#writing this killed me i think

[hinamie]

unconditionally

[inkskinned]

at some point it's just like. do they even fucking like the thing they're asking AI to make? "oh we'll just use AI for all the scripts" "we'll just use AI for art" "no worries AI can write this book" "oh, AI could easily design this"

like... it's so clear they've never stood in the middle of an art museum and felt like crying, looking at a piece that somehow cuts into your marrow even though the artist and you are separated by space and time. they've never looked at a poem - once, twice, three times - just because the words feel like a fired gun, something too-close, clanging behind your eyes. they've never gotten to the end of the movie and had to arrive, blinking, back into their body, laughing a little because they were holding their breath without realizing.

"oh AI can mimic style" "AI can mimic emotion" "AI can mimic you and your job is almost gone, kid."

... how do i explain to you - you can make AI that does a perfect job of imitating me. you could disseminate it through the entire world and make so much money, using my works and my ideas and my everything.

and i'd still keep writing.

i don't know there's a word for it. in high school, we become aware that the way we feel about our artform is a cliche - it's like breathing. over and over, artists all feel the same thing. "i write because i need to" and "my music is how i speak" and "i make art because it's either that or i stop existing." it is such a common experience, the violence and immediacy we mean behind it is like breathing to me - comes out like a useless understatement. it's a cliche because we all feel it, not because the experience isn't actually persistent. so many of us have this ... fluttering urgency behind our ribs.

i'm not doing it for the money. for a star on the ground in some city i've never visited. i am doing it because when i was seven i started taking notebooks with me on walks. i am doing it because in second grade i wrote a poem and stood up in front of my whole class to read it out while i shook with nerves. i am doing it because i spent high school scribbling all my feelings down. i am doing it for the 16 year old me and the 18 year old me and the today-me, how we can never put the pen down. you can take me down to a subatomic layer, eviscerate me - and never find the source of it; it is of me. when i was 19 i named this blog inkskinned because i was dramatic and lonely and it felt like the only thing that was actually permanently-true about me was that this is what is inside of me, that the words come up over everything, coat everything, bloom their little twilight arias into every nook and corner and alley

"we're gonna replace you". that is okay. you think that i am writing to fill a space. that someone said JOB OPENING: Writer Needed, and i wrote to answer. you think one raindrop replaces another, and i think they're both just falling. you think art has a place, that is simply arrives on walls when it is needed, that is only ever on demand, perfect, easily requested. you see "audience spending" and "marketability" and "multi-line merch opportunity"

and i see a kid drowning. i am writing to make her a boat. i am writing because what used to be a river raft has long become a fully-rigged ship. i am writing because you can fucking rip this out of my cold dead clammy hands and i will still come back as a ghost and i will still be penning poems about it.

it isn't even love. the word we use the most i think is "passion". devotion, obsession, necessity. my favorite little fact about the magic of artists - "abracadabra" means i create as i speak. we make because it sluices out of us. because we look down and our hands are somehow already busy. because it was the first thing we knew and it is our backbone and heartbreak and everything. because we have given up well-paying jobs and a "real life" and the approval of our parents. we create because - the cliche again. it's like breathing. we create because we must.

you create because you're greedy.

[secretly-a-trekkie]

he needs his floor time

[mipexch]

comic about v2 and the goal they'll never fully reach alongside a dissatisfying conclusion. intimate rivalry and all (alternative ending comic. V1 dies instead of V2 during 4-4. V2 is narrating. V1 is dead.)

[bixels]

The Ryoko Kui interview's reception is such a disaster over a pretty normal (yet still flawed) interview between a non-Japanese fan and Japanese artistic. This is discourse for discourse's sake, and it's no surprise that almost every Twitter user I've looked at who's using this interview to parade Kui around as a goated mangaka standing strong against Western ideology is anti-trans.

