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soylazaro · 7 months

Video

vimeo

Channel 4 "Idents" from ELLIOTT POWER on Vimeo.

Client: Channel 4 Agency: 4creative Production: Art Practice Executive Creative Director: Lynsey Atkin Creative Directors: Mike Skrgatic, Daniel Wolfe, Lynsey Atkin, Bafic

Directors: Elliott Power, Saman Aminzadeh, Optical Arts, Bafic, Mike Battcock, Will Dohrn, Daniel Eatock, Mike Skrgatic and James Allen, Verity May Lane, Maria Lax, The Line, Louis McCourt, Justyna Obasi, The Romantix, Dan Tobin Smith, Daniel Wolfe & Matthew Watson

Voiceover: John Joseph Holt 4Creative

Executive Creative Director: Lynsey Atkin Managing Director: Katie Jackson Executive Producer: Louise Oliver Senior Producer: Lauren Holden Production Manager: Hope Sutherland Junior Producer: Jazz Stradling Channel 4 Chief Marketing Officer: Zaid Al-Qassab Marketing Director: Amber Kirby Head of Brand Transformation: Matt Berry Marketing Lead, Brand Transformation: Simi Murthy Marketing Executive, Brand Transformation: Lana Camp Art Practice x Love Song Creative Director (Art Practice): Mike Skrgatic Creative Director (Love Song): Daniel Wolfe

Executive Producer: James Guy Producer: Bonnie Anthony Production Manager: Julia Guignabel Production Coordinator: Shirley Crawford Production Assistant: Katie Reid

Directors of Photography: Daniel Landin, Eponine Momenceau Moco Supervisor: Simone Tartaglia Moco Operator: Tomi Keeling 1st Assistant Director: Rob Blishen Production Designer: Arthur De Borman Art Directors: Matthew Fraser, Imogen Grant Toner Casting Directors: Kharmel Cochrane, Claire Catterson, Found Casting, Belinda Norcliffe Costume Designers: Hannah Edwards, Bratsk Collective, Ella Lucia Hair & Makeup: Lu Hinton, Ainslie Currie Editor: Fouad Gaber, Trim Editing VFX and Post Production: Time Based Arts Audio Post Production: String and Tins

Time Based Arts

Producer: Chris Aliano 2D Supervisors: Stephen Grasso, Leo Weston, Miguel Wratten CG Supervisors: Mike Battcock, Sam Osborne, Nick Smalley 2D Team: Manolo Perez, Jamie Crofts, Olivia O’Neil, Lucy Lawrence, Valeria Scalamandre, Eleonora Laddago, Bernie Varela, Chris Fraser, Dan Cowley, Tom Robinson CG Team: Ben Cantor, Nigel Timms, Bethan Williams, Ian Baird, Jordan Coles, Maxime Ponsart, Joe Ibbett, Teodora Retegan, Quentin Corker-Marin, Stephen Ross Grading: Max Ferguson Hook, Simone Grattarola

String and Tins

Audio Post Production: String and Tins Sound Supervisor: Will Cohen Sound Designers: Lawrence Kendrick, Culum Simpson, Jim Stewart, Kaspar Broyd, Adam Smyth, Joe Wilkinson, Adam Hare, Will Cohen, Mike Bamford Music Composers: Will Cohen, Culum Simpson, Adam Smyth, Jim Stewart, Kaspar Broyd, Miink, Cal Swingler, J. Caesar, Matthew Watson, Daniel Freeman, Anthony Moore Music Supervisors: Laura-Leigh Smith and Mike Bamford Audio Producers: Laura-Leigh Smith and Rachel Hough

Optical Arts & Dan Tobin Smith

Founder / Creative Director: Dan Tobin Smith EP / Studio Director: Hannah May Creative Directors: Fabrice Le Nezet, Martin Pryor, Joe Jackson CG team: Nicolas Damour, Flora Macleod Creative Assistant: Minna Griffiths Production Assistant: Stephanie Skarbek

The Line

Directors: Tim McCourt, Max Taylor Executive Producer: Laura Breaden Producer: Macarena Gaset

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mergingonthefreeway · 10 months

Video

vimeo

Channel 4 "Idents" from ELLIOTT POWER on Vimeo.

