#carcer city

[valiantvideo]

MANHUNT (2003): CARCER CITY

[manhuntingbonanza]

I legit could not find other images of the other locations

[theviceenforcer]

Manhunt SFM - Deliverance

Piggsy: Piggsy angry! *snort* Aarrgghhnngry!

[spooky-donut-ghost-house]

Personally headcanon that unlike other hunters The Jury is the only hunter faction that isn't apart of the snuff film ring and oppose anybody involved with the snuff film ring going as far as to openly attack gangs allied with Starkweather and Mr. Nasty and freeing any victims who were intended to be used on snuff films and protecting civilians

My idea is that The Jury is a group of Carcer City civilians turned vigilantes deciding to give up on the help of the corrupt CCPD and instead taking matters into their own hands

Needless to say The Jury are on Mr. Nasty's shitlist

[veone]

got more deco buildings!

[ppravitas]

.

[calvins-dad]

i'm always like "how come there aren't there more established mutual aid networks in this town! why aren't more people pitching in! what the fuck why isn't everyone mad and trying to help out!!!! 😡😡😡" and then i've been running distro for like 3 hours and someone starts yelling at me because we ran out of meals and i'm trying to split up a few bags of chips as well as i can and someone starts yelling at me that i don't know what i'm doing and i shouldn't be doing this and i'm fucked up and i'm like oh right. people don't do this because it's incredibly fucking difficult

[prgnant]

The 1970s and 1980s saw a surge in public campaigns targeted at women in urban areas, warning of the dangers of appearing in public spaces alone. The New York City rape squad declared that “single women should avoid being alone in any part of the city, at any time.” In The Rational Woman’s Guide to Self-Defense (1975), women were told, “a little paranoia is really good for every woman.”

At the same time that the state was asserting itself as the protector of (white) women, the U.S. saw the massive expansion of prisons and the criminalization of blackness. It could be argued that the state and the media opportunistically seized on the energy of the feminist movement and appropriated feminist rhetoric to establish the racialized penal state while simultaneously controlling the movement of women (by promoting the idea that public space was inherently threatening to women).[...]However[…]Kristin Bumiller argues that the feminist movement was actually “a partner in the unforeseen growth of a criminalized society.” By insisting on “aggressive sex crime prosecution and activism,” feminists assisted in the creation of a tough-on-crime model of policing and punishment.

jackie wang, carceral capitalism

[theoutcastrogue]

Copaganda does three main things.

First, it narrows our understanding of safety. Police get us to focus on crimes committed by the poorest, most vulnerable people in our society and not on bigger threats to our safety caused by people with wealth and power.

For example, wage theft by employers dwarfs all other property crime combined — from burglaries, to retail theft, to robberies — costing some $50 billion every year. Tax evasion steals about $1 trillion each year. There are hundreds of thousands of Clean Water Act violations each year, causing cancer, kidney failure, rotting teeth, and damage to the nervous system. Over 100,000 people in the United States die every year from air pollution, five times the number of all homicides.

But through the stories cops feed reporters, the public is encouraged to measure a city’s safety by whether it saw an annual increase or decrease of three homicides or fourteen robberies — rather than by how many people died from lack of access to health care, how many children suffered lead poisoning, how many families were rendered homeless by illegal eviction or foreclosure, or how many thousands of illegal assaults police committed.

The second function of copaganda is to manufacture crises or “crime surges.” For example, if you watch the news, you’ve probably been bombarded with stories about the rise of retail theft. Yet the actual data shows there has been no significant increase. Instead, corporate retailers, police, and PR firms fabricated talking points and fed them to the media. The same is true of what the FBI categorizes as “violent crime.” All told, major “index crimes” tracked by the FBI are at nearly forty-year lows.

The third and most pernicious function of copaganda is to manipulate our understanding of what solutions actually work to make us safer. A primary goal of copaganda is to convince the public to spend even more money on police and prisons. If safety is defined by street crime, and street crime is dangerously high, then funding the carceral state leaps out to many people as a natural solution.

