gold, and at some point it seemed you were able to get a consistent amount of silvers and gold. The awards themselves were from various events and activities that barely corresponded with each other. From fencing to swimming, and dance to pottery. From track and field to literacy, and gymnastics to cooking.

It was like you had tried to do so much of everything, and were trying to collect all of these awards from all of these different activities, rather than earn them because you deserved it for all your hard work and dedication to do that particular activity, but Bruce just couldn't understand why. Why go through all of the effort just to move on to the next thing? It... didn't make sense.

Right next to you black belt for martial arts, you had hung up the few medals you had gotten from track, and right below that were some awards you had for gymnastics. Beside your soccer trophies you had some kind of art award, and beside that was more awards and things you had received from playing and participating in other sports and activities. Bruce had no idea you were even into some of these things, but just from looking at your room, he could tell you weren't all that into or interested in some of the activities you did. Seeing as some activities and such had more awards when compared to others, but one thing in particular seemed to really catch your interest.

Music.

Not only did you have a whole wall and section of your room dedicated to it, but it felt more organized, and the placement of awards and such seemed more thought out in a way.

Countless awards littered the wall, and from the placement alone he knew you were proud of them. The pictures hung on the wall showed you shaking someone's hand as you either held up an award or album cover. You smiled, and Bruce could see how genuine it was as he felt like he could feel your happiness radiate off the photo itself. The people you were shaking hands with looked pretty happy themselves, and Bruce was a little surprised that he recognized them, but that made him feel more conflicted.

The people in those photos with you, were famous, and you had gotten those opportunities to meet them and shake their hand all by yourself.

All of these awards — they were only the finishing products of what you had spent all of your time doing. They were only small glimpses into the person you truly were, and as Bruce looked at the records you had hung on the wall, he could feel his own regret spilling out of his bleeding heart.

He wish he was there with you.

He wish that he had been there to see you even get half of these rewards that you undoubtedly deserved. He wish he got to hear the music you played, and what kind of songs you wrote. He wish he had been there to see you go on, and work your way up, with him being there as your support, and yet...

He had missed everything.

From the plays, to the matches you had, to the games you played in and competitions you participated in, and how could he forget your performances that even earned you such big, important awards. Awards that probably meant so much to you, because of how far it showed you had grown.

Bruce missed it all. Every little thing.

... He had to find you.

No if's or but's this time. No more excuses. He had to find you. Bruce needed to.

So he did a more thorough search of your room. Finally placing the flyer down on your desk as he looked around. He checked your closet, your bed, even under the picture frames, and moved some of the awards around, in order to better check and search for anything. Any hint that could point to where you had gone, and or where you might be. Any clue, any thing that could tell him about you.

He even made sure to take a mental note of the people in the photos, just in case he had to reach out to them and ask if they knew where you were by some off chance. Though that was only if Bruce was convinced that you weren't even in the Manor, and getting some extra information on you never hurt anyway. Seeing as he had a lot of catching up to do.

As he searched, he ran into various things. From equipment, art pieces — most of which were unfinished — and old notes, to other random items. Like an airsoft gun, some glass beakers, various ties, a pair of shades, a glasses frame, and a sewing kit next to a first-aid kit? Bruce didn't want to think about how the first-aid kit both looked used, and was empty.

Bruce even stumbled upon a fancy looking tuxedo he didn't remember buying you at all, but a small tag caught his eye and-

Oh, it was a gift from someone else, and with the note you left behind the tag — most likely with the intention of giving the tuxedo back — it was safe to assume that you and this person knew each other quite well...

Bruce just put the tux back. He would've gotten you a better one anyway if you had just asked, or if he even knew you needed one in the first place. Though regardless of that, he kept looking.

Eventually, he looked under your bed, and found a single box under there. Undisturbed... sitting innocently in the darkness.

Bruce didn't waste much time as he reached out and grabbed it, and placed it on your bed. There was a thin layer of dust on top of it, which Bruce found a little strange but kept in mind as he opened the box and looked inside. There, he saw a variety of notebooks and papers, and from the looks of things, the items in here had been collecting a bit of dust too...

When was the last time you touched these?

It seemed a little strange that these were tucked away from everything else, and clearly you didn't want other people going through it or even seeing them since you kept it so out of view. Were they diaries? Bruce would rather learn anything personal about you from yourself, he didn't want to go through your things like this, but considering the situation...

He sighed, and just picked up a random notebook. If this could help him find you, then so be it. He didn't want to do this but he couldn't leave you alone either. Not again.

Yet, he was so focused on looking through your things that he didn't even realize that someone had passed by, and noticed the odd room Bruce was in. A room that they themselves haven't seen before.

"Woah, what's this place? An old childhood room or something?" Dick asked as he invited himself into the room, mindlessly looking around, not really paying attention to anything in particular as he waltzed around.

"It's Y/n's room." Bruce stated bluntly, still looking over the dusty notebooks in the box. Some simply labeled 'Notes' or 'Practice', while one in particular was called 'Ideas/List & Progress' with little drawn sparkles around it. Another two weren't labeled with titles or words, and instead with small music notes doodled onto the cover in your favorite color. Though Bruce didn't know the color was your favorite.

Nevertheless, Bruce decided to look through one of the notebooks with music notes on it, completely missing how Dick had froze, and turned to look at him as if he was crazy.

"What? You've got to be kidding, right?" Bruce just gestured to one of the records on the wall, flipping through the notebook in his hand as he read through it quickly but carefully.

Dick, still not entirely convinced and honestly just really confused, looked at one of the records Bruce had gestured towards, and felt like he had just gotten ran over by a truck with how hard reality hit him. There your name was, signed and everything, with a well-known producer listened as well.

His eyes even darted to the other records, only to find the same thing, and for just one final check, he looked at one of the awards on the wall.

Your name was engraved on it.

"Holy-" He covered his mouth, more than shocked as he looked around the room again, hand falling from his face, "but that means-" Now Dick was paying more attention to the room, moving from one thing to another as he looked over everything now.

"How did they- there's no way they did all of this? And- what. They even did gymnastics?!" To say that Dick was in absolute disbelief and shock was an understatement. Yet he hardly had any time to recover or process anything as another person popped into the room, albeit only temporarily.

"I'm afraid it is quite possible, Master Dick." Alfred spoke up, catching the attention of the oldest sibling as he moved into the room, and set a stack of papers on your desk, right next to the flyer Bruce had set down.