Client: Channel 4 Agency: 4creative Production: Art Practice Executive Creative Director: Lynsey Atkin Creative Directors: Mike Skrgatic, Daniel Wolfe, Lynsey Atkin, Bafic

Voiceover: John Joseph Holt 4Creative

Executive Producer: James Guy Producer: Bonnie Anthony Production Manager: Julia Guignabel Production Coordinator: Shirley Crawford Production Assistant: Katie Reid

Time Based Arts

String and Tins

Optical Arts & Dan Tobin Smith

The Line

Directors: Tim McCourt, Max Taylor Executive Producer: Laura Breaden Producer: Macarena Gaset

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tonin-terets · 10 months

Video

vimeo

Channel 4 Idents from Optical Arts on Vimeo.

Optical Arts worked with 4creative and Art Practice to direct and create five new idents for Channel 4, following their new masterbrand launch.

The idents consist of 25 unique looping scenes, designed to reflect what life is like in the UK today – through the eyes of 17 creatives, artists, and filmmakers. Each scene was developed from an open brief which invited each creator to interpret one of five themes: Identity (who we are), The Land (where we live), System (what controls us), Release (how we escape) and Love (all that really matters), with the idents being divided up into 5 sets of 5 films, each with its own distinct style and voice.

Our work is included alongside that of a diverse range of hugely talented directors, creating a unique and ambitious project, portraying a snapshot of Britain today.

Two of our scenes highlight some of the dark realities that technical advancement brings - widespread digital observation, and machine control. Whilst the other two address more human themes - the effect of serotonin on the brain and the experience of a broken heart.

We are thrilled to see our work within these idents as part of this epic and memorable project. Channel 4 have made some of the most iconic idents in TV history, and we are delighted to play a small part in continuing that legacy with this work.

Optical Arts directed and created 4 scenes: Shattering Room, Chemicals, Robotic Fulfilment Centre and Digital Tracking. Dinner Party was directed by Dan Tobin Smith, the studio’s founder.

Credits

Executive Creative Director: Lynsey Atkin Creative Directors: Mike Skrgatic, Daniel Wolfe, Lynsey Atkin, Bafic Directors: Saman Aminzadeh, Optical Arts, Bafic, Mike Battcock, Will Dohrn, Daniel Eatock, Mike Skrgatic and James Allen, Verity May Lane, Maria Lax, The Line, Louis McCourt, Justyna Obasi, Elliott Power, The Romantix, Dan Tobin Smith, Daniel Wolfe Voiceover: John Joseph Holt OPTICAL ARTS & DAN TOBIN SMITH Founder / Creative Director: Dan Tobin Smith EP / Studio Director: Hannah May Creative Directors: Fabrice Le Nezet, Martin Pryor, Joe Jackson 1st AD: Rob Blishen Moco: Simone Tartaglia & Dennis Henry SFX: David Plewis for Asylum CG team: Nicolas Damour, Flora Macleod Creative Assistant: Minna Griffiths Technical Assistant: Elliott Lowe & Jack Lovell Production Assistant: Stephanie Skarbek ART PRACTICE X LOVESONG Creative Director (Art Practice): Mike Skrgatic Creative Director (Love Song): Daniel Wolfe EP: James Guy Producer: Bonnie Anthony Production Manager: Julia Guignabel Production Assistant: Katie Reid Directors of Photography: Daniel Landin, Eponine Momenceau Moco: Simone Tartaglia & Tomi Keeling 1st AD: Rob Blishen Production Designer: Arthur De Borman Casting Directors: Kharmel Cochrane, Claire Catterson, Found Casting, Belinda Norcliffe TIME BASED ARTS Producer: Chris Aliano 2D Supervisors: Stephen Grasso, Leo Weston, Miguel Wratten CG Supervisors: Mike Battcock, Sam Osborne, Nick Smalley 2D Team: Manolo Perez, Jamie Crofts, Olivia O’Neil, Lucy Lawrence, Valeria Scalamandre, Eleonora Laddago, Bernie Varela, Chris Fraser, Dan Cowley, Tom Robinson CG Team: Ben Cantor, Nigel Timms, Bethan Williams, Ian Baird, Jordan Coles, Maxime Ponsart, Joe Ibbett, Teodora Retegan, Quentin Corker-Marin, Stephen Ross Grading: Max Ferguson Hook, Simone Grattarola STRING & TINS Audio Post Production: String and Tins Sound Supervisor: Will Cohen Sound Design: Lawrence Kendrick, Culum Simpson, Jim Stewart, Kaspar Broyd, Adam Smyth, Joe Wilkinson, Adam Hare, Will Cohen, Mike Bamford Music Composers: Will Cohen, Culum Simpson, Adam Smyth, Jim Stewart, Kaspar Broyd, Miink, Cal Swingler, J. Caesar, Matthew Watson, Daniel Freeman, Anthony Moore Music Supervisors: Laura-Leigh Smith and Mike Bamford Producers: Laura-Leigh Smith and Rachel Hough