Like, I do think the interview was kinda wonky with its focus on fandom culture, which Kui clearly didn't have much interest in. But sometimes that happens. Sometimes interactions between two people, especially a fan and a creator, two people who view and interact with a piece of media in completely opposite perspectives, don't click. Does this really need to get blown up into a "West vs. East culture war" issue.

Anyways, Kui saying "I don't consider my audience's interpretations when writing. I leave it to their imaginations, but I have my own read on things too" is the healthiest, most normal thing an artist/writer who wants a non-parasocial audience could say. Artists and writers use this line all the time. If Kui didn't enjoy autistic Laius or Farcille headcanons, she would have probably voiced/signalled her discomfort, like she did on the topic of Senshi fanservice. Overall, Kui handled the interview really well. Props to her to sticking to her guns and keeping a healthy disconnect from the fandom. While I think the interviewer could've/should've been more tactful and restrained, the flaws in their questions is not a symptom of the woke mind virus trying to wriggle its way into the pure Japanese psyche. It's the sign of an over-eager fan who sees a piece of fiction differently than its creator.

[thepersonperson]

Do you know how funny it is that Sukuna is literally suffering from Gojo brainrot?

This may be an illustration of Gojo's brain damage from forcefully resetting his cursed technique, but since Sukuna is copying him (pose included), this is what his brain looks like too.

[g3othermal3scapism]

Was it casual when I made the margins of your list of rules I didn’t agree with wider because I knew you write in the margins? Was it casual when I bought you a multiple-hundred dollar customized chef coat because you mentioned that you thought mine looked cool? Was it casual when our coworker started wearing the assigned uniform and I said she was ‘dressed like you’ even though everyone else also wore the uniform? Was it casual when I waited all night after the soft open of our restaurant to bring you coffee after you ignored me for weeks and got yourself locked in the fridge?

[obsob]

making and weaving and loving! like we have done for millennia!!

[fandom-geek]

i think the thing that really gets me about pre-canon durge is their absolute sense of duty, and their utter isolation outside of the cult of bhaal.

most of the cultists seem eager to see durge upon their return, and one even says they were the first to feed him flesh. gortash tells them of an exhibition of a bhaalspawn's corpse and another bhaalspawn's creations and durge immediately plans to attack the hall of wonder to recover them. they then apparently entrust said bhaalspawn's corpse to sceleritas fel to "restore" through taxidermy. they deride orin for her artistry with corpses explicitly because "bhaal will never care" and because orin "[does] not understand lord bhaal".

even their infamous prayer for forgiveness is framed around their absolute submission to bhaal's plans, and the crime that requires forgiveness? admiring his rival's chosen. that's one line, and the next three paragraphs are swearing to carry out his plan exactly as they've been told to, all for his forgiveness.

hell, even their room reinforces this. orin has barely touched the place aside from installing her mother's corpse and her manifesto - and that is some of the only decoration. what was it before orin, an empty room with skulls, a bed, a desk, some chests and a wardrobe?

the durge didn't have any semblance of a life outside of bhaal, aside from gortash. and is it any surprise? the only other hint they ever had a life outside of the cult is the flashback of kid durge murdering their adopted family, all thanks to their father's urging.

bhaal even tries to force them back into isolation after they've been tadpoled by forcing them to kill alfira, and then trying to force a durge who resists him to kill their lover. if they continue resisting, bhaal kills them. bhaal will not allow them to have a life outside of him and, if it weren't for jergal, he would've succeeded.

