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starry-bi-sky · 4 months

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tales of the passerine - danny fenton being bruce wayne's first kid

okay okay. so this is like a continuation/elaboration of my oneshot/prompt i wrote about the idea that Danny was the first batkid. We have a lot of aus where he joins the family after the rest of the bats do, right? So hey! Lets shake things up a bit. Danny is the first to be adopted by Bruce Wayne.

Danny's parents and unfortunately Jazz die shortly after the events of TUE -- how so? I was gonna say an ecto-filter explosion, that would call back to the TUE explosion and trauma behind that. But lets do something new! Carbon-monoxide poisoning.

It's not too unexpected for something to break in the Fenton house, especially with the Fenton parents' questionable understanding of proper weapon handling and lab safety. The water heater broke from a stray shot by one of the weapons, and was promptly MacGyver'd incorrectly. Danny went to stay with Tucker for a guys' night, and came back to a dead silent house.

(Danny's neighbors got a very unfortunate shock when he ran to the next house over in hysterics.)

There was a lot of shuffling around with CPS, the police. People had to be called in to handle the equipment in the lab, and the GIW was rumoring to show up in aid to clearing the scene. When Danny heard of that, he immediately went and dismantled the ghost portal to the best of his abilities. He burned the physical blueprints of all his parents' inventions, their blueprints on the ghost portal, and their most dangerous weapons were destroyed beyond recognition. Anything to prevent the GIW from getting their hands on his parents' tech.

It opened up another investigation, but he was not under the list of suspects. He was placed in the care of Vlad Masters, where they then went back to the rebuilt castle mansion in Wisconsin. Danny, terrified of the future that has once passed and may do so again, shuts down in his grief. Inadvertently, he ends up somewhat repressing his ghost half. Something Vlad, who is grieving Madeline but relishing in Jack's demise and his custody of Daniel, is not very happy with.

Vlad's... gone into a bit of a mental health spiral. He's becoming increasingly possessive over Daniel, the final remnants of his friends and a liminal being like him. He doesn't like that Danny's repressing his ghost half -- both out of genuine concern as a ghost, but also because of his desire to control Danny and groom him into the perfect son. If you ever had a phase where you read Dark SBI found family fics, first off; me too bro, and second off; those are the vibes I'm thinking of.

Danny's mentally shut down from grief! And fear. He's dropped into a bad depressive state -- paralyzed with grief and the terror of the inevitable. Clockwork saved his parents because he believes in second chances, but what's the point of that when his family ended up dead anyways? Danny doesn't wanna believe that he's destined to become evil, and he's holding out onto that hope, but it's a thin line, and he feels utterly hopeless and trapped. He hasn't used his powers or ghost form since he trashed the lab, and Vlad has alarms set up to prevent him from trying to escape.

He's also unintentionally cut off Sam and Tucker -- both of whom are so scared and concerned for Danny too, and are trying their damndest to reach out to him. He keeps ignoring their texts. Danny basically haunts Vlad's manor. He goes out to eat if he has to, attends parties Vlad drags him to, and stays in his room all day if he can.

At parties, Vlad doesn't allow Danny to leave his side, or really talk to anyone -- not that Danny wants to. A product of Vlad's increasing possessiveness. Well, he almost doesn't let Danny leave his side. Danny has a habit of slipping off to hide somewhere for the parties whenever he can, and Vlad reluctantly allows it so long as he stays alone.

This becomes an advantage when eventually, Bruce Wayne returns to Gotham after missing for years, and holds a bright charity ball to celebrate the return. Vlad has been chomping at the bits to get his hands on Wayne Industries, and with the return of its owner there is no better opportunity to wipe out his rival. He goes, and he as normal, brings Daniel with him.

Vlad thinks Wayne will bleed his little heart out for Daniel's poor orphan sob story -- he's a fellow orphan himself, after all. He's not wrong; Wayne's little heart will bleed, just not in the way that benefits him.