Confused and curious, Dick looked at the stack once Alfred had pulled away from it, and picked up the first paper.

It was another flyer, but this time for some kind of solo event or concert you'd be doing. The date written down was a few days ago... a week or so having already passed since then, but how could this be?

Dick hesitated, but took another one as he looked it over. Again, it was for some kind of concert or performance, but the date and time was further away. Three weeks to a month having passed since, but how did they not notice? Didn't you say anything? Why didn't you tell them?

"This doesn't make any sense... why didn't Y/n tell us about any of these things?" He asked, mostly to himself as he continued to look through the various flyers.

"Why don't you tell me, Master Dick?" Alfred quipped, looking at Dick in a knowing way before stepping out of the room, "Now, I'll be heading off, but I do trust that both of you make the right choice this time around." With that, he simply left. Leaving Dick confused but feeling worse at the same time as he looked back at the flyers, mind racing until he spotted something.

Carfully, Dick pulled out another flyer out of the pile as he placed the others to the side. He recognized this one, but where had he seen it before? Was it...

... Oh god.

Dick whipped out his phone and checked his messages. He had to scroll down a bit, but he quickly found your contact and tapped on it. He flipped through your messages, hundreds upon thousands of which he never responded to, and even if that alone made he feel bad. When he found what he was looking for, he felt even worse.

He found a message of you sending him a photo of the flyer, and said how you hoped you'd see him there. The message itself had been sent almost a year ago, and as he looked back at the flyer, he didn't know how to feel. Yet he kept looking, especially as he spotted another familiar poster.

Some of them he was able to connect back to another message you had sent, and the further back he went the more he responded... but it wasn't much, and he seemed to leave you on read more times than not. He had made an effort, but clearly it wasn't enough.

Dick couldn't imagine how that must've felt for you, and he almost didn't want to. Yet he still continued to search through the flyers, and came across one he had an odd memory of. He did remember seeing a text for it, but also remembered hearing about it somehow? He wasn't too sure, but just incase he did decide to look through his voicemail. He didn't know what he'd find, but he decided to just have a little look, even if he wasn't sure he'd even find anything.

So, he matched the date of the message and scrolled until he found it.

The voicemail innocently stared at him, and Dick couldn't help but hesitate before he tapped on it, and let it play. Heart already heavy as he stared down at the flyer. The kind of look someone gave when they already knew it was too late, and Dick didn't know what was worse. The fact that he basically missed out on your entire life at this point, or that he had nothing to say for it besides that he was sorry, and had just forgotten about these things one too many times.

["Hey, Dick! I, um, I hope everything is going well and that patrol hasn't been too bad." Your voice wavered as you spoke. You were clearly nervous but you tried to push on anyway, and cleared your throat before you tried again.]

["How are you, though? I heard that you had a rough night the other day- and I know I'm not really into all this crime-fighting stuff like everyone else but... I just hope you're okay, y'know?" You chuckled nervously before you cleared your throat again, "An-anyway, um, yeah. I just- hope you're okay." The sound of a paper being fiddled with could be heard, and you took in a small breath.]

["So... I have this performance I'll be doing next Saturday- it's more of a competition really, since other musicians and stuff will be there too. It's at 7 o'clock, and I know you guys mostly work at night and everything- but if you could drop by or even just quickly come around at 8:15 that would be great! Since, um, that's when I'll be performing..."]

Dick looked at awards you hung on the wall as the voicemall continued to play. Based on the date of the performance he was able to find the award. You had gotten second place.

["It's um, it's a piece I wrote that's a tribute to your family- the Flying Graysons, that is, since we're allowed to play songs we wrote if they were approved beforehand, and it was! So, um, I really hope you don't mind. Your family is cool! Not that Bruce and everyone else isn't or anything- um, I'm going to stop talking about that before I say something stupid. But! I couldn't help but feel inspired so I, y'know-" you cleared your throat again. Clearly nervous.]

["Sorry for my rambling- but, yeah. You can pass by if you want or have the time, and it's right by that one place Bruce had that whole charity announcement on Monday. You can't miss it, there will be lights and all this other stuff- not to mention that it'll probably be loud considering things, but uh, yeah."]

["So if you think you can make it or pass by, it's at 7! Next Saturday! And if you can't make it by then, I play at 8:15! So, yeah. Remember that! If- if you want to. Hope to see you there! And if I don't, that's okay. I just hope you enjoy the piece if you hear it. Have a good night! Or-! Or day! Whenever you listen this- um, bye!"]

What? You had wrote a song for him? For his parents? For them?

Dick's heart swelled. He didn't even get to hear it either, he wasn't able to. He didn't have time, and he forgot, but that didn't make things better, did it?

You had gone through all of that effort, and not only made a song for him but even played it during a competition and got second place. Yet he couldn't even put a few minutes to the side to listen to it. He didn't.

Now Dick definitely felt awful.

However, he did notice that there was another voicemail left by you just a few minutes after the last one. So, he decided to play that too before his guilt and regret could fully settle in, as if it'd make him feel better somehow.

["8:45! IT'S 8:45! THAT'S WHEN I PLAY! NOT- Not 8:15, sorry! I mixed up the times- that's when a friend of mine plays, not me! Sorry! Uh, but yeah. I play at 8:45- stop by if you can! I hope to see you then! Buh-bye!"]

Okay, well, Dick officially felt worse now. So much worse.

You had all this character and personality, and yet he was never able to fully see it — to hear it like he has now. Not like this, not while he was paying attention.

Your voice was so much different than what he remembered, and despite your nerves you really tried to tell him because you hoped he'd be there. You tried to tell him in hopes he'd actually show up, and he never did. Even as he listened to your other voice messages, he could hear how his own actions, or lack thereof, were affecting you.

The messages grew shorter, more to the point, and while you did still sound enthusiastic — it's like he could hear the hope dying in your voice. The hope that'd he show up. That any effort would be made, but that didn't happen, and it didn't help that Dick was listening to some of the voicemails he was going through right now, for the first time.

He could only imagine the pain he caused you, and Bruce was thinking the same thing.

Bruce was still looking through your notebooks as Dick was regretting everything he had done to you in the past.

The notebook Bruce was reading now was one where you had written down majority of your more recent song ideas, along with things you wanted to try and melodies you were trying to mix together. It was mostly full of lyrics and small notes to yourself about certain things you wanted to keep in mind, and though there was a lot of things crossed out, Bruce couldn't help but be... charmed in a strange way.