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uchujinphoto · 10 months

Video

vimeo

Channel 4 "Idents" from ELLIOTT POWER on Vimeo.

Client: Channel 4 Agency: 4creative Production: Art Practice Executive Creative Director: Lynsey Atkin Creative Directors: Mike Skrgatic, Daniel Wolfe, Lynsey Atkin, Bafic

Voiceover: John Joseph Holt 4Creative

Executive Producer: James Guy Producer: Bonnie Anthony Production Manager: Julia Guignabel Production Coordinator: Shirley Crawford Production Assistant: Katie Reid

Time Based Arts

String and Tins

Optical Arts & Dan Tobin Smith

The Line

Directors: Tim McCourt, Max Taylor Executive Producer: Laura Breaden Producer: Macarena Gaset

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emzeciorrr · 10 months

Video

vimeo

Channel 4 "Idents" from ELLIOTT POWER on Vimeo.

Client: Channel 4 Agency: 4creative Production: Art Practice Executive Creative Director: Lynsey Atkin Creative Directors: Mike Skrgatic, Daniel Wolfe, Lynsey Atkin, Bafic

Voiceover: John Joseph Holt 4Creative

Executive Producer: James Guy Producer: Bonnie Anthony Production Manager: Julia Guignabel Production Coordinator: Shirley Crawford Production Assistant: Katie Reid

Time Based Arts

String and Tins

Optical Arts & Dan Tobin Smith

The Line

Directors: Tim McCourt, Max Taylor Executive Producer: Laura Breaden Producer: Macarena Gaset

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ghost--lab · 10 months

Text

Bafic 07-06-23

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vm4vm0 · 11 months

Video

vimeo

James Blake - 'Can't Believe The Way We Flow' from Frank Lebon on Vimeo.

Crew

Director - Frank Lebon Production Company - Camera Club Executive Producer - Anastasia Ehrich Producer - Nat Baring, Jill Ferraro Production Coordinator - George Young, Celeste Doig Production Assistant - Maria Grierson, Ed Sullivan Location Manager - Celeste Doig

Dir of Photography - Molly Manning Walker Gaffer - Rory Cole 1st AC - Rory McLean Focus Puller - Benji Kirknan Loader - Saskia Dixie, James Wicks Grip - Tom North Grip Assistant - Brendan Senden BTS - Toby Haygarth

Colour Grade - Joseph Bicknell at Company3 Sound Design - Will Berger Film development - Cinelab UK

Costume Designer - Edie Ashley Costume Assistant - sashadavai, Kenya Lendo Cupid Jewellery Designer - Claire Barrow Make-up Artist - Andrea Gomez Anzola, Riona O'Sullivan, Natasha Lawes Hair & Make-Up - Elaine Lewanski

Executive Casting Director - Camilla Arthur Casting - Maxine Lankitus, Sarah Small, Charlotte Roberts, Rae Elliman