Bruce sees Vlad and Danny approaching before they're even close enough to introduce themselves - and like with many of the children he will soon come to care for, it's like someone set a mirror into the past right in front of him.

Danny Fenton's suit is tailor-made for him, and despite the fact that it's his perfect size, the sag in his shoulders, the ducked down head, and the way he hunches into himself all pictures the image of a child in shoes too big for him. There's a far away, glazed over look in his eyes and grief marble-cut into the lines of his face. There's not enough makeup in the world that will hide the dark circles under his eyes.

("My nephew, Daniel Fenton." Vlad's hands are possessive on Danny's shoulders. Bruce immediately notices the way the boy tenses under his touch. "His parents passed recently, and as his godfather I was designated his guardian.") ("I'm so sorry, the loss must've been terrible.") ("Yes, carbon-monoxide poisoning caused it. Daniel was out with friends, when he came home... they had already passed.") (Bruce immediately dislikes that Vlad shared the details of their death unprompted -- he likes it even less when Danny flinches at the reminder and hunches into himself.)

Danny runs off at some point earlier into the charity. At this point, parties are still being held at Wayne Manor (because iirc google search mentioned that was a thing at first before it was changed), so he disappears and hides in one of the empty rooms nearby. It just so happens to be the same room Bruce Wayne hides in when he needs a break from all of the socialization.

Thus begins a long, long process of trust. Bruce can't reveal his hand as being smarter than he looks, but he can be compassionate. Kindness needs no measure of intelligence. He keeps Danny company for as long as he can before he runs the risk of being found.

Rinse and repeat. Vlad insistently wants Wayne Industries, and he'll go to as many Wayne parties as he can to get his hooks into the man. The problem is that Bruce Wayne is never alone, and getting him alone is impossible. Finding him too. It's like the man never stops moving. Always talking to someone, always circling somewhere. He orbits around the room as if he isn't the sun of the Gotham Elite's solar system.

Danny's had such repetitive behavior that Vlad never thinks to believe that Bruce Wayne is disappearing to go talk to him. That "Vlad's" son is even interacting with him at all. Danny never gives him a reason to think so, and neither does Bruce.

Danny doesn't actually acknowledge Bruce until a handful of parties in, where he hands Bruce a small slip of paper he smuggled in that says; "don't trust Vlad". Danny's face stays carefully blank, but he's so tense that his hands are trembling, and he's purposely looking away from him. Bruce plasters a smile onto his face, slips the paper into his pocket, and tells him "okay".

(he's been busy with his own goals with the mafia, but he sets aside time to investigate Vlad Masters. He was holding off. Until now.)

Danny does eventually start speaking to Bruce, he's starting to really like the guy. He's starting to see a little hope, even as Vlad is starting to get more and more agitated with him the more he refuses to use his powers.

He reaches out to Sam and Tucker again, and starts trying to reconnect with them. Vlad has spyware on his phone, and he limits the amount of times he can talk to them. A weird parental control lock of some sort that leaves a time limit on how long he can talk to them for. 30 minutes. Danny doesn't tell them anything about Mr. Wayne.

Danny, slowly, wants out of here, and he's slowly gathering the motivation to do it. Vlad is genuinely scaring him -- and Danny wonders just how truthful the past-future Vlad was when he told him that Danny wanted his ghost half separate. He starts trying to come up with an escape plan.

Vlad has anti-ghost wards everywhere around the mansion, and while they're always on, they boost to full power at sunset. The doors and windows are always locked, all main exits have alarms set on them. The only reason it's not super extensive is because Danny hasn't tried leaving at all yet, so Vlad hasn't had to tighten anything.

At night, Vlad locks the door to his room and puts up an anti-ghost ward around the room. The mansion is on the outside westward side of Madison, more entrenched in rural Wisconsin. The closest town is a four-way stop sign with one house on three corners, and an open bar on the fourth. Not much to go.