How you talked to yourself was adorable, and seeing your excitement for your own performances and such through each word you wrote, just made Bruce feel so happy for you. He could almost picture your smile and how giddy you felt when you were writing some of these things down, or how focused you were when trying to figure out how to continue the chorus of a song you were making — or if there should even be lyrics to begin with. Along with how you wanted the song itself to sound, and what emotions you wanted to capture in it.

With each page turned it's like he could see the entire process you went through when it came to your song composition. Like he was almost there with you in the moment, watching you do your thing, and honestly? Just by that alone he couldn't help but grow... softer.

Bruce loved seeing how your mind worked when it came to music, and your thought process behind each and every little thing. He just... he felt like through each line and little note he read and looked over, he was falling in love. The kind of love that he couldn't quite describe, besides just the love only a father could feel when they really see their child for who they are for the first time. The kind of love Bruce hadn't felt in a long while, nor this intensely.

You were so creative and passionate, so driven to achieve your dream and do what you loved. You were just so... you, and there was just something about the way you expressed that in the notebook that felt charming. The deeper Bruce got into the notebook, the harder it was to not love you, and each time he saw one of your little notes, he could feel himself smiling. You were so precious, how could he not see that before?

Though, besides all of that, he did notice a small pattern.

Every performance you had, you mentioned in the notebook and would express your feelings about it, and every time you did — you'd write something beneath it. Just a small paragraph about certain hopes you had. Hopes that made Bruce's heart squeeze tighter.

It was you hoping that they'd get to see you perform, that they'd show up, and suddenly Bruce was reminded of why he was doing this in the first place. So, he started to flip through your book, shaking out of whatever trance he was in.

With each performance that passed, the little paragraph got shorter, smaller, simpler. Like a quiet prayer that was dying down, as the believer slowly lost their hope and faith. It even came to a point where only one sentence was written for a while.

"I hope I see one of them."

Bruce's heart broke a little more each and every time he saw it, but the page that really got to him was when the sentence was smudged, small wrinkles and creases were on the page, and you couldn’t even finish writing the sentence as the end of the 'e' in 'them' dragged out.

What didn't help was when he flipped a few more pages, and found the last performance you had written about. It was a few months ago, but the date didn't immediately catch Bruce's eye. No, no, no, what caught his attention at first was the change of that single sentence.

"I hope the audience enjoys it."

His heart shattered at that, smile fading as he took in a breath. A moment passed, with Bruce just stating at the writing. Wishing for the impossible, and to change things that had already been done. It was too late, but he somehow refused to believe that now.

Finally, he noticed the date and paused.

That... couldn't be right. You used to write in this notebook all the time from what he could tell, why did you stop? Did something happen that day?

If months really have passed... then that would explain all the dust on the box and contents within it, but still, it didn't make sense. Weren't you still here in the Manor? Bruce honestly couldn't think of why'd you would stop writing unless you somehow couldn't reach the notebook, but you couldn’t have left, right? Surely, above everything else, he would've notice that, right?

...

Bruce finally looked at Dick, seeing the oldest just staring at old flyers from various events and such you had participated in throughout your life. A life they never got to see.

"When was Y/n's last performance?" He asked bluntly, getting straight to the point.

Dick glanced at Bruce for a moment before looking back down at your desk. He moved some of the papers around before he found the most recent one and looked over to his father with a raised brow.

"About a week ago, why?"

Bruce looked back down at the notebook in his hand, eyes scanning over the date again before he closed it. Looking back at Dick, he asked another question.

"Have you seen Y/n around?"

Dick grew quiet at that, and after a moment he just sighed and shook his head.

"No, I can't say I have." It was only then did he catch what Bruce may have been thinking, "You don't think they-"

"It's a possibility. We can't be too sure just yet," Bruce just wanted to hold onto his hope that you were still here, and even if the chance was small he was willing to take it. He didn't want to believe that they had pushed you so far away that you would not only consider leaving, but actually went ahead and did it. He wanted to be doubtful, but he couldn't rule out anything. Not yet.

"Just keep looking, I'll go ask the others." Bruce stated as he placed the notebook back in the box and headed out the room.

"Keep looking? For what?! Other events we missed? More ways we ignored them? Things they did without us?!"

To say Dick's guilt was eating away at him would be an understatement. It was practically devouring him at this point, and he could just barely take it.

Bruce paused at the doorframe, sighing as he looked back at Dick, "Any hints or clues to where they could be. Favorite spots they might frequent, places where their lessons were held, people they know, anything." He left him with that, causing Dick to just run a stressed hand through his hair as he took a breath.

Worry and regret heavily weighed down on him, but all he could do was carry it for now. He'd make it up to you somehow. He would, and he'd finally get to hear that song one way or another.

As Dick started his search, so did Bruce.

Bruce did a general search around the house, looking for anyone he came across while also trying to look for you. He thought that if he was lucky, he'd run into you. Even if the possibility was small, it could still happen — or he hoped so anyway.

Just this once, Bruce really hoped for the best.

Though, he did end up running into someone, even if it wasn't who he was looking for.

"Woah, someone looks serious. What's got your bat panties in a twist?" Jason asked, amused, "Actually, wait, don't tell me. I don't c-"

"Have you seen Y/n?" Bruce cut Jason off, getting straight to the point.

The sudden question confused Jason as he gave Bruce a weird look, some of his amusment still remaining but it began to die down a bit.

"No... why?"

Bruce took a breath, fingers twitching, "Do you know where they could be?"

"How the hell am I supposed to know?" Jason's own confusion began to take over, his amusement continuing to die down, "Seriously, did something happen? Why are you suddenly looking for them?"

Bruce took a moment, just looking at Jason before he sighed.

"When was the last time you saw them?"

"... A few days ago..." Jason glanced off to the side.

"Jason."

"Okay, okay! Fine. I don't fucking know! A few weeks ago? Maybe?!" He answered, getting agitated already. "I'm barely here enough as it is, how am I supposed to know where they are!"

Again, Bruce took in another breath, but there was something about it that Jason didn't like. Maybe he inhaled too sharply or deeply — Jason wasn't sure, but all he knew was that he wasn't going to like what Bruce was about to say.

"Dick hasn't seen them either."

"And that's supposed to be a surprise, how? He lives all the way in Bludhaven, of course he isn't going to see Y/n. 'Cause they live here-"

"I haven't seen them."