Moral Support - Uncle C

Cast

Bed - Alfie & Lucy Moving In - Narx & Cece First Time Sex - Issy & Sam Deathbed - Kenny & Nivashni Pregnant - Niamh,Bellamy & Tim Smokers - Joel & Edie Cooking - Nat & Bex Young & Old - Sophie & Declan Mirror - Geroge & Jill Illness - Calvin & Mia Babymum - Alicia & Mickey Roller Bladers - Lex & Teta Bus Stop - Carolynne & David Swimmers - Adam & Allie Gimp - Miss Ivy & Bobette Magicians - Rachel & Benjy Wedding - Nancy & Alex Chess - Bafic & Claire Nun & Preist - Jess & Josh Kids - Bonnie & Jack Teacher - Camilla Teenagers - Theo, Phoebe & Poppy Homeless - Zane & Florie James Blake - James Blake Falling Kiss - Dan & Eleanor Moving In - Ben & Kush Prison - Tristan & Phil Tall & Small - Karen & David Partygoers - Suren & Erinn Karate - Jeska & Harrison Dentist - Frank & Carmen Oligarch & Wife - Andrew & Madeline Stripper - Lauren & Shem Airport - Daphne & Valentine Cupid - Mark Lebon Animator - Orfeo & Phoebe Off To Work - Ben & Dudley

Special Thanks

Gimme5 Tyrone Lebon Mary Jane Michael Koperman Dinny Hall

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photosinlondon01 · 1 year

Text

Nadine IJEWERE - Untitled, 2018

1. This photo interests me because of the bright colors. When thinking about a picture with these colors in it, It doesn’t not seem to make sense in my head but this picture looks very satisfying. The color of the flowers are so bright and the green print suit looks very nice.

2. I believe the angle this picture was taking in is why it looks perfect. The use of light is also very important in this image and makes it feel happy and bright.

3. The fact that the photograph is so bright, makes me believe it is a happy photo, even though the colors on the suit are dark and can also be seen in another photograph with a different vibe.

4. The style is something I have not seen before because the outfit of the model does not really go with the background, but the picture still looks very nice.

Dana SCRUGGS - Fire on the beach,2019

1. I am interested in this photo because of the scale it is taken in and the colors of the sky and the dress and everything looks very nice together.

2. I believe every compositional aspect should be appreciated in this photograph. All the colors in the photograph look very nice together, and the bright red from the dress pops out very much. This is a type of photo that I would love to take of myself. The flow of the dress also makes the photo even better.

3. The color of the dress pops in all the kore neutral colors in the back. The color of the models skin really makes the photograph more beautiful.

4. I have seen photos that sube loom a bit similar to these on instagram but not this professional or cool.

Bafic - Baker in the Green Grass, 2019

1. This photo is of a chef laying on grass. I know that because of the title of the photograph this photograph interest me because when I’m in a park I also like the man is doing.

2. I think the shapes and lines of this photo make it look nicer. The baker seems to be relaxing and enjoying the sun. When I sit at the park, I also like to lay like this.

3. I see the object in the photo that he seems tired and trying to take a break from working I would assume. He is connecting with nature.

4. This style of photograph does remind me of photos I would see on tumblr in 2010.

Adrienne Raquel- Mirror,Mirror, New York, 2017

I like this photograph, because it looks pretty and simple. I like the color of the walls, and the white in her nail, the mirror, and the wall below. A compositional aspect I noticed is the shapes and lines as we see in the photo. We can see the circle in the mirror and the sharp corner of the edge of the wall. I think it’s a very aesthetically pleasing photo. This photo does remind me of things I’ve seen before on social media.

Ruth OSSAI- Fish or fight, London,2017

This photograph interest me because of all the caps the model is wearing, and also all the logos on his outfit. The photograph is of a man wearing many caps, forwards and backwards with an outfit full of logos. I like the shape of the way the man is sitting and the small object of a water gun in his hand. There is overall a lot going on in this photo so it’s good to take your time and look at all the different aspects. This photo does not remind me of anything else I have seen before

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renaroo · 4 years

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Cass Cain vs the Bat Family for the last slice of Alfred's pie. "Is that a challenge?"

A/N: This became a more Batfam entirety kind of story and then a commentary on the madness of quarantine in my own family using Uno as a proxy. Regardless it was a lot of fun to do.

Four Walls and Attitude

Oracle places her hand against the map behind her. What was once a black and white scaled model of Gotham is now glowing a radioactive green with shades of green depending on the island, the neighborhood, and even the street.

Everyone, including Batman, stares in awe of the projection.

“In other words,” Oracle says, looking sharply over her glasses, “there is absolutely no way we can operate like normal without causing things getting worse.”