He refuses to go to Sam and Tucker; Vlad would look there first. It's too dangerous. Vlad would sound alarm bells and have a manhunt looking for him, Danny can't risk going just anywhere. Too much risk of being found, sold out, or caught. There's really nowhere for him to hide.

Until there is. Bruce is telling Danny about the history of Wayne Manor, and says, as casually as saying the weather; "The manor has dozens of empty rooms, I'm sure Alfred wouldn't mind filling another one if he could." And quietly, hesitantly, Bruce places a careful hand on Danny's shoulder, unrestrictive and gentle; "He wouldn't mind getting one ready for you if you need one."

And there it is. There's his out.

Danny, just as quietly, replies; "I'll keep that in mind."

The ball starts rolling.

Now I've been trying to summarize this au as much as possible for length convenience, but Vlad has been steadily growing more and more controlling. More emotionally manipulative. More agitated at Danny for not using his powers.

He wants Wayne Industries under his thumb but he's been steadily growing more and more concerned with Danny. He's started grabbing him, yanking him around, shaking him; trying to goad him into using his powers. He gets angry when Danny doesn't react, or tells him he doesn't want to use his powers. He hasn't outright attacked him, but he's getting there. This has been happening over the time it takes for Bruce to indirectly offer Danny sanctuary at his home.

It all comes to a head when Vlad stops going to parties at all -- something Danny has to pretend he isn't upset about -- because Vlad doesn't want him around other people anymore. Vlad rarely goes now without him, and only leaves to go to a Wayne function or to handle something at VladCo.

Danny can't wait for Vlad to leave long enough to escape. So he leaves during the night of a big storm. Vlad's locked him in his room, but Danny doesn't bother trying to go for it; he goes to the alarmed window instead. Danny's been repressing his ghost half so long that he can't access his powers immediately anymore -- he can feel it, he knows its there, but he can't quite reach it.

He breaks the lock by hand.

Immediately the alarm goes off through the entire castle, filling the room with red, and he scrambles for the rope the Wisconsin Ghost left for him a few months back. Danny's already out and climbing down the side of the castle before Vlad even reaches his door -- the only good thing about the entire room being ghost-proof is that Vlad can't get in that way.

The rope ends before it reaches the bottom, and he's still twenty feet in the air. It won't kill him if he lands it right. Danny takes his chances, and drops. He breaks his ankle, but he survives.

And he fucking books it to the back garden. He hears Vlad shrieking over the thunder and rain.

I'll save the full experience for a future oneshot, but Danny makes it out into the nearby woods and forcibly experiences what it's like to be in a horror game, trying to hide from the thing that's hunting you. There's only one thing going through his mind; "i'm going to die"

I have this mental image for this scene. Very stereotypical horror imo. Where Danny is hiding behind a tree, with a hand over his mouth, and Vlad is a few feet away from him, glowing ominously red through the trees, trying to search for him.

Danny doesn't get away from this unscathed, but he does get away alive. That's all he could ask for. He gets away by getting his ghost half awakened long enough to transform into Phantom and fly to Gotham.

But he gets to Wayne Manor, he gets to Bruce. Or, at least, Alfred answers the door from his insistent pounding. Danny's just in tears and Alfred gets him in the living room, wrapped in a towel, with ice on his swollen leg before he has to step out and alert Bruce.

Bruce already breaks multiple traffic laws on a nightly basis. And that's just with the sheer existence of the batmobile itself, not including the speeding and military artillery attached. He breaks double the amount trying to speed back to the cave and get out of the suit.

Right off the bat: Bruce will know, at least before Dick enters the picture, about danny's powers. He'll figure out something considering the fact that Danny traveled from Wisconsin to New York in a single night. That'll be a bit of complicated affair, but I've already got something in mind.