"..." That was a little more surprising, but just a little more. It still couldn’t mean anything... right?

"With all the shit you do, I would be surprised if you even saw them on a semi-regular basis." Jason crossed his arms, still not convinced — not entirely anyway. Yet Bruce could only exhale softly, the action bothering Jason even more.

"It's just a possibility. I'm trying to find them. Think you can help out?" Bruce clarified before asking. Additional help would definitely be great, especially because it meant that they could find you faster. He could find you faster.

"What makes you think I'm gonna do that?"

"Did know that Y/n wrote a song that's a tributed to you?"

"... What."

Bruce sighed, "You don't have to do it because I asked you to, or even because I want to find them. You can do it for yourself, Jason. But I'll leave that decision to you." Then, he just walked off to continue his search for you, and the other occupants of the Manor. Leaving Jason by himself, alone...

"That bitch-" Jason cursed under his breath as he walked off, deciding that he'll help look. Though only so he could ask you if Bruce was bullshiting him or not, and not for any other reason...

... Wait, you wrote songs? Like, actually?

Jason just shook his head, already upset enough as he shoved the thought to the side. When he found you he could ask, and how hard could that be? The Manor was only so big, and besides, you were just one person. He could probably find you before Bruce if he just looked in the right places, but the only thing now was finding those places...

Okay, so maybe he saw the problem, but still. This couldn't be too hard. You were the only one in the whole family who wasn't a vigilante, and so it was only about a matter of time.

Nevertheless, Jason began looking around as well, trying to figure out where he should look as he mindlessly checked every other room he came across. Where would you even go anyway? He'd probably check your room first but he figured that Bruce had already checked there, and it wasn't like Jason knew where your room even was. Though he just chalked that up to how infrequent his incredibly short visits were.

Still, he didn't even know where to start, and would rather avoid searching the entire Manor if he could. He tried to scratch his brain for anything but he just... had no idea.

Well, okay, he had one idea, but that was only because of one night. Even then he's still not sure it was you who he saw on the-

["Master Y/n? Are you alright?"]

Jason's thought process was cut off by a sudden voice. He immediately recognized it as Alfred's, and a realization hit him. Right! He should look for Alfred first, he'd know where you are. Alfred practically knew everything about everyone in the Manor, so he'd lnow something for sure.

So, he followed the sound until he stood in the doorway of one of the lounges. The television was on and playing some kind of recording, but Jason paid no mind to it.

Confused, Jason called out, "Alfred?"

When he didn't receive a response, he huffed as his eyes drifted to the television. What was playing, anyway?

You — a smaller, younger version of you — stood in a door way, looking out in the hall before turning back to the camera. Big, innocent eyes looking up. Looking at Jason.

You couldn't have been no older than eight or nine.

[You gave a little nod with a small hum, "I'm okay, Alfred. Just... waiting, like you said."]

A small, soft huff could be heard from the other end of the camera, and the camera moved to be placed down a counter of some kind. Which revealed Alfred to be the one having been recording everything so far.

["Yes, well. How about we do a little something while we wait, hm?" Alfred asked, moving a stool closer to the counter — moving the camera again to be placed on the kitchen isle this time.]

Ingredients and tools used for baking could be seem on the counter. The stool Alfred had place was next to where he was standing, and a good distance away from the stove.

[You looked at Alfred curiously, "What are we going to do?"]

["Oh, nothing too much, Master Y/n. But... I do require a bit of assistance baking this cake, that is if you'd like to help, of course." Alfred patted the top of the stool as he spoke, "Though you can always just watch, if you'd like."]

[You perked up at what Alfred said, climbing up onto the stool enthusiastically with a smile. "I wanna help!" You exclaimed, looking over the ingredients before looking back at Alfred, "But... what cake are we making?"]

[Alfred hummed, pretending to think before be looked back down at you, "Well, what kind of cake would you like, Master Y/n? It is your birthday after all."]

["Really?" When Alfred nodded, you gasped excitedly before suggesting your favorite flavor at the time.]

["Well then, let's get started, shall we?"]

From there, the rest of the recording was of you and Alfred baking. With Alfred helping you when he had to, and laughing lightly when you would inevitably make a mess.

Laughs and jokes were exchanged, and it was probably the happiest Jason has ever seen you... which made him feel weird in a way. He didn't like it, not one bit, and yet he continued to watch the old, wholesome memory play out before him.

Jason watched as you got a bit of flour on your nose and how Alfred wiped it off. He watched as while Alfred was deciding on the shape of the cake, you gathered all the different colors and types of sprinkles you could find, and was looking at a particular color of food coloring. How you nearly fell trying to grab the food coloring, and how Alfred just narrowly managed to catch you. How after that, Alfred visibly recovered from the near heart attack he had gotten from watching you fall, and just watched you add the food coloring to the frosting after you had thanked him for catching you, and apologized for falling.

... It got Jason thinking, if only a little bit.

He didn't know much about you, not really anyway. Even if his visits were few and far inbetween, not to mention incredibly short, someone would think that he'd catch onto a few things about you, or just generally have more interactions with you, but he didn't. All he really knew was that you knew how to play the violin really well, but that was assuming that who he saw that night really was you. Even if he doesn't know who else it'd be.

Jason still remembered that one occurrence despite how long it's been since then... but that was for a different time. He had to focus now, but he still couldn't help but watch the little version of you trying to frost the cake without being too messy, but failing miserably.

It did get him thinking about how many small moments he had missed with you, and just... how little time he had actually spent around you.

Obviously, you weren't a little kid anymore. After all, the last time he remembered seeing you — you were already a teenager. Though was that really a good thing? Jason did remember having some kind of interaction with you in the past... but it wasn't much of anything, and even then he probably forgot half of those moments. What definitely didn't help is that you both didn't have each other's phone numbers, and the only form of communication you had was seeing each other in person.

.... Okay, maybe this whole 'finding you' thing was definitely a lot harder than Jason had originally thought.

["... Are they going to come, Alfred?" You asked, sitting in front of the cake you and Alfred had just made together, looking up at the camera that Alfred was holding once again.]

[Alfred didn't respond right away, but did eventually say, "I'm afraid not, Master Y/n, but if you'd like we could wait a little longer."]

[You shook your head, looking at the cake before looking back at the camera, "It's okay. We can blow out the candles now, but..." you hesitated, looking down at the table, "could you... stay with me? Please?" You looked away, embrassed for asking but didn't take back what you said.]

