Same As The Day I Lost You
I...
This came to me as I'm making dinner so I'll be quick.
What if we mix deaged Danny and twin/older sibling (either one works) Damian, AND he gets tossed to his sibling in a last minute escape.
Like what if he was fighting Vlad who was doing his whole "denounce your father and join me as my son Daniel!" Thing while in the Zone and knocks Danny into something that's floating in the Zone with the ability to deage or was hit by a new Fenton or Plasmius invention while fighting in town that accidentally deages him.
Danny, who in this was adopted, gets put back to the age of six. The same age he had been found by Jazz in a 'haunted' forest Jack and Maddie were visiting/investigating while also using that time as a family vacation. (They were shocked to see a little boy with a stab wound bleeding out and rushed him to the nearby town, almost completely forgetting about the glowing green tiny puddle they found nearby and bagged most of it as evidence when they heard Jazz's scream of terror over finding the hurt little boy)
The sudden revert into that traumatized age, along with the child response to a fight or flight scenario, and add Danny's deepest need/wish to be protected his child fogged mind wishes to go to the one person who always made him feel safe.
His twin/older brother.
Just as quick as it was with Danny being turned into a child, his ghost powers ripped open a portal and sent Danny to the person he wants to be with...
Only he didn't know that right at that moment his seventeen year old twin/older brother is currently fighting the League with his family's help (his mother was trying to convince him to return to the League and be it's heir) in Nanda Parbat (the very place Damian lost the last/only person he knew loved him without any strings attached.)
So imagine everyone's face when a portal opened up, some muttering its a new pit being formed before them or something, and crawling out of it is a very scared and confused six year old Danny.
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i am so sick of this
there is an established relationship between advanced age of the father and risks to the mother, to the pregnancy, to the fetus, and later to the child.
older men’s ticking biological clocks are harmful. their ages literally compound the dangers to women and to the children they have. increased age of fathers is related to things like gestational diabetes, preeclampsia, and preterm birth, just to make a few. later health and mental problems have been observed in children of older fathers.
the number of older fathers is increasing. men feel entitled to father children well into elderliness. men also tend to seek out young women with which to have these children. the maternal mortality rate in the U.S. is currently the highest it has been since the 1960s. abortion rights in the U.S. are in extreme peril. this altogether makes the risk to women who reproduce w/ older men much, much greater.
i think we as a society need to start talking about this a bit.
screenshots of additional NYT article under the cut because i couldn’t figure out how to link without the paywall.
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My best friend and I had a call recently---she’s back with her family for a bit helping out with some hometown stuff. As part of the stuff, she’s been going through a (deceased) relative’s scrapbook, compiled in the American Midwest circa 1870-1900 and featuring mostly cut-out figures from the ads of the day.
She talked about how painstaking this relative’s work was. (Apparently the relative was careful to cut out every finger, every cowlick; this was by no means carelessly or hastily assembled.) But she also she talked about how---the baby on the baking soda ad is ugly, it is so ugly, why anyone would clip this heinously ugly illustrated baby and paste it into a scrapbook? Why would you save the (terribly told, boring) ghost story that came with your box of soap?
(Why include these things in the first place? we asked each other. ”There’s a kind of anti-capitalism to it,” she mused.)
And we discussed that for a bit---how most of the images, stories, artists, and ads were local, not national; they’re pulled from [Midwestern state] companies’ advertisements in [Midwestern state] papers, magazines, and products. As a consequence, you’re not looking at Leyendecker or Norman Rockwell illustrations, but Johann Spatz-Smith from down the road, who took a drawing class at college.
(College is the state college, and he came home on weekends and in the summer to help with the farm or earn some money at the plant.)
But it also inspired a really interesting conversation about how---we have access to so much more art, better and more professional art, than any time in history. As my bff said, all you have to do to find a great, technically proficient and lovely representational image of a baby, is to google the right keywords. But for a girl living in rural [Midwestern state] of the late 1800s, it was the baking soda ad, or literal actual babies. There was no in-between, no heading out to the nearby art museum to study oil paintings of mother and child, no studying photographs and film---such new technologies hadn’t diffused to local newspapers and circulars yet, and were far beyond the average person’s means. But cheap, semi-amateur artists? Those were definitely around, scattered between towns and nearby smallish cities.
It was a good conversation, and made me think about a couple things---the weird entitlement that “professional” and expensive art instills in viewers, how it artificially depresses the appetite for messy unprofessional art, including your own; the way that this makes your tastes narrower, less interesting, less open.
By that I mean---maybe the baby isn’t ugly! Maybe you’ve just seen too many photorealistic babies. Maybe you haven’t really stopped to contemplate that your drawing of a baby (however crude, ugly, or limited) is the best drawing of a baby you can make, and the act of drawing that lumpen, ugly baby is more sacred and profoundly human than even looking at a Mary Cassatt painting.