[hypertechnica]

i’m going to make fiddauthor art with fidds wearing his wedding ring and you are NOT going to like it

big obligatory banner that says “cheating is bad don’t do it i just like stories with relationship drama”

closeted, internally homophobic gay men who are married with kids has to be the trope i’m weakest to. no person involved is escaping the despair brought on by a relationship built on a well intentioned, desperate lie, born out of a desire to be normal and good

he WANTED to love her so fucking badly. he felt no ill will towards her and he loves their son more than words can say. he thought the attraction, the way she felt about him, would come with time. it didn’t. he doesn’t want to hurt her yet was doomed to from the start, and he’s truly, truly sorry. this does not absolve him of anything whatsoever and she has the full right to never want to speak with him again. he lied! he pretended to feel the same when he never once felt anything but platonic affection! he’s been in love with someone else this whole fucking time! and their kid… he’s caught in the middle of it all, too young to understand why his father would hurt his family like this.

and then he disappears and never comes back. imagine you’re 5 and your dad goes to the middle of the woods with his buddy for science shit, all of the sudden your parents are yelling on the phone and signing papers, and then he goes MIA. for years.

imagine your husbands “buddy” was the one he was thinking of all this time, not you, never you. and the first chance he gets to run away from you, he takes, and you should have been suspicious by the rushed frenzy of it all, the phone calls getting shorter and shorter until it fizzles to nothing. he forgot to get you a christmas gift. he hand-made him two. there has to be something wrong with you, it has to be your fault. you wish you married the man he becomes when he’s in his presence.

he folded when you started questioning him directly - he’d been to neurotic to ever be a good liar. you thought he was the one. he thought you were nice.

by the time the divorce is finalized he’s different in a wrong way. confused, angry, forgetful, insane - if the giant homicidal robot pterodactyl you’ve been harassed by is any indication. (he’s had a bad habit of building homicidal robots when he’s mad since they met -engineer things- but it was never directed at her - thankfully it never actually does anything) he’s clearly abusing drugs - you’d feel bad if he hadn’t abandoned you with the burden of explaining why your son can’t see his father anymore.

it’s a rotten bit of your soul, but time heals you. you move on and no longer think of him. trust in your career. find a man who truly loves you with no motives attached. raise your kid to be a good man. and in a fashion not unlike shakespearean dramatic irony, this makes him move to gravity falls to find and take care of his father. you couldn’t care less what hee doing now, but damn it, it’s his father, what is the kid supposed to do? but its futile- he appears to have no remorse, hell, no memory of the incident in the first place. (this isn’t his fault but how are they supposed to know that?) so he grows bitter and cold just like his mother used to be.

imagine that.

all over a mans inability to do anything but live in denial. to force himself to live in a box and pine like a dying man over the right one at the wrong time, destined to crash and burn. to take denial to a new level- a cult, brain damaging radiation, a total ego death - just to take the edge off. take off that damn wedding ring

[scribbyizhere]

does anybody feel Zesty abt ldr Sun?? oh hey yeah not me pffft nah. spirals

love death and rollerskates by @spadillelicious

[suntails]

hijo de la luna

[elitesheepi]

No, Zuko did not lead Katara down a "Dark Path" in The Southern Raiders

Watching Southern Raiders again, and it's bizarre to me that people read that episode as, "Zuko leading Katara down a dark path." Zuko just wants her forgiveness. He fucked up with her severely and to a level that's different from the others. She feels betrayed by him--she was betrayed by him. She trusted him and he all but spat that back in her face so yeah, she's mad. Is it selfish using her desire for justice, closure, maybe revenge to get her to stop being mad at him? Idk perhaps, if you read it that way.

But the way I read it, I read it as him using his resources to give her what she wants most, and that's her mother's killer. Since he was the face of the enemy, since he lost her trust, let him earn that trust back by taking her to the real face of her enemy.

It's the literal least he can do.

Then he steps back. Zuko let's Katara lead the mission, let's her defend herself against Aang and sadly Sokka too while only playing support. Zuko got a comment in there or two, but for the most part it's Katara doing all the talking.

Also something important people forget is that, neither Katara nor Zuko brought up revenge, that was all Aang accusing them(meant to type her, but saying them fits more) of seeking revenge. Maybe that was her unconscious motivation, but Aang was the one who brought it to the forefront of their minds. Zuko states that this is about Justice and closure, Aang was the one who made this about revenge.