[Again, a soft huff came from the other end of the camera. "Of course, Master Y/n."]

After a short happy birthday song, the camera was placed down on the table as Alfred cut the cake. It was only after Alfred had given both you and himself a slice did the footage cut out.

Nothing could describe the face you made when Alfred said that no one was coming. Just like how Jason couldn't even begin to describe what it made him feel.

Even when a new recording started, he could hardly pay attention to it as all he saw was your face staring up at the camera. Expression not necessarily sad or upset, but it was easily the most heartbreaking thing Jason had ever seen. A kid shouldn't have a face like that. You shouldn't have a face like that.

Jason was so lost in his thoughts that he didn't even notice Cassandra trying to get his attention, nor did he feel her even pull on his sleeve. All he could think of was you, sitting at that table all by yourself. Alone.

He just turned the other way, practically stomping down the hall as he looked straight ahead, glaring.

He had to find you. Now.

Cass, on the other hand, was just confused. Watching as Jason stormed off before looking back at the recording that was playing on the television. What about it had made Jason sp upset? She didn't know, but she was a bit curious.

Bruce had already confronted her and asked her where you were, and of course she didn't know either. He did mention something about how Damian was trying to help a little, which was a surprise in itself, and how Jason might be trying to search for you too, and had asked her if she could do the same. She agreed, of course, just wanting to help out, but having run into Jason just now? That was... odd. Especially when he suddenly stormed off like that, but that wasn't her main focus right now. She still had to-

["Are you still trying to record this, Alfred?"]

Wait... was that your voice?

Cassandra turned back to the television, only to see the camera pointed towards the floor.

["Of course, Master Y/n. Just give me one moment, I almost have the camera set up."]

Oh, Alfred was there too? What was going on?

[Light laughter was heard before you spoke again, "Here, let me help you."]

The camera began to move, and as it paned up, there you were. A soft smile on your face, shining colored hues looking at the camera as you made a few more adjustments before stepping away.

Now, you definitely looked like a teenager or young adult. Voice more matured and settled, almost calm in a way.

["There. That should be good, what do you think?" You asked Alfred, tilting your head to the side a bit, most likely looking at the butler.]

["I have to agree, Master Y/n. Everything should be working properly." Alfred then came into frame, moving towards the counter as you moved around the kitchen isle to follow him. "Now, what is it that you wanted to make this year?"]

["Oh! Right, well..." and you told him, already grabbing a few necessarily ingredients from around the kitchen.]

It wasn't long before the two of you started baking again, but this time around you were clearly more experienced than your younger self — not that Cass was aware of that anyway. You both did your own parts, working exceedingly well together as the conversation between the two of you was nothing but natural.

Cass never saw you talk so naturally, or even knew you could bake, but there were a lot of things she didn't know about you.

She could see that in the footage, you were really relaxed and happy. Almost at ease as you skillfully moved about, as if knowing the necessary steps to make what you were hoping to bake by heart, and how you navigated the kitchen made it look as if you almost knew it as well as Alfred did. It was almost refreshing to see you just be so... in tune with your surroundings, and Cass almost wished she had been there to see you bake for herself. Though she could settle watching footage of you bake for now.

Even if she didn't know why you were even baking in the first place until Alfred mentioned something about a gift for your Birthday, and how that led you to talking about some of the things your friends had given you.

This was... your birthday? Just you and Alfred?

That didn't feel right... but then again, she didn't even know when your birthday was to begin with — and now that she thinks about, had you ever celebrated Christmas with everyone? As a whole family?

... She wasn't sure.

["Are you certain that you don't want to wait, Master Y/n? You never know, someone could show up this time." Alfred asked, looking at you with slight concern.]

[You only smiled, "I'm sure. Besides, even if any of them did come, we both know that it'd be on accident." You laughed lightly to yourself, looking down at the pastry both you and Alfred had made together. "I doubt they even know when my birthday is, but that's okay." You looked back at Alfred, your smile still happy but... there was something off with it.]

["I've told you before, haven't I? You're all the company I need in this house. I'm happy just spending my birthdays like this with you." You took a piece of the pastry and ripped it off before holding it in the air, as if doing a toast, and held it toward Alfred. "So, happy birthday to me?"]

[Alfred sighed softly, but could only smile as he took his own piece of the pastry, copying your actions as he held the piece toward you, "Happy birthday, Master Y/n."]

The footage cut right after, and suddenly Cass found herself in a similar position that Jason had been in just a few moments ago. Just staring at the screen, unsure what to do with this new information, the weight on her chest growing.

Had you really spent every birthday like that? If so... then why didn't you tell anyone? Or had you tried, only for nothing to come of it?

The thought alone hurt, strangely enough, and all Cass wanted to do was... well. She wasn't sure.

She wanted to do so many things, and yet she didn't know if anything would work. Or if anything she could do would fix... well, anything at all.

She wanted to try your baking and... and celebrate a birthday with you. Or maybe she just felt obligated to do so after having seen the recording, but a big part of her did mean it. Especially because she didn't want you to feel alone or anything ever again, not after seeing the extent it went to. Though perhaps there was some irony in that thought that Cass failed to realize.

Regardless, Cass found herself walking off too. Completely missing the figure who turned off the television, and unplugged the camera from it that held all of the footage both her and Jason were shown.

Cass was practically speed walking as she checked the library — remembering have seen glimpses of you in there before — while Jason checked the music room, only for both to turn up equally empty. Yet they kept looking. Everyone did.

Dick tried calling and texting you while trying to see if there was anywhere you could be outside of the Manor. Tim ended up helping as he ran into Dick, and was basically locating and tracking down all the places you've been to with the help of your notebooks and awards in your room. All the while listening to some very earlier pieces you've wrote and played on the mp3 player he found in your box.

Bruce was still looking all over the Manor for you, each minute that passed making him more paranoid and worried. What started as a small possibility was growing into a certainty and he did not enjoy that at all. Damian had decided to search for Alfred, since it seemed like the smartest choice if they wanted to end this quickly. Yet when he did find Alfred and asked him where you were, it turned out that Alfred didn't know where you were either.

While yes, he did know some of the teachers and coaches you've had in the past, he didn't know where you were at this exact moment. How could that be? It was simple, really.

Alfred hadn't seen you in a while either, and once that little piece of information spread around the family... what followed after could only be described as chaos.

The Manor was practically flipped upside down as Bruce, Damian, Jason, and Cass searched for you. Not a single room went unchecked, and when they still came out empty handed, their own worries began to fuel each others.