The evidence shows otherwise.

— Alec Karakatsanis, “Police Departments Spend Vast Sums of Money Creating “Copaganda”” | Jacobin, July 2022

[opencommunion]

The Stop Cop City movement has sought to prevent the expropriation of part of the Welaunee Forest for the development of an 85-acre police mega training center: a model town to prepare the state’s repressive arms for the urban warfare that will ensue when the contradictions of their exploitation and extraction become uncontainable, as they did in 2020 after the APD murdered Rayshard Brooks.  That murder, and all those that came before, were the lodestars of the Black-led movement during the George Floyd uprisings; their demands were no less than the dismantlement of the entire carceral system. Unable to effectively manage or quell the popular street movements, the Atlanta Police Foundation set out to consolidate and expand their capabilities for surveillance, repression, imprisonment, armed violence, and forced disappearance. One result is Cop City, which has been racked by militant sabotage, land occupation, arson, and popular mobilizations, in an attempt to end the construction and return Atlanta to its people.  As the Atlanta Police Foundation was unable to contain the 2020 Black rebellion, so too have they been unable to quell the resistance against Cop City. The press reports that the project is hemorrhaging money and is mired in delays and difficulties. For their part, the city, the state, and the federal government, have in turn employed every tool in their power to destroy the movement. Last week, the Georgia State Senate passed a bill to effectively criminalize bail funds in the state; RICO charges have been contorted to target networks of support and care that surround the fighters; and last January, APD assassinated the comrade Tortuguita in cold blood while they rested in their tent in the forest. It is clear that Stop Cop City represents one of the conjunctural spear tips for expanding the existing systems of counterinsurgency that span Africa, Asia, and the Arab world.  Today the system’s belly rests atop Gaza, whose rumblings shake the earth upon which we walk. Through its Georgia International Law Enforcement Exchange (GILEE) program, the APD has sent hundreds of police to train with the Zionist occupation forces. And in October 2023, after Tufan al-Aqsa, the Atlanta Police Department engaged in hostage training inside abandoned hotels, putatively intended to “defeat Hamas,” in an advancement of tactics for the targeting of Black people. With every such expansion, the ability of counterinsurgency doctrines to counteract people’s liberation struggles grows. The purpose of counterinsurgency is to marshal state and para-state power into political, social, economic, psychological, and military warfare to overwhelm both militants and the popular cradle—the people—who support them. Its aim is to render us hopeless; to isolate and dispossess us and to break our will to resist it by any and all means necessary. This will continue apace, unless we fight to end it. Stop Cop City remains undeterred: on Friday, an APD cop car was burnt overnight in response to the police operation on February 8; yesterday, two trucks and trailers loaded with lumber were burnt to the ground. An anonymous statement claiming credit for the former, stated: “We wish to dispel any notion that people will take this latest wave of repression lying down, or that arresting alleged arsonists will deter future arsons.”  As the U.S. government and Zionist entity set their sights on the Palestinian people sheltering in Rafah, as they continue their relentless genocide of our people in Khan Younis, Jabalia, Shuja’iyya, and Gaza City, the Stop Cop City movement has clearly articulated its solidarity with the Palestinian struggle. They have done so with consistency and discipline, and we have heard them. Our vision of freedom in this life and the next requires us to confront and challenge the entangled forces of oppression in Palestine and in Turtle Island, and to identify the sites of tension upon which these systems distill their forces. This week, as with the last three years, the forest defenders have presented us one such crucible.

(11 Feb 24)

National Lawyers Guild, Stop All Cop Cities: Lessons For a National Struggle (video, 1 hr 45 min)

[fatehbaz]

When you tag things “#abolition”, what are you referring to? Abolishing what?

Prisons, generally. Though not just physical walls of formal prisons, but also captivity, carcerality, and carceral thinking. Including migrant detention; national border fences; indentured servitude; inability to move due to, and labor coerced through, debt; de facto imprisonment or isolation of the disabled or medically pathologized; privatization and enclosure of land; categories of “criminality"; etc.