After all that back and forth is said and done, Zuko is largely quiet the rest of the episode save for like 3 lines, none of them involving him telling Katara what to do or what she should do.

Katara leads the mission, Katara makes the choice to bloodbend even when Zuko was already facing the SR general on the boat. He didn't tell her to do that, he wasn't in a pinch so she would've needed to do that, hell she didn't even have to do any of that at all considering there was still water on the ground.

These were all Katara's decisions, all Zuko did was stand by her side.

This isn't me trying to say that Katara's making bad decisions. Far from it actually, I heavily agree with Katara's decisions. This isn't even a "supporting woman's wrongs" scenario either. Katara's completely in the right in my mind.

This is a mission involving finding the man who killed her mother. Not kidnapped like Appa (comparison courtesy of Aang), not whatever the hell the comics are doing with Ursa, murdered. Kya is never coming back and it's because of Yon Ra. Little Katara had to see her mother's dead body after the act was done and has to live with the pain and guilt of it all knowing Kya died to protect her. She's traumatized, she's hurt, so she's very much justified in wanting revenge and it's disquieting how so many people make this about Zuko leading her down some dark path for saying "I want to find the man who killed my mother and took her away from me." Bryke included.

Again, Zuko stands back, adds support in the fight when needed, but ultimately is there as her backup and sources.

And yet, people see all of this as Zuko leading her down a dark path. Because he dared to stand back and not talk Katara down from wanting to merc the man who took her mother away from her. What a villain, she said sarcastically.

Realistically, why would he stop her?

If anything, the fact that Zuko was the only one in her corner for this says a lot because of everyone there, he gets it. Sokka should've gotten it too, but that's a separate point for separate post.

He too lost his mother to the Fire Nation. Whether she's dead or missing, the Fire Nation and, namely his Father to put a face to it, took his mother away from him. He lost her and he believed that she was never coming back. Katara and Zuko are the same in that regard. Something he verbally empathizes with her in the Crossroads of Destiny episode.

He knows she needs this because he's been there, is there, and very much wants to have done that. If facing the Fire Lord wasnt Aang's destiny (and this wasn't a kids show, along with other in meta perspective) it doesn't feel to far to say Zuko probably would've killed Ozai.

Revenge for his mother is a side goal, but it's out of reach as of this moment. He has no information on what happened to her or where she is, so he can't do a thing. He sees Katara, someone who badly wants to regain trust with, with a similar goal and mindset and he actually has the means of helping her. Of course he takes it, but this is her mission, not his. He just provides the information and helps her getting there. That's all, everything after the fact comes down to Katara's choices.

When the moment of revenge happens and Katara decides to not kill him, does Zuko say anything? Does he asks her "what are you doing? He's right there, get revenge!" No. He doesn't say anything. He lets her leave, stares down Yon Ra for a second and follows after her in silence. You cant apply headcannon like "maybe he tried to convince her after the fact," because that can easily be countered with the head canon of him comforting her telling her she did the right thing. Going soley off what we saw in canon, on screen, Zuko watches Katara spare him from skewering the man with ice.

He does have a shocked expression in the background but that can either be read as "wow she didn't do it," or "holy shit she probably could've killed me 10 times over." Again, nothing verbal from him, only expressions, so it's hard to say firmly what he's thinking.

I got away from my main point for a second, but I'm coming back to it to say, none of this is Zuko's doing. Zuko didn't lead Katara down any path, he didn't encourage her to enact a bloody revenge, what Katara does was all her own actions, all he did was point in the right direction. Kinda shit how by making it seem like Zuko's manipulating her, it takes away from Katara's agency in the situation. She made her decisions and no man influenced her.