Dick was the first one to suit up and head out, already calling Barbara as night fell on Gotham, with Tim beginning to suit up — yet Jason had beat him to the punch and was out the second the Manor was cleared. Cass was next to follow, with Bruce and Damian not following too far behind. Tim only left after informing Stephanie — and after downloading some of your songs — and telling Alfred to keep a look out just in case you came back home.

In just a few hours, what started as an unusually uneventful and calm, quiet day for the family, quickly turned into one of the most panicked induced searches and painful night of their lives.

All because of you.

---------

You were tuning your guitar calmly, tapping your foot to the melody playing in your head as you hummed. The silence surrounding you was peaceful for a chance, and didn't feel suffocating or as unnerving as the silence in the Manor did.

Honestly, it took a bit of getting used to but after a few weeks you had grown to love it. Waking up everyday and having someone there to not only greet you, but actually acknowledge you also took a bit of getting used to, but you managed much more easily with that.

Sure, there were other things as well, but you eased into it and had come to accept these small things as just parts of your new life. Yet, you still found yourself appreciating and noticing the smallest things, and almost crying over them too.

It had been a few months since you had left the Manor, and honestly you couldn't be happier.

You now shared an apartment with one of your closets friends, and your career helped you cover your half of the rent, as well as other expenses. You had truly found comfort with this new lifestyle, and even if you'd like to move out of Gotham one day — you could settle for this for now.

This, you believed, was what peace truly felt like.

Even when your phone started to go off like crazy — you just took one look at who it was and rolled your eyes, putting your phone on silent as you placed it face down on the table in front of you. You didn't know what Dick and Tim needed so badly, but you were sure they'd be able to figure it out themselves. After all, they were the sons of the world's greatest detective, right? They could handle themselves.

So you just leaned back into your couch, sighing softly as you mindlessly strummed away at your guitar, smiling a little to yourself when the tune was just right. Creating a melody came all too naturally to you, and all you did was carry it on — humming softly as countless ideas filled your head. A small song beginning to form, even if unintentionally.

A song that went on — with the suffering of Gotham going on in the background. The city being cleared out and searched by the vigilantes that dared to protect it, all of it being done just to look for one person. You.

The shouts and screams served as the base, with the shattering of glass and bones being the lower kick, perhaps. The heart beat serving as the tempo, and so on.

So, just as you had years ago, you played on. Calm and happy in your own little world, unaware of the horrors to come — and destruction being made in your name.

–––––

Well, that's long, isn't it?

Might be making a another post that kind of details what some of the others did before everything went to hell? We'll see. Maybe.

Sorry again for any mistakes, especially towards the halfway point/end there.

[lost-romantique]

As heartbreaking of this sight is for Stolas to see...

So we the audience knows that the moment Stolas sees the image of Loona and Blitz hugging it destroys him because he just now realizes the gravity of the situation he's forced into.

He was ready to die for the man he loves, but he didn't expect to live and have to deal with the consequences of his own actions.

He can't see Octavia. He can't see his daughter, and that's what fucks him up so bad.

But I think ultimately, this is good for him to see and realize.

Stolas, lacks a lot of self-awareness, not just due to his privelage, but just from the fact that he's never had to deal with consequences so severe before that were the direct cause of his own actions.

Don't get me wrong, Stolas made the right decision in saving Blitz, since he never really had time to make a decision...

But it doesn't change the fact that he never really thought to consider how his decisions or his actions in general would negatively effect the people around him...

Since, you know, Stolas tends to get stuck in his own head without considering the bigger picture.

Because Stolas only cares for two people: Octavia and Blitz.

Yet, despite the fact that he cares for them deeply, he doesn't understand them and their needs...

He's aware that Blitz has some deep rooted issues that cause him to hide behind a mask...

But he isn't aware that gestures such as asking him about his day, commenting and liking his photos, and laughing at his jokes, and giving a giant magical rock in the form of a love confession aren't exactly the way to break through his tough exterior.

(I don't blame Stolas for this, Blitz makes thing extremely difficult in general, but you get what I mean)

He's aware that he needs to be there for his daughter.

But he isn't aware how leaving her in the dark in a desperate bid to protect her youth is ultimately doing more harm than good.

I feel like a part of Stolas feels that as long as he apologizes to Octavia and comforts her than she would always forgive him. So Stolas kinda unknowingly takes advantage of his daughter's love for him even when doesn't mean to.

For example, the events of Western Energy weren't much of a learning experience for Stolas as it was for Blitz because Stolas knows that this is only happening to him because Stella hates him and wants him dead.

He leaves the events of that day emotionally and physically scarred, but doesn't directly learn anything from it except the disillusionment of Blitz being his knight in shining armor that would come rushing in guns blazing in the name of love.

To me Stolas' biggest sin isn't his privilege, it's moreso his inability to see the bigger picture and that yes, actions have consequences.

But that's just my take on things...

Also...

I think it's important for Stolas to see this side of Blitz. The side of Blitz that he isn't familiar with outside of the bedroom.

The seething self-loathing that manifests in the form of crossed out photos. The sheer loneliness he feels majority of the time by just forcing himself to put up a front.

The side of Blitz that is also a caring and doting father that would do anything for his daughter. The kind of father that will always put his child's needs first.

The boss of I.M.P that always strives to succeed and go above his lot in life, always making sure his people or his found family are taken care of.

Again, that's just my take on things.

I feel like a lot of people are too busy focusing on the negative, instead of seeing how much this change is going to benefit Stolas in the long run.

[cy-cyborg]

The Jaws Effect and what it means for media representation

The Jaws Effect is the name of a phenomenon that described the panic and fear that sprang up around sharks, fuelled by Steven Spielberg's movie, Jaws. While the fear of sharks and other marine predators had always been a thing, Jaws launched the fear of sharks, and Great White Sharks in particular, to new (and mostly unfounded) heights. Most people will never encounter a real-life shark and so their only knowledge about the creatures come from movies and other forms of entertainment. Entertainment that largely portrayed them as mindless, unfeeling killing machines. After Jaws, sharks became a staple in the creature-feature genre of movies, which only perpetuated the idea of sharks as dangerous monsters even further, reigniting and reconfirming the beliefs the public held about them in the process. These ideas about sharks are, of course, not true, but the misconception and fear has had a real, observable impacts on shark populations, shark conservation efforts and even laws and legislations surrounding sharks and shark conservation around the world.