In favor of other, better lives and futures.

Specifically, I am grateful to have learned from the work of these people:

Ruth Wilson Gilmore on “abolition geography”.

Katherine McKittrick on "imaginative geographies"; emotional engagement with place/landscape; legacy of imperialism/slavery in conceptions of physical space and in devaluation of other-than-human lifeforms; escaping enclosure; plantation “afterlives” and how plantation logics continue to thrive in contemporary structures/institutions like cities, prisons, etc.; a “range of rebellions” through collaborative acts, refusal of the dominant order, and subversion through joy and autonomy.

Macarena Gomez-Barris on landscapes as “sacrifice zones”; people condemned to live in resource extraction colonies deemed as acceptable losses; place-making and ecological consciousness; and how “the enclosure, the plantation, the ship, and the prison” are analogous spaces of captivity.

Liat Ben-Moshe on disability; informal institutionalization and incarceration of disabled people through physical limitation, social ostracization, denial of aid, and institutional disavowal; and "letting go of hegemonic knowledge of crime”.

Achille Mbembe on co-existence and care; respect for other-than-human lifeforms; "necropolitics" and bare life/death; African cosmologies; historical evolution of chattel slavery into contemporary institutions through control over food, space, and definitions of life/land; the “explicit kinship between plantation slavery, colonial predation, and contemporary resource extraction” and modern institutions.

Robin Maynard on "generative refusal"; solidarity; shared experiences among homeless, incarcerated, disabled, Indigenous, Black communities; to "build community with" those who you are told to disregard in order "to re-imagine" worlds; envisioning, imagining, and then manifesting those alternative futures which are "already" here and alive.

Leniqueca Welcome on Caribbean world-making; "the apocalyptic temporality" of environmental disasters and the colonial denial of possible "revolutionary futures"; limits of reformism; "infrastructures of liberation at the end of the world."; "abolition is a practice oriented toward the full realization of decolonization, postnationalism, decarceration, and environmental sustainability."

Stefano Harney and Fred Moten on “the undercommons”; fugitivity; dis-order in academia and institutions; and sharing of knowledge.

AM Kanngieser on "deep listening"; “refusal as pedagogy”; and “attunement and attentiveness” in the face of “incomprehensible” and immense “loss of people and ecologies to capitalist brutalities”.

Lisa Lowe on "the intimacies of four continents" and how British politicians and planters feared that official legal abolition of chattel slavery would endanger Caribbean plantation profits, so they devised ways to import South Asian and East Asian laborers.

Ariella Aisha Azoulay on “rehearsals with others’.

Phil Neel on p0lice departments purposely targeting the poor as a way to raise municipal funds; the "suburbanization of poverty" especially in the Great Lakes region; the rise of lucrative "logistics empires" (warehousing, online order delivery, tech industries) at the edges of major urban agglomerations in "progressive" cities like Seattle dependent on "archipelagos" of poverty; and the relationship between job loss, homelessness, gentrification, and these logistics cities.

Alison Mountz on migrant detention; "carceral archipelagoes"; and the “death of asylum”.

Pedro Neves Marques on “one planet with many worlds inside it”; “parallel futures” of Indigenous, Black, disenfranchised communities/cosmologies; and how imperial/nationalist institutions try to foreclose or prevent other possible futures by purposely obscuring or destroying histories, cosmologies, etc.

Peter Redfield on the early twentieth-century French penal colony in tropical Guiana/Guyana; the prison's invocation of racist civilization/savagery mythologies; and its effects on locals.

Iain Chambers on racism of borders; obscured and/or forgotten lives of migrants; and disrupting modernity.

Paulo Tavares on colonial architecture; nationalist myth-making; and erasure of histories of Indigenous dispossession.

Elizabeth Povinelli on "geontopower"; imperial control over "life and death"; how imperial/nationalist formalization of private landownership and commodities relies on rigid definitions of dynamic ecosystems.