Actually it'll probably be very soon after Danny joins the family, because Bruce tries to offer to fight for custody for Danny - the state Danny was in at arrival is clear enough evidence for a trial. But Danny immediately shuts it down, says it's not going to work and then Vlad will know Danny's with him and he won't be safe. He tells him that Vlad cannot know Danny was with Bruce.

Danny's biggest regret was not telling his parents he was a halfa, and while he doesn't want to tell mister wayne (yet), he does tell him about Vlad being one. He needs to know why Danny can't be seen with Bruce. So he tells him, and Danny's current plan is to just hide out from Vlad until he turns 18. That way, he has no more legal jurisdiction over him. After that? He's not sure.

And to wrap this up, since this has already gotten very long and I can make more posts about this au later; I've thought about it, and I'm going to say that Danny does become a vigilante before Dick enters the scene. He goes by, as you probably guessed; Nightingale. "Gale" for short.

#dpxdc #dp x dc #danny fenton is not the ghost king #dp x dc crossover #dpxdc crossover #tales of the passerine au #i dont want to overemphasize how much vlad sucks but also i dont want to downplay it. but also i didn't wanna make this post too long #i didn't emphasize enough on vlad's possessiveness but i wanted to make this post as general enough as possible for the au.#for some more wiggle room in the future if i make more posts about this au.#the consequences for Danny repressing himself was not a concern i was focused on for the post but i am thinking about it and mulling it ove #i'll be blunt my main specific reason for why this occurs shortly after tue is bc it means dani doesn't exist yet and it means i dont have #to include her in the continuation of this au. i love that girl but she's a dead weight. i dont wanna come up with an elaborate reason as #to why she's not in the picture when i can just say 'she never created in the first place' instead. i don't have anything for her to do #I don't want to risk giving her a poor plot line just so that she exists in au.#sometimes i really hate just how long my posts get. i feel like it kills my engagement. but i also don't want to make posts that have #a part 1 and part 2 just because I think it got too long.#i feel kinda bad for having Danny take the spot of 'first partner' from Dick. But that was part of the reason i was inspired to make this a #i've already got the skeleton of a reasoning for danny becoming a vigilante being made in my head.#He can't go by Phantom since that risks drawing Vlad's attention -- a new vigilante showing up in Gotham. a place the visited frequently #who goes by the name Phantom? He'd be on that faster than chickens on meat. and nightingale has familial meaning behind it due to being #part of an ancestral name. it follows robin's theme of using it to honor his parents while still having its own unique enough lore to stand #on its own without feeling like a cheap copy. plus the bonus meta reason that it follows the bird theme. which personally is vital to me #my other alternative to Nightingale is Sparrow. mostly because it has good phonetic structure for a hero name. not too many syllables #a good balance of consonants and vowels. dont want a hero name with too many syllables or unbalanced consonants. or worse; both.#my reasonings is that hero names should be easy for a civ or teammate to yell while still being understood. max amount of syllables before #it threatens to become too wordy is 3. If it goes over 3 it should have a balanced consonant-vowel ratio. Wonder Woman is a good example #some things got cut here that were in the initial oneshot. like danny giving bruce his physical ghost core and showing up bloody.#the first son au

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puppyeared · 9 months

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Why are ppl scared to call it what it is and say we’re still going thru covid on top of seasonal illness. Like. That’s pretty important right. I was watching the news and they were like oh yeah we have an unprecedented number of flu cases “as well as other sicknesses” without actually saying Covid. No announcement abt vaccinations or masking or anything. Also if I hear someone joking abt “war flashbacks” for mentioning covid I fucking hate u