The only who actively tried to was her brother and Aang into forgiving their mother's murderer for some insane reason that I still can't fathom. Maybe from doing something she'd regret, possibly, but the in canon reason we get is, "don't do it. It's a dark path, you should forgive him for your own sake. Insert the Appa comparison" I bring that up again, because Appa was kidnapped, and then found again and they were all reunited. Yet Aang compared that to Kya being murdered and left for her daughter and husband to find. There's a stark difference.

Aang's pain in that regard is understandable and dare I say more supported by the fandom and show, while Katara is pratically being told by everyone save for Zuko to sit down and forgive for some inane reason that rings hollow, feels insensitive at the absolute best and takes away her agency by turning it all on Zuko as him making her choices for her.

It's shit, and an absolute misread of what the episode showed us, something Bryke somehow missed too.

I'm gonna conclude this with a quick summary of the end of the episode. Katara doesn't forgive Yon Ra, yet spares his life because he's just pathetic. Aang's weirdly giddy telling her that he's glad she forgave Yon Ra, and Katara having to shut that shit down and tell him that no, she didn't forgive her mother's killer, she never will, and she's conflicted on letting him live. Then Katara gets a soft look and smile for the first time in a good long while in the episode as she tells Zuko that she does forgive him. We get a Zutara hug (iconic) and the episode ends on a happy-ish, bittersweet note for her. Zuko does tell Aang that he's right and violence isn't what she needed (an admittedly weird line considering seconds before she just said she doesn't know if she was too weak to kill him or too strong too, implying she probably would've gone through with killing him, but whatever) but that's when Katara is out of earshot.

Zuko didn't lead her down any dark path, he left himself be lead by her and was willing to let it happen. It being whatever Katara's decision was going to be. Good, bad, middle, whatever would have happened would have all been Katara's decision and her agency shouldn't be ignored because of a bad-take misread of a pretty clear cut episode with very little ambiguity.

[damiel-of-real]

that fucking flower i hate

[russell-crowe]

house and wilson seeing each other for the first time in months in s08e02

[faeriekit]

Health and Hybrids (XXVIII)👽👻💚

[I can't remember the original prompt posters  for the life of me but here's a mashup between a cryptid!Danny, presumed-alien!Danny, dp x dc, and the prompt made the one body horror meat grinder fic.]

🖤Chapter navigation can be found here🖤 Click to browse previous updates.

💚 Ao3 Is here for all parts 💚 (now featuring mediocre mouseover translations, only available on a computer)

Where we last left off... Danny has another hashtag breakdown! Man, we've got a lot of these, huh? It's YJ's fault this time; whoopsie doodles! ¯\_(ツ)_/¯

Trigger warnings for this story:  body horror | gore | post-dissection fic | dehumanization (probably) |  my nonexistent attempts at following DC canon. On with the show.

💚👻👽👻💚

“Danny,” Diana says from the door.

Danny looks up from his place in the book. It’s definitely aimed at younger kids, but it’s a pretty wordy picture book; there are a couple paragraphs he can’t quite parse, but he’s making pretty good progress on the words he can’t recognize.

It’s a story about a cat who misses its mother. Danny tries not to relate to it too much.

“Hm?” he asks, flipping the front flap of the dust cover over his current pages to mark his place. The book goes back onto the nightstand, beside his space shuttle; Danny uses the railing beside his bed to support himself stepping up and out of his wheelchair, leaning on the railing until he can figure out…wait, where’d he leave his old people walker?

“This walk is long. You will want your chair.”

Well, then. Couldn’t she have said that before Danny did all that pulling? Danny falls back into his chair, kinda peeved. “Fine.”

Diana smiles. She doesn’t have to wear the mask around him anymore— Danny’s pretty sure that his injuries have been declared as clotted, or sealed, or whatever at this rate. They for sure swabbed his ectoplasm and came to some kind of conclusion, anyway, which means he only looks gross, but isn’t, like…actively leaking fluids.

On the one hand, gross! But, well, you know. Nothing for it but bandaids and time.