Kodwo Eshun on African cosmologies and futures; “the colonial present”; and imperialist/nationalist use of “preemptive” and “predictive” power to control the official storytelling/narrative of history and to destroy alternatives.

Tim Edensor on urban "ghosts" and “industrial ruins”; searching for the “gaps” and “silences” in the official narratives of nations/institutions, to pay attention to the histories, voices, lives obscured in formal accounts.

Megan Ybarra on place-making; "site fights"; solidarity and defiance of migrant detention; and geography of abolition/incarceration.

Sophie Sapp Moore on resistance, marronage, and "forms of counterplantation life"; "plantation worlds" which continue to live in contemporary industrial resource extraction and dispossession.

Deborah Cowen on “infrastructures of empire and resistance”; imperial/nationalist control of place/space; spaces of criminality and "making a life at the edge" of the law; “fugitive infrastructures”.

Elizabeth DeLoughrey on indentured labor; the role of plants, food, and botany in enslaved and fugitive communities; the nineteenth-century British Empire's labor in the South Pacific and Caribbean; the twentieth-century United States mistreatment of the South Pacific; and the role of tropical islands as "laboratories" and isolated open-air prisons for Britain and the US.

Dixa Ramirez D’Oleo on “remaining open to the gifts of the nonhuman” ecosystems; hinterlands and peripheries of empires; attentiveness to hidden landscapes/histories; defying surveillance; and building a world of mutually-flourishing companions.

Leanne Betasamosake Simpson on reciprocity; Indigenous pedagogy; abolitionism in Canada; camaraderie; solidarity; and “life-affirming” environmental relationships.

Anand Yang on "forgotten histories of Indian convicts in colonial Southeast Asia" and how the British Empire deported South Asian political prisoners to the region to simultaneously separate activists from their communities while forcing them into labor.

Sylvia Wynter on the “plot”; resisting the plantation; "plantation archipelagos"; and the “revolutionary demand for happiness”.

Pelin Tan on “exiled foods”; food sovereignty; building affirmative care networks in the face of detention, forced migration, and exile; connections between military rule, surveillance, industrial monocrop agriculture, and resource extraction; the “entanglement of solidarity” and ethics of feeding each other.

Avery Gordon on haunting; spectrality; the “death sentence” of being deemed “social waste” and being considered someone “without future”; "refusing" to participate; "escaping hell" and “living apart” by striking, squatting, resisting; cultivating "the many-headed hydra of the revolutionary Black Atlantic"; alternative, utopian, subjugated worldviews; despite attempts to destroy these futures, manifesting these better worlds, imagining them as "already here, alive, present."

Jasbir Puar on disability; debilitation; how the control of fences, borders, movement, and time management constitute conditions of de facto imprisonment; institutional control of illness/health as a weapon to "debilitate" people; how debt and chronic illness doom us to a “slow death”.

Kanwal Hameed and Katie Natanel on "liberation pedagogy"; sharing of knowledge, education, subversion of colonial legacy in universities; "anticolonial feminisms"; and “spaces of solidarity, revolt, retreat, and release”.

[valiantvideo]

MANHUNT: PRESS COVERAGE

[theviceenforcer]

Manhunt (SFM) - The Journalist's Downfall

After the events that transpired in Carcer City the Journalist was never the same.

Doctor: You were found walking the streets a couple weeks after you filed that report. In tears, with a knife. That sounds pretty ill to me.

Journalist: Yes, I posted the story and then I couldn't sleep. I thought I could deal with things. You know, you know this crap. Does it surprise you even I could diagnose what is wrong with me post traumatic stress of whatever the hell you call in. And let's be straight about it I, I did experience trauma. You know not trauma like my cat died or I'm a fat load or any that shit. I saw a man get killed, by the state. A man get killed by the state with a priest and prison guys and in the chair. I was behind the glass. I saw him die and then I spoke to him, to Cash.