#source: most of my family members are nurses and it was so bad for one of them they had to be put on a ventilator. in the hospital they #worked at. looking back I think I had a reason to feel a little offput by the shows of support early pandemic #with people tying blue ribbons around trees and lighting signs blue to support healthcare workers #I get that it was supposed to be moral support when we couldn’t do anything but follow health advisories #and it did matter to make them feel uplifted and do something than nothing. im not gonna deny that #but. you can still help now. u know that right. you still have a responsibility here #u can still mask up. u can still get vaxxed and call in sick to avoid infecting others #don’t leave it on healthcare workers to pick up the pieces just because they were doing it before. do u think they had a choice?#nobody likes picking up the slack for someone else and now that we have more tools to do smth couldn’t we just. do it????#im not a virologist but i also feel like continuing to let it get worse by letting more mutations develop #could continue to set us back since this virus is pretty good at fucking us up long term and finding new ways to do that #while there are ppl still researching covid which is STILL A RELATIVELY NEW VIRUS. and studying possible treatment and cures #yapping #vent

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stil-lindigo · 2 years

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the parade.

a short comic about when love dies slow.

support me on patreon

Things you may have missed:

#i think that like #the pain of losing someone you love slowly is so much worse than having a relationship die instantly #its such a helpless feeling #and one thing i hope i conveyed in this is like the part where you question yourself as its happening #i don't know how to tag this really #comics #thats one thing #emotional #i can only hope it tugs a few heartstrings #starting my new comic project off hopefully strong with this one #ive had the poem part of this in my notes app for a while now #im glad i put pen to paper and brought it to life #thank you for reading #stillindigo art #stillindigo comics #its 10pm

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kabutoden · 3 months

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FUCK THE KARKAT VANTAS PLUSH THEY CUT ME OFF FOR FUCKING REALLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLL

I WAS GOING TO MAKE A KARKAT VANTAS PLUSH AND SELL IT TO THE PEOPLE!! I WAS GOING TO DO THAT!!! I HAD A MARKETABLE PLUSHIE DESIGN AND EVERYTHING!!!! DO YOU SEE THIS FUCKER??? DO YOU SEE HIM??? DO YOU FUCKING SEE HIM?

I SAID IT TO ALL MY FREINDS!! TO MY FAMILY!! 'gonna make a marketable plushie out of this dog hes sellable as fuck' FUCK!!!! THEY FUCKING GOT TO IT BEFORE ME AND THEIR DESIGN ISNT EVEN GOOD!!! WHY IS THE HAIR LIKE THAT ITS FUCKING makeship THEY CAN MAKE SOME PRETTY QUALITY WORK!! ITS GOING TO COST 30 DOLLARS YOU DIDNT FUCKING NEED TO skIMP ON THE HAIR!!!!! PROMISE!!! WHAT IS THIS A FUCKING FNAF PLUSH??? ARE YOU JOKING??? WHO DID YOU COMMISSION TO MAKE THIS PLUSH DEISNGNNNNN WHY IS THE HAIR FLATTTTTTTTTTTTTTT

I WAS GOING TO DO THAT!!! IT WAS HALF THE REASON I MADE THIS STINKIN COMIC AND NOW I HAVE 60 MORE PAGES I WANT TO FINISH NOOOOO FUCKKKKKKKKKK NOW I HAVE OFFICIAL COMPETITIONNN WHYYYY

its fine. im fine im. FIIIIIINEEEEEEEE. its on me for not working on aphids... f in the fucking chat (this post is not very serious)

#genuinely was going to try and do some kind of makeship plush of my karkat design #also did not think the makeship plush was real. i mean. its kind of bad #like i want to get it but also it's bad. you feel??? you fucking feel? hes my favorite little guy but there has been way better plushies #made than this #a lot of worse ones two but fuckit #dont take this seriously at all please #im just whining #i have been talking about turning aphids karkat into a plush for months before like the whole life went off the rails thing and i stopped #updating aphids for a while #BUT I WILL FINISH IT #tbh when its done id like to try and do a plush still but we'll fucking see LOL if theres an audience for it #definetly a bummer homestuck official got there before me but i dont like their plush design. like its just woof. rough #its a 30 dollar plush you can afford hair and arms. promise

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oceanwithouthermoon · 29 days

