#» LIGHTS OUT ( CRACK )

[yelsapo]

"It was the wrong anagram" needs to be added to the list of dw lines that sound arbitrary on their own but are absolutely HORRIFYING in context

[hinamie]

so just know, I'm healing / even though it don't feel like it

insp

[mugwot]

someone

[idiotdriftinginspace]

Another summer doodle :D

idk if somebody have done this already but one day the inspiration strucked me like a fright train and i had to draw it

i was THIS CLOSE to finishing it and posting before the second OH SO BEAUTIFUL AND AMAZING trailer, oh well ¯_(ツ)_/¯

also the og bg is staying because:

1) i don't want to draw something else; and

2) i find it 1000 times funnier that they ended up in a prison van and that they were in school (hey guess what, now i have like 2 ideas for AU's-simply because of the unchaanged background...AND THE MOVIE ISN'T EVEN OUT YET)

Part 1 Part 3

og photo under cut:

[fatedroses]

More than just the Demon.

[froggtogs]

breakfast!

[waytooinvested]

Fic: Small Problem...

A silly little story inspired by this adorable art by @art-by-ilaa19

.............

There was a low, sonorous BOOM, and before she had quite caught up with the fact that anything had gone wrong, Lena found herself sailing through the air as a blast ripped through the Tower. She braced herself for a painful impact, but by incredible good fortune the force threw her directly at the couch, where she landed with a small ‘oomph’ as the wind was knocked out of her.

She lay still for a couple of seconds, struggling to draw breath into her lungs, then fought her way free of the collapsed cushions to make sure her friends were safe and take stock of the damage.

As shocking as it was to be suddenly thrown several feet, the incident actually seemed to have been pretty minor – more a pulse of energy than an actual explosion, really, though it had apparently been enough to knock everyone off their feet.

Kelly and Alex were kneeling beside the bookcase they had hit comforting a crying Esme, though thankfully the little girl seemed to be more startled than actually hurt, having been caught and buffered from the falling books by her moms.

Nia had ended up on top of Brainy on the floor, but from the way they were now staring into each other’s eyes, Lena deduced that they were no worse for wear, and glanced away quickly before she started to feel like an intruder on the moment they were so clearly having.

J’onn was bemusedly brushing soil and flower petals out of his hair after a collision with a pot plant, but the plant had decidedly come off the worst and he seemed to be more or less fine, even with the fetching addition of a Michaelmas daisy tucked rakishly behind one ear.

And Kara was-

Not there.

Given her powers the girl of steel should have been barely ruffled by a force that hadn’t even blown out the windows, and yet one minute she had been standing by the work bench, and now she was… nowhere.

‘Kara?’ Lena stood up gingerly from her place on the couch and looked around, anxiety beginning to stir in her belly.

‘Did anyone see what happened to Kara?’

Distracted from their own minor disasters, everyone turned to look at her, then to glance around the room as if Kara might be simply hiding behind something.

‘You two were cosied up together over something before the blast hit. Didn’t you see where she went?’

Alex’s question would once have made Lena’s hackles rise, but she understood now that it was concerned, not accusatory, and she just shook her head, worry sinking its claws ever deeper with every second Kara failed to reappear.

‘Uuuuh… guys? Wherever Kara is, I think she left her clothes behind’.

Nia had finally managed to disentangle herself from Brainy, and was pointing at the heap of cloth that as yet had gone unnoticed beside the workbench.

‘Oh, that can’t be good…’

Without quite knowing how she had got there, Lena found herself kneeling over the crumpled supersuit, lifting it carefully as if Kara might somehow still be hiding inside it. The fabric was warm from her skin, and Lena had to resist to urge to bury her face in it to hide her tears. It felt like they had only just got Kara back from the phantom zone, and now she was just gone again? So suddenly, and without any warning that she had even been in danger.

‘Hello? Can anyone hear me?’

Lena froze.

The voice sounded muffled and very far away, but she had heard it. She was almost certain.

‘Kara? Is that you? Where are you?’

‘Lena? Thank Rao! I’m not sure, I’m trapped somewhere. Some kind of dungeon I think? It’s small and dark, and it smells weird. Can you get me out?’

‘Kara? It’s Alex, we’re all here. We can hear you, just, but we can’t see you. We’re going to work out where you are and get you out. Do you remember how you got there?’

They all held their breath as they listened for Kara’s next message, focusing hard to pick up the distant words.

‘I was in the Tower, then there was an explosion, and I fell. There was a sort of tunnel... I’m at the bottom of it now, but the entrance sealed up behind me’.

The others glanced at each other, all trying to puzzle out what sort of portal Kara might have gone through to end up where she had described and yet still be audible from the Tower. All but Lena, who, being closest, had picked up the direction of the voice. A sneaking suspicion was growing in her mind as she honed in on it and put the pieces together with what Kara had told them.