*Carcer City makes Liberty City, Los Santos and Vice City all look like paradises.*

[feminist-space]

"Yes, you read that right: Chicago is spending $33 million to build fake housing and commercial buildings in an overpoliced community that could really use their actual, real-life equivalents. No Cop Academy organizer Destiny Ball laid it out plainly to Block Club Chicago: “To find out that they’re building a scenario village when there are thousands of people, homeless, with nowhere to go … it’s sickening.”

Architecture sometimes lays bare the contradictions in urban life, but rarely does it do so this explicitly, if not mockingly. A first phase of the training campus is nearly done, and the “tactical village” will begin construction this summer. The campus, which rises on the site of a former rail yard, will replace seven facilities currently in use. The second phase will be built by a joint venture of Berglund and Brown & Momen. The City’s website lists the design architect as DLR Group. The company recently published a blog post in which Andrew Cupples defended its work on juvenile justice systems, claiming that DLR remains “undeterred in the belief that design excellence contributes to better outcomes for youth who enter the justice system.”

“Justice system,” to this critic, reads as a remarkable euphemism for a place to detain children. Incredibly, the City lists the project as part of Mayor Lori Lightfoot’s INVEST South/West platform which seeks to direct about $1.4 billion in funding to previously underdeveloped neighborhoods.

The City neglects its citizens—especially its Black and Brown ones—before policing them with militarized tactics. This is, after all, the police force that was found to be using “black site” tactics—essentially kidnapping and torturing civilians at Homan Square, a property it owned on the West Side—until an exposé in The Guardian in 2015 spelled its demise. This is the police force whose officers shot 13-year-old Adam Toledo to death in 2021 and paralyzed another unidentified 13-year-old boy just a few weeks ago. These are the law enforcement officers who have made arrests in only 6 percent of rape cases. Per Alex Vitale’s book The End of Policing, this is the police department that arrested 8,000 Black schoolchildren, more than half of whom were under 15, in 2013–14 alone.

Chicago suppresses funding for housing, schools, environmental remediation, public health, and transit, but it generously funds cops. This is not only ineffective, given the statistics and reality of police brutality, but immoral.

Any architect who participates in realizing the carceral program of police surveillance and terror is complicit. Architects often characterize their work as impartial, but the reality is that the form of the built environment is regularly weaponized by those in power. Architects are moral actors who have the agency—individually, but especially collectively—to see a project like this and decline to participate.

At times, activism comes in the form of saying yes to certain advances, but in this case it more powerfully comes in saying no. This denial of service can come in the form of whistleblowing to journalists, organizing political resistance among your peers, or finding a new job. After George Floyd’s murder in 2020, when Michael Ford (the hip-hop architect) learned that his then employer SmithGroup was to work on civic buildings with holding facilities, he left. In the fall of 2020, AIA New York attempted to discourage members from working on spaces of incarceration. The work of Colloqate explicitly demands the end of architects working on behalf of police and provides alternative solutions for reallocating police funds toward endeavors rooted in community building and racial justice.

Architecture exists at the all-important nexus where political ambition is given form. Resistance to terrible carceral projects from architectural firms matters—if no one draws the plans, the efforts stall. Sure, someone else can do it, but the broad systemic woes of capitalism don’t excuse us—mere individuals—from living ethical lives. It is unethical to work on a project that will be used to oppress and terrify Chicagoans, just as it is a project of criticism to be explicit about architecture’s role in surveillance, police expansion, and, by extension, urban policies that govern by force, not by support. So, to the leaders of architecture offices who are currently overseeing construction documents for a fake strip club in western Chicago, I see you. The architecture world sees you. You can and should do better than this."

-Kate Wagner is an architecture critic and a journalist.

[nevertheless-moving]

unable to stop dwelling on the discworld trouser leg of time where, in the penultimate fight scene in Nightwatch, Carcer manages to kill teenage Sam Vimes.