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maybe its just me but i cant stand when people are like "it just doesn't sit right with me how teruhashi thought about aiura 🥺" like yes... its not supposed to ??? because her thinking badly of other girls and prioritizing male validation over everything is one of her main flaws ??? can we talk about that WITHOUT making it seem like shes not allowed to have a single actual flaw without suddenly becoming an awful person? nobody can handle complex female characters at all and its so fucking annoying

#you guys all missed the point of her development AND her and saiki's relationship development #like did you miss the parts where the only times he genuinely seems to not like something she does is when shes mean to other girls #and he still understands that she isnt a bad person for having bad thoughts in the private comfort of her mind #and besides... in this case she was literally just being a dramatic and insecure teenage girl LMAO #like dont fucking lie to me and tell me when you were her age you didnt have similar thoughts #youre worse than her if you lie about it while judging her for it #sorryyyy #she shouldve been MORE unhinged youre all just cowards #AND ALSO ? how can something even be 'mean' if its just a thought #thats like if u opened ur friends private diary without permission and then unfriended them over something they said in a random upset vent #and in this specific situation if u found out ur friend called someone a bitch because they liked the same person as her ??#LIKE THATS ?? its bad but its not as crazy as you guys make it out to be #shes allowed to be angry and insecure in the privacy of HER OWN MIND #idk if this makes sense but i just feel that her thoughts are more of a concern about her wellbeing than anything else #like she canonically is extremely kind to others even when she doesnt want to be so why are we worried about how she treats others.#theyre fine. im worried about HER.#and WHY her mindset is so negative... but u guys dont give a shit because u cant handle even a spec of complexity #sorry ive said all this before i just like to rant #saiki k #tdlosk #the disastrous life of saiki k.#teruhashi kokomi #meows post

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mikakuna · 2 months

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actually the thing that pisses me off when fandom talks about the titans tower incident isn't even just that people wildly misinterpret/overreact to it, but that they only care about it because it happened to tim

half the other unhinged shit jason has done towards heroes (beautiful and spectacular) is like. never brought up. the titans tower incident is just tim fans' way of angsting up their blank canvas

#none of you care this much about jason and mia's fight or dick and jason's thing #he's got nothing going for him and y'all need to accept that #tim pov in a jason centric fic drives me BONKERS #jason feeling remorse for attacking a child like they weren't both teenagers and both vigilantes #the guy was robin. he fought worse than jason. him losing to jason was pathetic and proved jason's point #tim was not suffering for months after that fight. he does not have ptsd. he is not scared of jason. the bats don't tell jason to stay #away from tim #come to terms with the fact that tim is BORING #stop making jason ooc just to make tim's perfectly normal life sad #anyways sorry guys i just read back to back fics of jason acting like he was gonna break down for hurting tim because he's just a baby #every once in a while i just have to vent about this character to air out my frustrations #jason todd #red hood #anti tim drake

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hadesknockedupintheunderworld · 1 month

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Insane again thinking about Sonic and Tails

Everyone always talks about the ways in which Tails is dependent on or revolves around Sonic. We talk about the ways in which he's depended on Sonic to save him, the way he likes tagging along on journeys, the way Sonic has inspired him, the way he always maintains Sonic's plane, leaves his door open for him with place to rest and good food to eat

But we rarely talk about the ways in which Sonic is secretly dependent or reliant on Tails

In a large portion of the games, if Tails isn't straight up on the journey alongside him, Sonic has the security that Tails can communicate with him from afar, and Tails usually appears to help out at some point during one of Sonic’s solo journeys. He doesn't have to be without Tails for long