And her face looks nice. Danny hadn’t known what she’d looked like, before. She smiles when she sees him. Her light eyes crinkle, and her lips turn up… She’s nice. Danny’s sure that she’s only there to be in charge of him in case he gets scary, but she’s in charge of him and she’s nice. She doesn’t have to be nice; lots of people have been in charge of him and been mean about it. There was that one guy who kept holding him—with the taser—

(Time slips away from him, a little. When he gets back to the world in front of him, Diana is carefully looking at his face, the back of her hand stroking the back of his.)

Danny’s in his chair. He’s not…there. He’s in his chair, on a big space station (????) with a bunch of really colorful fighters on it, and Diana is touching his hand (that’s so much weaker and slower than it used to be) and he’s not hungry and he’s only scared because of memories. He’s safe. He’s not being pinned down by the neck so that they can strap down his wrists and hips to the table—they’re not shocking him—he can move his fingers, he’s not stuck in his core—

His core throbs. Danny bites into his bisected lip, and tries not to cry.

“Are you alright?” Diana asks, voice gentled. The soft touch of her hand doesn’t stop. “We can wait. There is no—“

Danny shakes his head, and takes his hand away so he could wipe at his eyes. It’s fine. Bad memories are everywhere: in the walls, in the floor, in the ceiling, in the hands of people taking care of him. That’s not… There’s nothing Danny can do about that. That just. Takes time.

…He think he might have that time. Now. He thought he would die for good in that five by five box, waiting for something that would finally end him instead of just keeping him in a cycle of injuries he never fully healed from.

But now he’s not. He’s here.

He wants to keep going.

“Alright,” Diana says, slow and careful. “Hold on.”

Danny doesn’t hold on—or, well, you know, he engages his core muscles and all that, but he doesn’t cling to his arm rests or to the frame of his chair because he knows that Diana is really, really strong, but she also really, really doesn’t want to hurt him.

She rolls him out of the medical wing and into the space station proper. Danny feels like he’s been here before, but he doesn’t remember it super well. Maybe it was when he was sick or something? Either way, a lot of different people wave at him as they go by—or just straight up stare, if they’re rude—and Danny generally just watches people rush by, carrying all kinds of equipment, and a potted plant, and a…starfish in a jar…?

Oh, the starfish waves at him???? Danny waves back because?? What??

Danny rolls to a stop at a smooth, cylindrical elevator. It looks like a giant test tube.

…Oh boy. Danny takes a deep breath, and holds it. Reflexively. Sure, this elevator probably isn’t like being dunked into water to see if his body absorbs ambient oxygen from the atmosphere or if his biology is truly not oxygen-based, but the memory is. Bad.

They go upwards. Nothing happens but Diana’s pushed button.

Danny exhales.

They get off at a section of the base Danny’s never been to, and it's essentially just a long, somewhat narrow hallway. The walls are actually painted a creamy off-white here, and there’s…like…decorative panels towards the base of his wheels trailing down the hallway? An orange ceiling, too?

Huh??

The rooms are numbered, but they’re not plain steel like in other areas downstairs; some of them have stickers, or drawings, or marker written straight onto the door itself. They look...cozy...? Danny thinks so, anyway, compared to the rest of the ultra high tech space base.

They roll to a stop in front of a door. It’s got a number on it, same as all the others, but there’s a box cutout taped to the front of it. The—

—The print is of the same style of space shuttle Danny keeps next to his bed, inked onto glorious cardboard medium.

Danny stares.

“Gegrapa,” Diana urges, so gentle. Too bad that, uh, Danny doesn’t know that one. He looks at her. She mimes touching the door— Oh. Got it.

Danny leans forward just enough to touch the door with his fingertips.

The door says something in a robotic voice, but the synthesizer is too mangled for Danny to make out the words. The door slides open horizontally into the wall, instead of the way the other doors open like portals or from below, and it’s kind of cool?

Inside is a bedroom. Danny stares.