Ok but Cy, this is a blog about disability and disabled representation, what do sharks have to do with anything you talk about? Well, Because The Jaws Effect is just one of many examples that shows how massive of an impact representation in the media can have, for better or for worse, especially when talking about subjects the public generally knows very little about.

This conversation is not unique to disability representation, nearly every person I've seen who's talked about how to write and design characters from any minority brings it up eventually, but the media we consume, the movies we watch, the books we read can all have big impacts on people's perceptions on those topics. When talking about disability specifically, it's an unfortunate reality that not many people know all that much about us, and so, much like sharks, for many, their only real exposure to disabled people is through the media they consume.

If you don't know anyone in a wheelchair, and your only knowledge of life as a wheelchair user comes from books and movies like Me Before You, of course you're going to (spoiler) come away thinking that life in a wheelchair is horrible and death is better than living like that. If you don't know any DID Systems and your only exposure to a condition like that is through movies like Split (and honestly, a number of other horror movies and crime shows) of course you'll think people with DID are unstable monsters who could become violent any moment. If your only exposure to autistic people is Music, then it's not shocking that you might think Autistic people are "trapped in their own minds," completely unaware of the world around them and lacking any kind of agency. As much as I'd like to be able to say these are "just movies" or "just books," and that if we don't like them, we can just not watch them, they all had an impact on the real world and real people's perceptions of the disabilities they depicted, as do the many, many smaller examples of bad representation.

This is why I personally spend so much time focused on the portrayal of disability in the media, why so much of my content is focused on creating resources for creators to represent us better, and why I think writers, artists and other types of creators should care about the representation they include.

Unfortunately, people believing misinformation and stereotypes, while annoying, isn't the worst of the impacts bad rep can have. If a stereotype is prevalent enough, and enough people believe it, it can both put us in harms way and cause us to loose access to things we desperately need and things designed to help us. One really common example of this is when movies and TV shows show a character getting up out of their wheelchair, and use this as proof that the person is faking being disabled. However, in reality, there are many disabilities that might mean someone has to use a wheelchair, even if they can still walk a little bit or stand up. The stereotype of someone standing up from their chair being a fake, especially when it's reinforced over and over again in the media, leads non-disabled people to believe that anyone who stands up from their wheelchair is faking, and results in a lot of real disabled people being harassed and denied things like access to disabled parking, toilets and other accessible spaces. There were even a few cases of people reporting those they see get out of their wheelchairs to Centrelink (The Australian "welfare" department, for those not familiar) as frauds, and while these investigations don't usually go far before someone realises what's happened, it has, on occasion, resulted in people loosing the income they depend on to survive, even temporarily.

But the impact of representation, of course, can go both ways.

I was in high school when the first How To Train Your Dragon movie came out, and at the time, I didn't really like people being able to see that I was a leg amputee because I was sick of kids in particular staring, pointing at me, asking their parents "what's wrong with them?" or asking me directly, "what's wrong with your legs?". I wore long skirts and big, bulky tracksuit pants to keep my legs covered, something that became dangerous in the hot Australian summer, but I didn't care.

But the impact of How to Train Your Dragon came in two ways. The first, was that it was one of the first times I'd seen an amputee (or rather, multiple amputees) who didn't keep their prosthetics covered or hidden, and it gave me the little boost in confidence I needed to do that myself and wear clothing that was more comfortable and functional. And second, the comments from children changed, albeit slightly, but enough that it was noticeable. The questions and comments went from "what's wrong with you?" to "oh cool, your legs are like Hiccup's!" I even had one little girl ask me once if I had a pet night fury. They went from being scared of me and my legs, or at the very least concerned for me, to genuinely curious and impressed. While reactions like that did become less and less common over time, they didn't fully go away either. Even today, I occasionally get young kids asking me why I have legs like hiccup. A friend of mine who was born with one arm shorter than the other and without fingers on that side had a similar experience with the movie Finding Nemo. Her disability was a bit more complex than what I described here, and she always found it hard to explain "what happened" to small children, however, after Finding Nemo came out, she was able to simply tell kids "this is my lucky fin, like what nemo has!" and that was enough to take her from someone "scary" to these kids to someone like their favourite characters.

Of course, it's much easier to see the impact positive representation can have on people's perceptions when we're talking about kids media, but it's not exclusive to it either.

When it comes to a minority like the disabled community who are so thoroughly misunderstood by the wider public, misinformation can and does spread easily. What people see and read in the media they consume plays a big roll in how people perceive the real people attached to the stereotypes. We often hear people say "Fiction imitates life" but the reverse can and often is also true, life can imitate and be influenced by fiction, and those of us creating should be mindful of this, especially when we're talking about a group of vulnerable people.

[Thumbnail ID: An illustration of a Great White Shark swimming near the rocky bottom of the ocean, surrounded by silver fish. In the bottom left corner of the image is "The Jaws Effect and what it means for media representation" in big, white bubble text. /End ID]

[rsventhesecondd]

GENSHIN MEN WHO ,

featuring . scaramouche and kazuha ! part 1

warnings . kind of cliché, heavily rushed — so sorry!

note . yes, this was edited incase some of you notice :3

kaedehara kazuha ! interviewing— now..

kazuha. who always watches your favorites show(s) , series, with you. Despite being tired from work, when he comes home— that smile of yours is enough to soothe him.

what's something that you haven't told your lover?      

" One of [name]'s favorite thing to do while watching is munching on something with me, specially sour punch bites. They always takes all the red ones because I don't like them.  They always say how lucky it is that it turned out that way since it was their favorite, and it reminded them of me. " kazuha says in a soft tone. 

" The red ones are also my favorite, but they can have them. " he said with a genuine smile.

I think he's the type of person that would genuinely look like this ' :) ' because he can't help himself from smiling too much when he talks about you.

— 🍁

raiden kunikuzushi ! interviewing— refused?

scaramouche. who always curses at you over small things and acts like he hates you, but he doesn't actually mean it. He just genuinely has a sharp tongue as effect from all the trauma and abandonment he has experienced. 

But at the end of the day, he is there when you need him the most. Even though it might seem like the opposite, he just hasn't felt this type of affection from anyone at all in a long time, so he feels confused as on what to do with genuine love.

what's something you haven't told your lover?

" Who are you to ask me such questions? " — " Um, your interviewer?"