And we see what happens (especially in Sonic Frontiers and Sonic Prime) when Tails is inaccessible. In Frontiers, he wonders where Tails aloud is unprompted, wanting to find him. Sonic's other friends even convince him to bother with the secrets of the starfall islands because doing so may lead him to Tails. He wants to find Tails so Tails can make sense of what's happening. And in Prime, Sonic ends up scrambling without Tails around. Especially in Prime S1 while things make the least sense, he seeks out Tails first (and then later hopes variants other than Nine can fill Tails' role) because he trusts him. He trusts that if Tails is here, then he can just tell Sonic what to do (come up with a plan for him to execute). With Tails around, Sonic doesn’t have to worry about not understanding the situation because Tails can figure it out. Without Tails, Prime!Sonic often shifts between trying to handle things himself to the best of his knowledge while rolling with the punches, and deferring to someone he can trust as a smarter strategizer to tell him what to do (a role Nine fills most notably, but other characters such as Rebel and Shadow fill on the occasion).

Of course there's also the earlier mentioned way in which Tails takes care of Sonic as well. I'm sure Tails isn't Sonic's only friend that he could crash with, but it's Tails who goes to such lengths to open his arms for him. If Sonic wants to crash in an actual house, if he wants to eat his favorite food, if he just wants to hang out, or if he needs help, Tails's home is open to him, accommodating his every need.

In my eyes, Sonic is the one who is surprisingly codependent here, who flounders a bit when everything goes to shit, Tails is nowhere to be found and can't be contacted, and there's no one else that can help him make sense of things. He takes Tails with him on so many journeys, even in games like Colors, where Tails largely follows behind Sonic while Sonic does a lot of the physical work. Tails doesn't need to be "useful" to tag along. He likes having Tails around, he wants Tails around. When Tails can't go with him or it's something Sonic should go alone for, he can always communicate with him and hear his voice from afar. And I'd argue there are more examples than Sonic Prime that may demonstrate Sonic trying to find someone to fill Tails' role the first chance he can get when Tails isn't around and can't be contacted.

The conclusion here is that a lot of people talk about Tails being dependent on Sonic or revolving around him, but they truly are partners. Sonic wants to be around Tails at this point perhaps as much as Tails always wants to be around Sonic. The two are strong together, they fill each other's gaps in ability. They both feel more secure when the other is around, and they rely on each other's presence. They are each a comforting existence to the other in similar and different ways.

#sonic the hedgehog #sontails #unbreakable bond #tails the fox #miles tails prower #sonic prime #sonic frontiers #i just be ramblin #guys I just #These two mean so much to me #and it means a lot to me that people understand that (eng Frontiers aside) these two really are on equal #footing. This is no longer a relationship where Tails follows Sonic around all the time and relies on him #They both care so much about each other #And Sonic needs Tails too #They need each other #And as a personal interpretation #I do like to think that Sonic and Tails are more codependent than they appear to be #I think that Tails fairs better than people think without Sonic around #while Sonic fairs worse than people think #I genuinely don't think that Tails could split from Sonic for an indefinite amount of time with little contact and Sonic would cope well #with it #And I also just think it's funny and ironic if Tails' journey has Tails growing more independent from Sonic while choosing to be around him‚#while Sonic himself ends up growing more dependent on Tails' presence #Sorry I reread what I have so far of Sonine prime again and it just made me feel things about Sonic being surprisingly dependent on #Tails again

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iwoulddieforienzo · 2 months

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Something really great about the persona 2 cast is that they all individually fucking SUCK to talk to casually. Every single one of them. They are all infuriating. We have:

Tatsuya, who will stare at you blankly if you try to initiate conversation (IS) and will dip without saying a word afterward (EP)

Batsuya, who will scoff and brush you off/otherwise act dismissive

Eikichi, who might honestly be the best to talk to in the IS crew and that is not saying much, who WILL talk extremely loudly over you (probably not on purpose?) and will not be paying particularly close attention to the conversation beyond whatever he wants to say (gets points for talking about his gf. gets points taken away for constantly talking about his gf)

Lisa, who will automatically assume bad faith and will be rude to you the entire conversation unless you manage to defuse her temper (good luck)