…No, it’s actually a bedroom. Not a medical wing, not a cot, not a repurposed conference room or—it’s actually got a bed in it. Like. A real one. There’s a wooden headboard and it’s got a mattress on it that’s thicker than a VCR.

There’s constellation sheets on a bed big enough to curl up on.

There’s a nightstand, a small desk on the far wall—there’s a little lip where the bedroom dips into a tiny sitting room, a small television on a table and a small table and chair. It’s kind of…it’s kind of like a little hotel suite.

Danny’s mouth goes dry.

He doesn’t move, and Diana doesn’t wheel him in. “It’s okay,” Diana says, and—Danny almost flinches when she touches his hair, but it’s only Diana, who’s never hit him, and they’re fine. He’s…safe. It’s safe. He’s safe here. “Do you want to go in?”

Danny doesn’t move. His hands don’t touch the wheels. They’re shaking; he puts his hands in his lap and he tries to breathe. “…What?” he asks hoarsely.

“A rum for my Danny,” Diana murmurs, quietly. Danny’s heart throbs at the possessive. “You are healthier now. You do not need doctors every hour, but only sum hours. You cuðe spenda more time here, all ana.”

Words go by so fast even at Diana's smooth, unhurried pace— and Danny licks dry, split lips. He looks around the room—and the room is small, sure, but they're in space. Space will always be a premium. Even in this small room, though, the furniture is sparse and placed distant from each other…distant enough that Danny can wheel around freely in his chair.

There’s a Moon clock display hung on the wall over the doorway, and Danny can faintly see the outline of what he assumes is the current lunar phase as seen from Earth.

Having the lamp isn’t exactly the same as glow-in-the-dark-stars, and thank goodness for that. If it had been, Danny might have cried.

(Or, he realizes, something burning in his eyes that isn’t ectoplasm, maybe he is crying.)

“...Me?” Danny asks, terrified to know the answer. Is this room for him?? Is he getting a room here? Is he supposed to stay here? On the moon?! Is he supposed to stay with everyone here, in a tiny room, where there’s nowhere to go and nowhere to escape?

…It’s a bedroom. It’s already so much more than the stupid guys in white ever gave him.

“Yes,” Diana says, and lets go of his hair. “Use it, or do not. Sitta here, or sitta in the medical bay, but now you have two choices.”

Okay. So Danny has choices. He swallows his feelings—they taste a lot like snot—and rolls himself inside to inspect the room.

There’s another little fridge inside the sitting area. It’s not right next to the bed like it is beside Danny’s cot, but it is the same style of fridge. When Danny pops the door open, it has the same styles of snacks. Fig Einsteins. Peanut butter squeezies and applesauce squeezies and yogurt squeezies. Protein shakes in bottles. Pedialight. Hummus packs.

Danny might still need someone to open the snack packs for him. That’s kind of a high dexterity food, if he thinks about it.

“If you wish to sitta here, we will visit you all you like. There is a belle at your bed,” Diana says, and walks in with all her purple scrubs and tied-up hair to point to a little button on his nightstand. It’s red. It’s got a little smiley face sticker next to it, and Danny thinks he recognizes the style from one of his nurse’s bestickered name tags. Belle is probably a direct cognate for bell. He’ll be able to get everyone to come up here if he needs help.

…Okay, that’s kind of nice. To have personal space. He hasn’t had that since… Danny’s eyes squint as he thinks; he rubs an eye. Wait, when had he been squatting under a conference table? Was that a real memory??

Diana is very tall, even in the little space, but when she ducks her head, the gesture makes her a little smaller, a little more manageable for Danny’s lower-than-usual-gaze. Now that he can see her expression, she looks soft, and even uncertain, even though she looks stone and strong on the television when she goes out to fight. “Do you like it?” she asks.

Danny fidgets.