It couldn’t be… could it?

She rummaged through the layers of discarded supersuit until she reached the knee high boots, which had folded over on themselves without the support of Kara’s legs inside to hold them up. She picked up the left one and peered inside, down the long tunnel of red leather it created.

Nothing.

Feeling a little silly now with everyone staring at her with expressions ranging from baffled to bemused, she picked up the right, and was instantly met with a tiny yell of alarm.

‘Woah! The room’s moving!’

Ah hah.

Lena laid the boot out very carefully on its side, and help the top part open.

‘Kara? Has the tunnel open up again now?’

‘Yes! How did you know that?’

‘I just- well, you’ll see in a minute. Follow the light. But uhh… try not to be too alarmed when you get out. We’re going to fix this, okay?’

They all stared as, blinking against the comparative brightness of the room, a tiny figure emerged from the boot’s opening.

Esme let out a shriek of pure joy, tears entirely forgotten, and would have thrown herself across the room to scoop up her now doll-sized aunt had Kelly not put restraining arms around her.

‘No baby, you might hurt her by mistake. Lets stay back here a minute and let Aunt Lena do it, okay? Lots of big people around her might be a bit frightening for Aunt Kara right now’.

And the sudden loud yell had indeed seemed to startle Kara, making her flinch and dive back into the mouth of the boot. Lena lay down on her side so she could see inside, head level with the cave-like opening.

‘Hey, it’s alright Kara. You’re safe. We’re still in the tower. You seem to have… shrunk, somehow, but we’re going to figure out how to fix it, okay? I promise’.

She kept her voice quiet and coaxing, trying not to frighten Kara any further even as she struggled to wrap her own mind around what had just happened.

‘I… shrank?’

‘It does look that way. You’re inside your boot right now’.

Kara stared up at Lena, then around at the shadowy recesses of her refuge, and finally down at herself. She said something too quietly to pick up, though the tone was bordering on panicky, then she called out again, clearer now that she was no longer muffled by layers of leather.

‘Um… okay. So I have total faith that you’re gonna find a way to full-size me again, but in the mean time… does anyone have anything I can wear? I am… more naked than I realised’.

In the circumstances, Lena hadn’t quite taken in that part either until it was pointed out to her, but... yep. Kara was naked. Extremely, totally, life ruiningly naked. It was something she had fantasized about too many times to count through their years of as-yet-unacknowledged physical chemistry with each other, but if she was ever going to be lucky enough to get there for real, this was not how she had imagined it would go.

Lena averted her eyes quickly, her cheeks heating inconveniently in response, despite the fact that the situation was about as far from sexy as it could get, and Kara was at this moment only around four inches high.

‘Right, of course, I’ll find you something. Stay there a minute, okay?’

Finding miniature clothes on short notice was easier said than done, and in the end they had to settle for a kleenex, which Kara wrapped around herself toga-style, and secured with a hair elastic offered up by a still-delighted Esme. It was pink and sparkly, and had a plastic glitter butterfly ornament attached to it, but it was the best they could do at short notice.

Once she was dressed and had fully emerged from the boot, Lena held out her hand and Kara climbed gingerly up into it, hanging on grimly as she was lifted from the floor.

‘Are you okay? Are you hurt?’

‘I don’t think so. I’m just… a bit overwhelmed. I don’t think I like being tiny. Also… and this seems kind of insignificant compared to what just happened, but I’m really hungry’.

She sounded totally miserable, and Lena wished she could hug her friend, but she was afraid that wrapping a hand around her would feel more like being grabbed than hugged. She settled for laying a fingertip lightly on Kara’s shoulder in a gesture that, she hoped, would feel comforting rather than alarming.

‘We’re going to figure this out. But in the meantime, hungry is something I can help with’.

Cupping Kara in her hands so she wouldn’t fall, Lena carried her over to the table where various snacks were laid out to fuel them through what they had thought would be a typical day of work. Lena skimmed the various options quickly, before settling on the remains of an order of potstickers and placing Kara down very gently amongst them.

Kara’s squeal of delight was the loudest noise Lena had heard from her since she had been miniaturised, and she couldn’t help laughing as she watched her best friend launch herself at a dumpling that was almost as big as she was.

As she turned back to the others to begin the work of figuring out how to un-shrink Supergirl, she was pretty sure she heard a tiny cry of ‘BEST DAY EVER!’ from inside the box.

It looked like Kara might just have found some upsides to being pocket sized, after all.

[lights-at-night-art]

because nothing matters more than the performance

[chloecherrysip]

The Power of the Star

[schrano]

"Siffrin? Are you alright, bud?"

Fanart of Siffrin from @cinnamin-is-a-star's Villain Siffrin AU fanfiction To Extend Our Reach to the Stars Above Chapter 11.