Which means that the future that Duke Vimes came from can no longer exist, which means he can’t go home. Meanwhile you’ve got a bunch of history monks with stored up temporal energy, a prepared space outside of time, and the need to do some desperate damage control before the Auditors get involved. Death shows up, reality is unweaving, Sam is reading Carcer his discworld miranda rights because what else is he supposed to do.

and finally, with little other option, the monks de-age Sam so he fits the time period and send him back out into the fray.

(they didn't call it deageing of course. His memory is hazy, splintered during that terrible in between moment, They....took the time out of him? Sanded away the edges of his self for a terrible, workable fit? It...wasn't a good feeling.)

Just—damn. Sam Vimes having to live his whole crapsack life over again, but this time as his disillusioned-reillusioned, unwillingly-character-developed, noir-epic, Duke of Ankh, Commander Sir Samuel Vimes self. 

Younger (Older? He's never felt so Old, His steps so Childlike, reality twisting in his gut like one of Dibbler's pies) Sam Vimes walking around in a haze after the revolution. Desperate to go home, knowing he can’t. Wanting to drink. Knowing he can’t.

The whole precinct feels pity, he really took Keel’s death hard, hardly speaks except to do his job. Eventually he has to grit his teeth and start being present, because what else is there to do?

Resists the urge to drink until Colon takes the whole watch out to celebrate because -he’s going to be a father!

Come on Sammy, one drink won’t kill you— and after the first drink he’s cracking jokes and after the second hes smiling and after the third hes honestly the life of the party and sometime after that he’s crying about how he was going to be a father and my wife would be ashamed if she saw me drinking like this and— 

Oh shit, Did anyone else know he had a wife?? A PREGNANT wife??? What—aren’t you like 12—no you're 17 now aren't you but when did—

You guys n’ver met ’er—oh gods none if you ev’n know ‘er, is jus’ me...

What—when did you lose—

I lost her the same damn day I los’ ev’rythin else, whadya think...bleeding Carcer...the fuckin revolution...

So! That! Sam only vaguely remembers the night, but rumors travel faster than light on the disc, so by the next day the whole damn city knows about poor Sam brung low by the loss of his poor, tragic, pregnant wife, so young to be a widower, and the Seamstresses nod because they already knew, don’t ask them how, somethings you just have to know in that trade.

And his mother—I don’t know, sue me, I’m a time travel fiend but there’s something deeply intriguing about a man meeting his dead parent, who is somewhat younger than him, and stepping into the old relationship like a badly fitting thing that's supposed to fit well. She would know, right? How would she deal with her son’s impossible grief? Maybe she wouldn’t know—he spent most of the time out of the house, running with different street gangs, maybe he avoids her until she dies and lives with the guilt twice over. God, we don’t even know her name. There’s just so much narrative and emotional potential that I don’t even know where to start.

When he’s on duty, which is most time - it’s agonizing because at first he remembers cases, saves lives that would have been lost. But the more time passes, the hazier his memory because in the original timeline he was becoming an alcoholic. Fuck! A kid dies and he could have saved her if he hadn’t been such a drunk, if he had just remembered where the asshole lived, but it’s all a haze, and he wants to drown out his guilt, but that’s what caused this in the first place.

Good young Sammy, who spends his rare off-time in dusty libraries (and yes, the irony that he’s apparently Carrot now is not lost on him) reading gods-only-know.

It’s not like he can ask the wizards for help, cutthroat and vicious as they are now in the not-so-distant-past.

Good young Sam, who...talks to the Broken Drum’s pet Bouncer like he’s a real person and not a dumb rock? That’s a bit weird, but he’s a bit of a funny guy.

Good old Sam, who believed the testimony of the dwarf who said the humans were trying to rob him and let the dwarf go??

the PROBLEMS this man would cause, good grief. Can you imagine a moderately progressive middle aged man with some degree of begrudging diversity and equity training that he did, for all his sins, pay attention to, suddenly going back to like, 1990, going back just 30 years, and going...oh damn this is kind of fucked up, no man you can’t say that, holy shit.