Silence spreads quickly throughout the cave. Most of them don’t even know what to make of the information.

Finally, giving voice to the general shock, Nightwing finally says, “Wow. Corona killed Batman.”

“It did not, the rest of you are staying in the manor,” Batman concludes, leading to an eruption of disagreement.

“Did you not pay attention to what I just said?” Oracle demands. “It goes for you, too, Bruce. No one in this cave can leave without it causing a major public health challenge. We patrol too many areas, cross-contaminate with each other too often, and, worst of all, we have immunocompromised family members of our own to worry about.”

It was an intentionally vague statement, but it doesn’t stop the meaningful glances toward Alfred and Red Robin.

Red Robin crosses his arms angrily. “I resent that statement.”

“Maybe keep better track of your spleen,” Red Hood snorts.

Black Bat is uncertain, shifting on her heels. “What do we do?”

“Social distance and adapt,” Oracle answers easily, straightening her glasses. “It’s possible to fight crime without punching people, you realize. That’s my entire M.O.”

The other vigilantes look at each other warily.

***

The size of the manor was enough reason on its own for them to make it their main base of quarantine. There are obviously more than enough supplies, more rooms than any of them could use independently, and access to equipment and the cave should emergencies arise.

Not to mention, the vast majority of them live there already.

Stephanie calls her mom, Barbara messages the Birds of Prey, and they all find solo activities for the first day, only really intersecting at the library, the kitchen, and the entertainment room during chance encounters.

That seemed to be a good call. And when there is a need for some social interaction, it’s almost always in their usual social groups however they naturally lie.

No one sees Bruce but that seems pretty par for the course.

It isn’t until the third day that things get slightly more challenging.

Stephanie, Duke, and Cassandra enter the mini-theater room with a giant tub of popcorn. The lights are off, but the projector is running and the main couch is occupied by Dick and Damian.

“Oh, didn’t realize you guys were in here,” Duke says sheepishly.

“SHH!” Damian hisses at them.

Dick arches back enough to look at the trio over his shoulder. “No problem, we’re watching Planet Earth. Want to join?”

Stephanie and Duke look at each other with mirrored grimaces.

Cassandra squints at the screen. “No,” she answers for them. “How long?”

“We’re marathoning,” Dick shrugs. “Started about an hour ago—“

“SHH!” Damian snarls at them again.

“We were hoping to watch a movie,” Steph says. Her gaze falls more on Damian than Dick, since he is no doubt the one to appeal to. “The Breakfast Club, it’s a classic. You’d like it.”

Duke looks at them all skeptically. “He would? Really?”

“Cass, you know there’s a different television set,” Dick says, pointing to the floor below.

“Tim’s playing,” Cass says in response, her hands holding up an invisible controller as she mimes Tim’s thumb movements.

“There’s a million places you can set up a laptop,” Dick continues to plea.

That earns a crossed look from Stephanie. “So? What do we need to do? Start putting signup sheets in all the rooms? Just share the projector with us after Planet Earth switches episodes.”

“No,” Dick and Damian say in unison.

The trio leaves the room angrily and, within the hour, clipboards with signup sheets begin being mysteriously adhered to all of the main rooms.

***

Jason has made it a point, nearly every day, to remind everyone that he will be the easiest adjusted to quarantine because he is the only true introvert.

The number of times the words introvert and isolated have left his mouth climb so high that, in secret, everyone is beginning to doubt the truth to them. If he is an introvert to the exponential extremes that he professes, surely he would not need to keep finding where everyone else is hiding to let them know it.

He has an alternating list of Zoom calls he is on each day. Hangouts he makes himself, making a point to inform the others quarantined to the manor than they are not invited to it.

The list of who is invited to it seems to grow by the day.

Kyle Rayner, Donna Troy, Ryan Choi. Then Roy Harper, Koriand'r, and Jade Nguyen. Then Artemis, Bizarro, and Miguel Barragan. Out of nowhere Duela Dent, Rose Wilson, and Suzie Su.

It’s halfway into the second week and Jason has the audacity to come into Tim’s room, pull off his headphones, and ask him if he’s bored.

“You know what I think,” Tim says, more than a little irritated. “I think you’re actually not an introvert. I think you’re not an introvert and you’re taking out your need for social contact out on the rest of us.”