[carefulfears]

one thing that stands out to me about the IVF arc is the way that, for as much as i make fun of her for asking her coworker if she can have his babies, scully asking mulder to be involved in the biggest process of her life (and the most important thing in the rest of her life) is such a healing and reverent experience. like he says “i’m absolutely flattered,” but it’s so much more than that. it’s like…spending your whole life feeling like you should’ve died at age twelve and then being told someone just wants more of you, more and more and more, in everything.

[pazam]

Saw 200% Wolf yesterday! Fun film!

[lordacne]

if i take pics later will u guys promise to stroke my ego ???

[elven-butts]

happy n7 day everyone (except you bioware 🔪) kind of a part 2 of this. she really just refused to do anything till her hair was done. food? sleep? medical check? something for the intense pain and nausea? nOpe thAt caN wAiT. need to look cool first 😎

[phtalogreenpoison]

GUYS GUYS I JUST HAD A THOUGHT

..fyodor parenting aya.

that's it. that's the thought.

[presiding]

a doctor turned serial killer turned doctor again, an actor who paints, a gang leader, a mining baron, and a vice overseer walk into the room.

oh yeah and they lead karnaca now.

dishonored 2 is my fav game but i think it's mid, story-wise. here's why dh1 works and why dh2's overarching story sorta misses

tl;dr: story integration is critical for gameplay that offers audience payoff, but emily's personal arc from dishonor to honor is inconsistently demonstrated in the story, and is not an interactive part of the gameplay.

essay/long version under cut >

recap: what's dishonored's deal

[skip if you want] dh1 is an underdog story: corvo is an honorable man swept up in the machinations of a callous city, so his canonical ending being 'this child will rule over an empire' isn't about the child's rule but rather about corvo's reputation being restored in a more hopeful city, due to his & the player's rejection of the violent connotations of the tagline 'revenge solves everything.'

similarly, in dh1 DLCs, daud's story arc is that of an anti-hero: a dishonorable man who realises too late he has done irreparable harm. he sees the error of his ways after a single monumental death, and eventually a single life redeems him when he/the player stepped in to circumvent a terrible fate for a child, enabling her to rule unfettered.

daud & corvo come to a satisfying conclusion within the extent of their narrative arcs. it doesn't matter that a child on a throne isn't really a fix for a decaying empire - the player's actions throughout the city of dunwall was what mattered - and these stories could be framed as parables. in that sense, young emily as a ruler is a metaphor for a hopeful future for the city & empire.

dishonored 1 & its DLCs are also great examples of storytelling with perfectly integrated gameplay - you, the player, worked towards the outcome that redeemed the protagonists.

in your efforts to save young emily, you either achieved a good outcome (corvo) or prevented a worse outcome (daud).

bringing us to dh2 -

what's emily's arc

emily's arc is a coming of age: we're introduced to a reigning empress who questions her role & skillset ("am i the empress my mother wanted me to be?"), then her titular fall from grace occurs. from there, she learns to reject the violent, selfish connotations in 'take back whats yours' tagline (a la daud & corvo!) while rediscovering why her rule is critical to the empire.

emily's rule is no longer metaphorical, but:

a literal thing for audience assessment (is emily a good ruler?) AND

the crux of her storyline.

at the beginning of dh2, emily is introduced as a disengaged leader ("i wish i could just run away from all this;" "i dont know if whether i should sail to the opposite side of the world, or have everyone around me executed"). the antihero has a precedent for the dishonored series in daud, so it's not at first glance an issue*, however, the fact that emily has ruled poorly reframes corvo & daud's endings as being less than ideal (a moralistic retcon) *we could talk here about how ready an audience was in 2016 for a flawed women as a protagonist, hell, even in 2023,,,

throwback to the beginning of this essay when i said:

'this child will rule over an empire' isn't about the child's rule but rather about corvo's reputation

emily's story arc, unlike for daud & corvo, is literally about the quality of her rule. we're no longer in metaphor territory (ironic phrase): a parable-style ending doesn't work.

does emily become a good ruler

we know she becomes a good ruler because the game says so. it is narrated to the audience via a (literal) word of god in the space of 30 seconds, after the final boss. the outsider tells us that emily becomes known as Just & Clever.

drawing a distinction here - this narration is not the same as the player actively being involved.

the player does not throughout the game become aware that emily has made political allies. during the game, she doesn't talk to these characters about saving karnaca or being a better ruler to the empire (there's a few lines might imply it, but you need to be actively looking and being careful to wait for every voice line. it's a far cry from daud & corvo's fight to save emily being unmissable - even though daud doesn't know at the beginning that's the goal).