Except Sam’s lived through even more rapidly shifting social moroes! There’s no seamstress guild, there’s no women allowed inside the university, there’s no black ribboner’s society. People hunted trolls for their teeth! But Sam can’t just unlearn everything, and he can’t shut up, and he has no real luck and anyway he would absolutely get himself (temporarily) fired.

FUCK. Sam has no idea what to do with that. None. Zero clue. Wanders around in a haze until that dwarf he saved from police brutality finds him and insists on repaying the debt. No, he insists, do you have any idea what debt means to a dwarf?

“Sort-of?” he replies hesitantly, and that honest admission of incomplete knowledge shows a hell of a lot more respect and understanding than any self proclaimed dwarf-expert ever did.

Gets a job as a surface man, hauling rocks into the city. It’s backbreaking work, but, in true Discworld fashion, it’s also one hell of a workout (again the irony of being Carrot is not lost him. he freezes for a minute while hauling a rock cart, when he remembers he's technically Lost Nobility too, in a strict sense, but someone curses at him in the street and he's comfortingly grounded)

And here is where this au slides into a SPECTACULAR romantic comedy, BEAR WITH ME. Because in his time on the Watch he’s already done noir, action adventure, war story, detective who dunnit, psychological horror, but guards guards only allowed him to be a romance protagonist in an extremely limited context.

Give me righteous, twenty-something-looking, can’t-say-he-doesn’t-have-style, young Sam Vimes, not an alcoholic,  being fed three square meals a day by his dwarven forced found family, hauling rocks. He is startled to find him bumping his head on a low hanging bar that he doesn’t think used to be there, eventually realizing that he’s an inch or two taller than he remembers. Huh. Guess all that bearhuggers really did stunt his growth.

Still doesn’t get what some of the looks from women he’s getting are about, sure, he’s dirty but so is everyone else. Fine, he took his shirt off, but it’s hot out, there’s far wrinklier than him hauling heavy loads, get a life. 

Happens to glance in the Ankh one day when it’s particularly slow and shiny and is startled to realize that he might be turning heads for a different reason. Oh. Right, not that he was ever a heartbreaker, but he did alright for himself... when he was a younger and his face hadn’t been broken so many times. Which...it isn't now.

Is mildly disturbed by the revelation.

Especially once things blow over at the precinct and what with high mortality rates, he ends up with getting hired again. The boys are delighted to have him back, nevermind that he’s an odd one, noone is ever quite in your corner like Vimsey, absence makes the heart fonder, no one else works that hard, and he’s not even competition for promotion. All around great guy, we should set him up with somebody and just, no.

It just keeps getting worse! He’s literate! He’s a feminist! He believes abuse victims! He’s got a tragic backstory! He’s unreasonably good in a fistfight! He’s kind to animals! Word gets around that there’s a good man on the watch and he’s just waiting for a good woman to come snap him up. The widower excuse doesn’t hold people off completely, and for some it’s its own sort-of appeal. 

Things REALLY become stressful after he rescues that carriage full of noblewoman.

What’s he supposed to do? Let them get robbed? Or worse? Chasing down and beating up 10 goons is as easy as beating up one, when they’re that stupid, getting separated like that, drunk and distracted, and he knows these streets better than anyone, really it’s nothing. And oh lord he’s Modest too.

I mean, they were genuinely greatful, as genuine as people like that are capable of being, the skill having grown rusty. And then there is something...magnetic about the man. An air of command.

So, soon enough you get Lady Marigold of Marigrave calling on Treckle Road for that gallant young officer who rescued them, she really needs to thank him. And Viscountess Elanor Thitzferal specifically requesting that he guard her at her next soiree. And Baroness Julieta van Shoeholten insisting that he come to her home while her husband’s away, for... manly protection.

Aaaah just zero sympathy from the guys. None. 'It’s become a competition, they’re just trying to see who can get me into bed first, it’s like I’m a piece of meat, you can’t send me sir, the Marquess greeted me in a nightee last time you made me go to—' and 'small gods Vimes are you even listening to yourself, shut the hell up'.