" Whatever! I'm leaving, this show isn't shit anyways" , well that's how the interview goes. cannon because I say so, but I'll tell you in his place for the sake of the show.

something he doesn't tell you .  despite acting all uninterested with what you feel or other opinions , he actually tends to be considerate. He just doesn't know how to show it the usual way, so he shows it in his own. You don't like ' —— ' ? Okay, he'll keep that in mind. You like ' ——— ' ? Okay, he'll keep that in mind aswell.

he's like your grandpa that when you say something like for example " This bread tastes good. " then the next day, you literally have a whole box of them. And when you question him why there's so much, he reasons 'he bought it along the way'. 

—👾

[goodolreliablejake]

Fantasy races are an uncomfortable concept, because they present a world that literally works the way racists think that it works. The attempts to mitigate this problem often fail to address the core concern, merely making the idea more palatable.

A big example is trying to correct by changing the language from "races" to "species." This attempt fails for two reasons:

1) Exactly! Racists think that people of other races are a different species. That's the foundation of "race science," phrenology, all of it.

2) Are demihumans different species, though? Like, the interactions between elves and dwarves don't resemble the interactions between different species in our world. They don't act like snakes and lemurs, or whales and krill, or even cats and dogs. More often we've got different groups of people, who may speak different languages and have different cultural practices, engaging in diplomacy or war and struggling to coexist. In practice, they are treated as nations: ethnicities. Except they're ethnicities who are biologically distinct enough to have objective differences in ability.

This is something that puts me on edge in Mass Effect, otherwise one of my favorite games. True, the game ultimately lands on condemning the genophage, and it's not subtle about that. I mean just look at the name... But it's still considered debatable, morally grey, and Mordin Solus remains one of the most charming and enduring heroes of the series. The setting has bent over backwards to make every racist stereotype and talking point as legitimate as possible. In this setting, it is objectively true, scientifically proven that it is in the DNA of Krogans to naturally be violent, warmongering killing machines whose explosively rapid breeding poses an existential threat to the galaxy. That in turn is meant to make us think that maybe forced sterilization is something worth considering. It's hard to ignore the parallels to real life racist propaganda. I don't think it's malicious, just ungrounded and thoughtless; the result of creators to whom these ideals are abstract thought experiments, rather than reflections of real history.

Another big example is Dark Elves. They try to make it okay, to mitigate the message by fleshing them out as characters, by scapegoating an abusive deity rather than an ingrained nature, by erasing the monster manual description that reads "Always Chaotic Evil," by trending skin tone away from black and towards purple, or gray, even pale white. But none of it really changes the core issue, does it? The idea of drow is to equate dark skin with evil, to fetishize that idea, and to tell a story about a subsect of people cast into darkness as a result of sin in a direct parallel to racist Christian beliefs about dark skin being a curse or punishment from God.

So, do I think we need to cancel Mass Effect and stop playing D&D or telling stories about drow? No, not really. I mean... I do all these things. Truth is, I don't have an actionable solution, for myself or anyone. But the dynamic is clearly present and worth describing. And the attempts to challenge it are often insufficient, more about making ourselves feel better about what we're already doing than enacting real change.

[inky-duchess]

Fantasy Guide to Creating Your Own Language

When writer's set out to world-build, language has a huge role in creating new cultures and lending a sense of realism to your efforts. A world and people just feel more real when language is involved. As the old Irish proverb says "tír gan teanga, tír gan anam”. A country without a language, is a country without a soul. So how can we create one?

Do Your Homework

First things off, you should start by studying languages. Nobody is asking you to get fluent but it's important to understand the basic mechanics of language. You will start to see certain tricks to language, how verbs are conjugated and how gender effects certain words. It will be easier to make up your own when you know these tricks. For example, in Irish one doesn't scold but "gives out to" - "a thabhairt amach". In German, numbers are arranged differently to the English with the smallest digit arranged before the tens for example 21 - Einsundzwanzig. By immersing yourself in an array of different languages (I recommend finding ones close to how you want your language to sound), you can gain the tools necessary for creating a believable language.

Keep it Simple

Nobody expects you to pull a Tolkien or channel the powers of David J. Peterson (hail bisa vala). You're not writing a dictionary of your con-lang. You will probably use only a handful of words in your story. Don't over complicate things. A reader will not be fluent in your con-lang and if they have to continually search for the meaning of words they will likely loose patience.

Start Small

When you're learning a language, you always start with the basics. You do the exact same when writing one. Start with introductions, the names of simple objects, simple verbs (to be, to do, to have for example) and most importantly your pronouns (you will use these more than any other word, which is why I always start with them). Simple everyday phrases should always be taken care of first. Build your foundation and work your way up, this is a marathon not a race.

Music to the Ears

If your creating a new language, you're more than likely doing it phonetically. Sound is important to language and especially a con-lang because you want to trick your reader into thinking of a real language when reading the words on the page. I suggest sitting down and actually speak your words aloud, get the feel of them on the tongue to work out the spelling. Spellings shouldn't be too complicated, as I said before the readers aren't fluent and you want to make it easier for them to try it out themselves.

Also when you're creating the con-lang, it's important to figure out how it sounds to an unsuspecting ear. If a character is walking down a street and hears a conversation in a strange language, they will likely describe to the reader what it sounds like. It might be guttural or soft, it might be bursque or flowery. It's always interesting to compare how different languages flow in the ear.

Writing in Your Language

Now that you've written your language and created some words, you will want to incoperate them into your story. The way most writers do this is by italicising them. As a reader, I generally prefer authors not to go too overboard with their con-lang. Swathes of con-lang words might intrigue a reader but it can leave them confused as well. It is better to feed con-lang to your readers bit by bit. In most published works writer's tend to use words here and there but there are few whole sentences. For example in A Game Of Thrones by George RR Martin, has actually only a handful of short sentences in Dothraki despite the language being prevalent throughout the book. Daenerys Targaryen pronounces that "Khalakka dothrae mr’anha!"/"A prince rides inside me!" and it's one of the only sentence we actually see in actual Dothraki.

There's also nothing stopping you from just saying a language has been spoken. If you're not comfortable writing out the words, then don't make yourself. A simple dialogue tag can do the trick just fine.

Know your Words

I do recommend keeping an actual record of your words. Make a dictionary if you want or a simple list of words you need. This is one of the most entertaining aspects of world building, have fun with it, go mad if you like. Also here's a short list of questions you can ask yourself about language in general which might help your juices flow.