He—does. He likes it a lot. The room doesn’t have any windows, but if Danny moved all his things in here, got used to being able to come and go, and people coming in and out…this space could be just another space. It’s quieter than the medical ward. More peaceful.

…The room is utterly devoid of other people.

(Danny thinks of The Box. Danny thinks of being in The Box.)

(Danny doesn’t like remembering The Box.)

“I am scared,” Danny admits to his twitching thumbs, his fingers itching for a fidget toy or one of his physical therapy tools. Diana’s face immediately drops.

“Why are you scared?”

I’ll be alone Danny wants to say, but he doesn’t know the word for alone and he struggled with phrasing. “No…people here.”

“That is triewe. You would have more dīegolnes here,” Diana agrees, and straightens out of her crouch. “Is that good, or bad?”

It isn’t good and it isn’t bad…? Danny isn’t sure how to phrase it. It’s neither. Being alone is just scary.

“You not hurt me,” Danny tries, knowing he’s missing some connecting word in the middle. He ignores how Diana comes back to kneel beside him, because if he looks at her, he won’t say anything. “Do not.”

“No,” Diana says, from beside and below him, gentle, careful. “We do not.”

No. They don’t. Danny swallows. “Bad…hurt me.” He doesn’t know the word for Earth or planet or even downstairs, so he just meekly points downwards.

Diana stills. It’s like watching Vlad’s Maddie cat spot a bird to hunt down. Danny tries not to feel pinned. “On eorþegearde?” she asks, still light, still gentle. Danny can hear a shadow of steel, though, and he counts himself lucky that she’s never treated him like an enemy. Danny quickly nods. His eyes squeeze shut.

“Who?” Diana asks feather-light.

Danny doesn’t want to tell them what he is. Admitting the name of the agency hunting him itself would be given in.

…But maybe if he doesn’t say the name…and they...and they promised they'd help hide him...

He wants to be right. Danny wants to be right that they're nice, and that they want to help him. Danny wants to be right that they want to protect him. As long as he never, nevernotevernever tells them he's a ghost...

Maybe someone will help him. This time.

“Bad,” Danny repeats, because he genuinely has no idea how to translate?? “Wants…hurts me? For…” WHAT WORDS DOES HE KNOW? Danny gives up and just draws a y-shaped autopsy incision on his chest. It goes down from his collarbones to his belly button.

Diana watches. Her eyes are sharp.

“Do you feel safe with the staff dunstæger in medical?” Diana is quick on the ball with the question and Danny nods quickly—he’s never alone there, and no one’s ever hurt him, and people whose job it is to help people are always coming in and out, and Medical helps them too.

“Good,” Danny whispers. “Talk…talks to me.”

“Ealne weg,” Diana affirms firmly. Whatever that means. “We will cepa you safe.”

You safe and we is all Danny needs to hear. He could probably cry by himself, but Danny wants the comfort anyway; Diana lets Danny take her hands into his, and he lets tears fall into someone else’s grip instead of his own.

*

Bruce is halfway to the monitor room before he feels himself be picked up from underneath the armpits.

Usually finding himself at inappropriate heights involves horseplay from Clark. No one else would be so bold as to actually put their hands on him within the professional setting of the Watchtower—and Bruce has worked very, very hard on maintaining a reputation that keeps the handsier of his fellows at bay.

The culprit is not Clark this time. Bruce finds himself looking downward at Diana’s tearstained face, fury and resignation warring in her expression.

Bruce is careful not to sigh. “Wonder Woman. What is the matter?”

“Someone,” Diana grits out, voice carefully modulated to cut out her own pain, “Hurt my charge.”

On the one hand, the situation with their patient is exactly as Bruce had expected. The circumstance is tragic. The circumstance was predictable.

On the other, Diana's new upset means that Bruce now has more information to work with than ever before.

Bruce can work with this.

“Tell me everything.” Bruce’s voice is just as firm—even held midair like a cat. “I will help you in every way I can.”