Simultaneous to this, (again this is several years into the timeline) swamp dragon accessories come into style. Which means abandoned swamp dragons scrounging on the street. Vimes takes one back to his apartment, blows his paycheck on dragon medicine, and eventually, heart in his chest, brings it to the Ramkin estate. The sunshine orphanage doesn’t even exist yet and he’s just standing outside the gates like an idiot, what is he thinking. Turns around, but her carriage is pulling up and—

well. they meet. it's cute. he's never felt so young. he's never felt so old, too old for her, too poor—

and certainly her thoughts linger too long on the awkward, kindly, handsome young commoner, but is it any wonder she doesn't quite connect it to the stern, dangerous, sexy young guard the ladies seem to be in some quiet, cuthroat competition over?

i have this gorgeous, absurd scene in my head in which Vimes is strong armed into standing guard at some high society soiree and one of the pushiest ladies insists he dance with here, or, if he prefers, if he's not confident about his skills, he can dance with her in-private at her home and he’s like [grinding teeth, looking for a way out, seeinf one] “I would be honored to dance with you.”

Steps right into some ultra-complex dance with multiple partner swaps (she never thought he'd pick this one, devilishly intimidating to one not strictly trained, and you barely spend anytime with your first partner).

But he does alright. Better than alright, for a common man, sometimes misstepping but his hands and feet always end up where they need to be. Raises several eyebrows part way into the song because he's throuwing in some slightly scandalous, no innovative, extra lifts and twirls that wouldn't become fashionable for another decade or two. Who even is that guy? Some out of towner? No, no he's in a guards uniform...how very strange.

Gets to Sybll and she's used to embarrassment during these dances, she tries to get out of them when she can... but can't always. Men awkwardly skipping the lifts, or worse, trying and failing. But him — oh it's him, the one who helped little Erold, and looked at her like—like—well like she was someone beautiful. And he's doing it again, and he's strong and there's a quiet moment where she's in the air, they lock eyes, and the rest of the room melts away.

And then the partners change again, the moment ended.

Just...living throught it all again. To the left, a dance he almost knows the steps to, throwing others off balance with erratic moves , honest mistakes, and delibrate stepping on toes. Improvising. Ruining. Improving. Getting far, far too much attention.

Hes almost excited when the first assassains start coming after him. It's like a hobby.

Everyone tells him he should get a hobby.

Interactions with young vetinari...I don't have the energy to write it all down, the slow circling in on each other, both burning with the need to fix the city, save it, their city.

needless to say he ends up fired again, life under real threat after offending some high lord.

Conveniently enough he has an employment opportunity- bodyguard to fucking Vetinari on his 'grand sneer.' The bastard knows vimes isn't what he seems, though sam is pretty sure that he doesnt know the exacts.

Vetinari hypothesis:(the ghost of keel? Keels son, with some hereditary curse? Or a larger spirit of justice possessing a string of unrelated souls? He knows things he shouldn't- mind reader? Fortune teller? Havelock once arranged for a wizard to bump into him on the street, the magical fool gave an odd double look and then muttered something about destiny looping in on itself giving him a headache. Destiny? Lost noble? And hes far too familiar with sybyl, one of the few bearable noblewomen in this city. And his thoughts on guilds, when havelock can trip him into speaking... Most of all, if hes reading him at all correctly (for all the mystery hes not that hard to read, unless thats a very clever cover) then it seems that behind those dark haunted eyes is Respect. Loyalty. For vetinari. What an interesting man. A puzzling asset. An intriguing threat. )

Did I mention the timeline is changing, healing slowly around the place where it was torn? Healing enough around scars to perhaps get some flexibility back, with some painful stretches and...massaging of said scar tissue?

And hes heading to unresting uberwald, a place where a werewolf pack still hunts humans and, truely unrelated but perhaps equally exhausting, an eldritch spirit of vengeance just might be looking to stretch its legs in a hapless vessel?

Opening drabble Vimes Vetinari Meta (Unwell)