And even if that isn’t the case....there was this girl in [American Midwestern state] for whom it was very, very important that she capture every finger, curl, and bit of shading for that ugly soap ad baby. And some one hundred years later, her great-something-or-other took pains to preserve her work---because how terribly human it is, to seek out all the art we can find that resonates with us, preserve it, adore it.
It might be the most human impulse we have.
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Prompt 116
Give Battinson robins but it’s DCxDP style with ghosts.
His kids are… technically not from his world and technically not alive either, but that doesn’t stop him from adopting them. Even if he wasn’t aware of them being literal ghosts for the first few hours of encountering them.
How did they get here? Well, you see, sometimes child ghosts will run into each other, and they’ll form their own little friend groups. Or family groups. Especially if they lack a guardian. Who would tell them not to mess with natural portals.
Or to kidnap a phantom to play with them, but hey he’s enjoying himself too and has a puppy! The bestest boy!
Bruce was not prepared for some sort of energy-thing to open and spit out a good half a dozen children. Nor was he prepared for these children to all have powers, or for another child (thankfully a teen) to fall into the cave a few weeks later.
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so with echoes of wisdom .. i havent watched any of the trailers beyond the very first one and the thumbnails/screenshots and what others have said about it-
but with the world inside the rift being called "Welt des Nichts" aka "world of nothing/void" in german ('still' in english, for some reason) and demises title in french being "avatar of nothing" ... yeah my anxiety is shooting through the roof again
(hopefully you can be a little more forgiving for me being anxious/weird about it bc demise is my blorbo)
i had similar worries with totk, that werent proven true thankfully, but the darn book is making it all worse again with all those weird lore things the game doesnt even so much as hint at AND potential retcons- im in for a really rough time huh, not just stress in real life (more in tags.. its alot) but now about my specific hyperfixation from two things even (AND artblock still..)
weird as it may sound, i dont want demise to get more lore, partly bc i dont believe theyd do anything with him that i would like (given their track record) but much more importantly- the fact that he has this little lore about him is precisely one of the reasons why i fell in love with him, i tend to like characters that are neglected by the narrative, and his story being both so flat and already done meant i can be very creative with what i come up with for him without necessarily contradicting anything in canon
(which is ... or was a big point of how i wrote destiny's story and lore, working with canon in a way that reframes it all without straight up ignoring it ... but i suppose i urgently need to let go of that and accept i spend alot of time working things that will go to waste :( )
AND not having to worry that there will be more stuff with him that would massively change not only what im writing but also potentially how i feel about him since the game he was briefly in was the oldest chronologically and ended with his death- i didnt expect them to mess with anything that far back and thought theyd just go forward and leave the timeline behind and wouldnt mess with it again, given how botw seemed to be a sort of 'fresh start' that seemingly regarded the past as the past that needs to rest and that the timeline was finally no longer a discussion if everythings unified through botw and one thing going forward
but i suppose i was very wrong with that .__.
right now the only thing that motivates me still is the left over determination and spite to work on my zelda comic, since i have never gotten this far and really want to get something done for once, but i cant lie that im feeling like i should pause all work on it too to wait and see waht the book and the new game will do .. either to determine if i still have the will to keep working on it after those things are out (my love for tloz has been taking alot of hits lately ..) or if i have to change stuff (mostly bc of my lore problem trying to not ignore it ..)
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The thing that draws me most to this fandom, and the things that makes it unique, is that by the mere nature of the works we love, everyone's Arda is different. And not just in the usual headcanon-y ways that are typical of every story, but even down to important plot and characterization points.
Who is Gil-Galad? What is the Oath and what does it have power to do? What really is the Dagor Dagorath? How do the Laws Of The Universe work?
And beyond that- what parts of HoME do you pick and choose? LaCE? Does anyone try and work with Tolkien's horrendous math? Have you taken parts of your Arda from older or other worlds, with the Cottage of Lost Play and the exile of the Gnomes?
Have you given names to the wives and daughters? What do they mean- who are they? Mother-names or father-names for those who only had one?
I just really love how even when two interpretations of the same world seem utterly incompatible, they aren't. I'd love to see other additions/headcanons!
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Misato and Shinji's relationship is probably my favorite in all of Eva and it is not talked about enough.
It's so fascinating, heartwarming and tragic. She gave him a surrogate mother figure who made him feel like family for the first time in his life and she got someone who loved her as more than an object. They were so close to helping eachother through the things that absolutely plauged their lives with this surrogate family relationship and it is utterly tragic how it all came crashing down because they didn't know how to navigate themselves through the horrible circumstances they were in at the end. God I wish more people talked about them without mischaracterizing them or boiling them down to memes. It pisses me off so much when that's the only thing people talk about with them.
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