Jason considers his comment, then breaks the expensive Beats in half before walking out the door.

***

Alfred begins making many desserts.

It starts with requests. Of course he will make whatever meal or whatever treat is asked of him, because it is nice to have all his loved ones safe, secure, and in the same location for once. Many of the desserts aren’t even difficult.

Then, somehow, they morph into bribes.

Despite the fact that Alfred has remained tight-lipped about his exact age for all these years, the quote-unquote children insist that he is too old to venture out of quarantine. Thus he must stay in the manor and rely on them to stock the pantry.

This doesn’t seem altogether terrible until it becomes obvious to Alfred that whoever he sends out will only get the foodstuffs they desire and not any of the important staples Alfred puts on the list.

Thus, the trades begin.

He can’t make his famous flan without evaporated milk. He positively will not make ginger layer cake without wine poached pears. And how can they snack on peach and pistachio tarts without honey?

Before Alfred has realized it, he has created monsters. Sugar craved, bored little monsters.

He puts a limit on the sweets he will cook in hopes of focusing instead on cooking favorite meals, but it’s too late.

Even Bruce is checking in on the kitchen at odd hours, looking curiously under the cake plate.

And cutting back the number of sweets Alfred is producing through the week also leads to another unforeseen circumstance.

They begin competing for what sweets are left.

***

Bruce looks in disbelief at the screen. Then he looks at the others. Then back to the screen.

“I distinctly remember us being on episode four,” Bruce says in a voice that edges on Batman.

“Last night, yeah,” Duke agrees, helping Alfred with everyone’s drinks.

No one else seems to find fault with the statement and are waiting for Bruce to continue. They pick at their independent devices lazily, only half attentive to any one thing.

It’s very dissatisfying considering the huge inconsistency that Bruce is detecting on their streaming service.

“Why is it saying that we’ve watched all the episodes already?” Bruce demands, voice sounding more hurt than he meant to let on.

Dick and Barbara simultaneously look up from their phones, toward each other, then back down. The others don’t even bother breaking their concentrations.

“You finished the entire series without me?” Bruce presses.

“Father,” Damian finally speaks up, sounding exasperated, “it is impossible to properly view things with you.”

Bruce squints at his youngest. “What does that mean?”

“It’s not just you, Bruce,” Stephanie says quickly, trying to smooth things over. “I can’t watch shows with my mom either.”

“Boomers just don’t know how to binge-watch,” Tim cuts with the final blow, not even looking up from his laptop.

Leaving the room in spite of protests, Bruce decides he is never going to watch the end of the show out of spite.

***

Cassandra has apparently made it a habit to not let others see her walk through doorways. As a result, she seemingly appears in rooms more than she enters them. Or, at the very least, she acts as though she just always has been and it is the other party who is intruding on her space.

As a result, it’s not altogether shocking when Duke looks up from his newly prepared plate and is met by his sister.

She is staring at his plate more than him.

“Oh, hey, Sis,” he offers her all the same. Then, instinctively, he shifts his shoulders to somewhat create a barrier between his plate and her. “What’s up?”

“Apple pie,” Cass announces as if it answers everything.

“Mmhmm,” Duke replies cautiously.

“Last piece?” she asks, her eyes gleaming.

“I’m sure Alfred will make another,” Duke says, then, slowly adding, “eventually.”

“Mine,” she snaps.

“No, you don’t even eat yours with vanilla ice cream!” Duke argues back, almost turning his back on her completely. “Just eat some of the cookies.”

“No!” Cass says, quickly shifting to be more aligned with the treat. “You eat them.”

“Cass, I got here first!” Duke snaps back, hooking afoot around the leg of the nearest chair. “Fair and square.”

“It was my pie,” Cass hisses. “I’ll take it back!”

“Is that a challenge?” Duke asks.

He sees her lunging and immediately kicks out the leg of the chair as he flips over it.

Cassandra is quick as ever and easily somersaults off of the falling chair to land over Duke’s shoulders. Her force is enough to send Duke’s body tumbling forward, but his body has proper instincts. He holds up the plate of pie above all else while using his free hand to find new ground, twirl his body out, and roll his head forward. Cass tumbles off his shoulders.