how does the game show it

you can coincidentally not kill most of your subjects and never be aware that emily is looking to restore karnaca by means of instating a council - it's never brought up. it *couldn't* be brought up, because that council serves under the fake duke (armando), who is the last person she speaks to before she leaves for dunwall. its her suggestion that he rules karnaca, but armando's condition is that he will rule as he sees fit.

to back up a bit, emily's canonical method of restoring karnaca is by banding together key allies - hypatia, stilton, [byrne &or paolo], pastor, under a council beneath the duke's body double. they are passionate people who would each individually make worthwhile advisors, but if you think about those characters sitting at a table trying to reach an agreement, it feels like an assortment of people that emily didn't kill along the way and doesn't feel organic (up to interpretation). it's not stated if emily herself banded this council together, but logically she must have (worth a mention these are mostly characters that you as the player had reasonable rationale to kill during a high chaos run, except pastor). the underlying concept may be that karnaca's power is returned to its people - which is interesting given that the monarchy remains and armando's decision is final.

this overarching solution could also be taken as a critique to dh1's 'put your kid on the throne,' which is another reason its worthwhile looking at how emily was shown to be a better leader. obviously my point isn't that her solution was bad given the circumstance, but i mean she has very little agency here in all. if emily was shown to be more controlling as a leader, this could be interpreted as character growth, but that's not the case.

coming of age

how do you learn & grow when you can't specify your failings? emily doesn't really touch on her shortcomings as an empress. she non-specifically worries delilah makes a better empress than her. it's hard to argue her worries are meaningful when someone good at their job will still worry when lives are in the balance.

emily's best 'aha' moments (eg. crack in the slab comment about gaining perspective) are consistently undercut by a conversation with sokolov or meagan afterwards in which she demonstrates she hasn't learned anything (before the grand palace, emily condemns 'toadies sucking up to me' and is reminded by meagan that she's part of the problem). the story is confused about what it's trying to say about emily's progress, and when she's meant to show progress, if she was meant to show any progress at all. it could be argued that emily was never even a bad ruler, she had just been fed misinformation about the problems in karnaca and been the victim of slander by her political enemies. the game doesn't make this clear - it's easier to argue that the opposite is true given that her allies only have criticism.

worth a mention here that the heart quotes about armando - a fake ruler - interestingly mirror emily's character concerns. "see how he sighs? his life is a gilded cage." but this essay is already long.

while corvo & daud spend their games (and through the gameplay) 'earning' their redemption, emily is being led by the NPCs around her to a conclusion and a fix for the political mess in karnaca: meagan & sokolov guide emily to her missions, and there's no recurring quest for emily to investigate possible allies. she is able to gather the people she hasn't killed to herself by manner of... post-game narration. during the game, she's primarily concerned with getting her throne back.

an easy fix: if there had been less dialogue & narrative focus on emily's failings perhaps the ending would have felt more satisfying. it has the feel of cut content, but i don't know what was cut to be able to comment on it.

so what went wrong?

i can't help but wonder if arkane were worried they would lose a certain demographic if corvo wasn't playable (may have been deemed too much of a risk - 2013 was a different time), and so they had to take out story elements that were unique to emily's growth as a character/empress, because the usual storyline/gameplay integration had to work for both characters - in other words, gameplay that made sense for both corvo & emily was prioritised before emily's story & character development. which is a silly problem to have in a game that added character voices for the sake of improving characterisation - maybe emily's tale would have felt more akin to a parable if she had less lines that betrayed her ignorance (to the disdain of those around her).

i wish more care had been taken with emily's story. most players will never really notice the large variety of different endings - they're not particularly satisfying in and of themselves.

it's ironic that one of Emily's complaints is about her father/protector being overbearing, when his (parallel universe) presence in the gameplay may be one of the reasons her own narrative arc falls flat.

what are the upsides here

changing tune from what didn't work - don't you think the concept is fantastic? it's a great idea overall - can you imagine if the coming of age storyline was better integrated into the game?

it's valuable to talk about the integration of story and gameplay and characterisation from a craft perspective. dh2 genuinely is my favourite game - it's beautiful, the imm-sim design philosophy makes the world a delight to explore, the combat gives endless creative options for tackling any fight, there is a far greater diversity of cast in an in-text canonical way. there's loads to love!

i love emily as a dodgy leader, to me it adds interesting dimensionality to the outsider's narrations - of course in dunwall there's never a neat happily ever after! emily, like the outsider, both work well as characters who hold ultimate power but aren't necessarily worthy of it - and this makes perfect sense for the dishonored universe's morality & critiques of power. however, within this grey area there's still plenty of room for a satisfying ending, which isn't what we ended up with, whatever the true reason for that was. and also, damn, emily's a marked assassin empress, if she can't lead well then who can?

while dh1 was criticised for its narrative simplicity, dh2 in contrast and in hindsight shows us that simplicity isn't so bad - there's satisfaction in gameplay achieves a clear, simple narrative goal.