She hits the counters, but not before kicking off her shoe and sending it flying for Duke’s face.

He twists enough to lighten some of the impact, but the well-aimed shoe sends Duke into a tailspin.

The pie hits the floor with a sickening thud.

The siblings look crestfallen toward the prize, then each other.

Then they get angry.

By the time Barbara and Alfred burst onto the scene to break things up, the fight has utterly devolved and grown to the size of five Wayne heirs, three of which had no idea what the initial fight was even over.

Jason filmed it and sent it to everyone in his extended Zoom call list.

***

They are at each other’s throats. It turns out the Manor doesn’t have enough rooms.

Even Alfred’s treats are not enough to soothe the tensions anymore. Any little thing can set them off. So they spend the rest of the week finding solitary activities, barely communicating with words anymore.

Finally, some wounds begin to heal when Stephanie speaks to a room of others on their Switches.

“Hey, does anybody have an island with cherries?”

They play in harmony again, comparing villagers in hushed tones and sharing patterns for clothes.

Momentarily, there is hope that the peace will last forever, to the rhythm of island music and Blathers’ gibberish words.

It gives them twenty-seven hours of peace and nothing more.

***

“This absolutely will not work,” Barbara sputters as she pulls up to the table.

The others look at her with mild surprise, but they’re already seated. Jason is shuffling in preparation to deal. The arrangement from his left on is Stephanie, Cassandra, Barbara herself, Dick, Duke, Tim, and then Damian.

Damian is flanked by Jason and Tim. And only Barbara sees what the problem with this is.

“I am looking at a public safety hazard,” Barbara presses. “Dick, seriously, you’re going to let them do this?”

He thinks about it. “It’s a learning experience,” he determines.

“You dealing in or nah, Red?” Jason pushes.

She glares at them all, certain this is purposeful on at least some of their behalves, but she crosses her arms. “Okay, fine,” she says.

Jason deals out seven to everyone. Once he puts the deck in the middle, he turns over the first Uno card — green three — and with his free hand reaches in his jacket pocket for cigarettes. The others are already playing while Jason looks slightly miffed if not panicked when he can’t find the pack.

Under the table, Barbara can feel the shuffle of a pack of cigarettes being passed between other members of the table.

Shockingly enough, Jason doesn’t say anything verbally, but his eyes are already glaring at Damian as the pickpocket.

Stephanie puts down green nine.

Cassandra green Draw Two.

Barbara draws two.

Dick puts down a yellow Draw Two.

“No fair,” Duke chuckles.

Tim puts down a yellow Reverse.

Damian narrows his eyes. “You think you’re clever, don’t you, Drake?”

Duke yellow eight.

Yellow four.

Yellow two.

Blue two.

Blue three.

Blue Reverse.

Damian glares at Jason. “Is this planned?”

“How can they plan Uno, Dami?” Steph asks. Blue one.

Blue seven.

Barbara looks over her glasses at the table. She’s lost track of the cigarettes. “Don’t underestimate these people, Stephanie,” she warns as the ends up drawing five cards before finally laying down green seven.

Green nine.

Wild Card. “Let’s go with,” Duke looks through his hand cautiously, “Yellow again.”

There is a suspicious twitch to Tim’s lips as he puts down a Draw Four. “Let’s go back to red.”

Damian releases an explosion of expletives and leaps to stand on his chair.

“Ah, it was a mistake, my bad,” Dick says, rubbing a hand down his face.

***

Bruce is stone-faced at dinner, strangely fixated on his plate.

It’s not overly concerning, Bruce tends to be in quiet contemplation on most days regardless.

He finally looks up, though, and glares at them all.

“I finished it on my own,” he informs them.

They all stare back.

“Tiger King,” he clarifies. “They’re all guilty. But also. What the hell.”

Everyone collectively loses their minds again.

Alfred sighs and begins drafting a rotation for getting them all out of the manor more.

#Cassandra Cain #Alfred Pennyworth #Dick Grayson #Stephanie Brown #Jason Todd #Tim Drake #Duke Thomas #Barbara Gordon #Damian Wayne #Bruce Wayne #bafic #writing #crim bat #ask and you shall receive

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