Jun, who is uncommunicative at BEST and requires an encyclopedic knowledge of flowers, metaphor and body language just to get a HINT on what he’s thinking, and who will be extremely polite but completely unhelpful. If you tried asking him what he wants for dinner I guarantee it will be the longest 30 minutes of your life as he goes “oh I have no opinion :) whatever you want. :))” EXCEPT HE DOES HAVE OPINIONS. He has SO MANY OPINIONS. He is Expecting you to be able to pick up on his “obvious” clues. He will be passive aggressive if you don’t. (Jun babygirl you suck so bad I love u)

Maya, who is a delight but will very quickly become grating if you try to talk to her about anything serious as she hits you with the white suburban mom's "how to live a happy, healthy life" lifecoach slogans. You can’t even mention, like, stepping in a puddle or something without her hitting you with the positivity beam.

Yukino is great actually. 10/10. She’s fabulous we love her. Incredible conversationalist, chill and fun and easy to get along with. But she’s from Persona One, she doesn’t Count.

Ulala, who WILL bring up her relationship problems in every conversation within 10 minutes at least once. Any longer and she will start talking about Maya.

Do I even need to explain Baofu. Have you seen him.

And finally, Katsuya, who is a cop and a kiss ass and Very Obvious about these things. Also he can't talk to women. He can barely talk to men. Help Him.

And yet they all work wonderfully as a group. They are so annoying I love them

#long post #Nanjo and Elly don't count btw #hi I fucking adore them #I missed them <3 Suou Brothers crawling back into my brain #Persona 3-5 have a very charming casts that are easy to like immediately. Persona 1 & 2 are filled with the most annoying bitches alive #exaggeration obviously. not by that much tho #persona 2s cast in particular is very charming. when they're TOGETHER. Individually? Wellllll...#hmm something about p2s cast in particular feels less. gimmicky? I guess? than the newer persona games #which isn't to say that those casts are worse or that the p2 cast ISN'T gimmicky because they are #but idk. you kind of always know how Ryuji or Ken or Yukiko will react to a situation. but the p2 cast may surprise you #again: doesn't make any of the later casts bad! I absolutely adore them. That you can predict them is evidence of strong character writing!#The p2 cast just feels a little more fleshed out is all. probably because the lack of social links means they're able to progress #throughout the story and change without worrying about conflicting with a link yanno?#I love social links though I think they're a great edition!#They need their kinks ironed out a bit but Yosuke has already proved that they are absolutely capable of working hand in hand with the #development of characters in the story as well #and theyre still fun even when they don't impact the story. I like getting to know side #characters too! (Naoki and Ei and Ai and Daisuke and Kou and the old lady and Akinari and-)#tag ramble #persona 2 #tatsuya suou #eikichi mishina #lisa silverman #jun kurosu #maya amano #yukino mayuzumi #ulala serizawa #baofu #katsuya suou #Also um. hi. Its been a while lol

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aropride · 6 months

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this post was a game changer for me. thank you ryan reynolds

#text #LIKE. i beat myself up for a WHILE abt my reaction #But what that person did was much worse #& i did not say a single unkind word to them #& if i had a big freak-out break-down on a PRIVATE BLOG that was essentially a diary because i DIDNT KNOW THEY WERE STALKING ME ONLINE ⁉️⁉️⁉#well i was well within my right to do so. because i should not have been expected to account for their feelings right after what they did #IN MY OWN PRIVATE SPACE. !!!!!!!!! GOD.#and i kept myself in check speaking directly to them & thats all that should have been expected from me. i was allowed to say mean things a #about them in what was essentially a digitsl journal. after they LITERALLY TRAUMATIZED ME ‼️‼️‼️#Sorry Everyone im finally going back and like processing stuff from years ago due in no small part to the shelby abuse stream #so sry if im complaining abt being traumatized more than usual 😒#traumablogging

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tempestmothstorm · 12 days

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Ok since Monika still has her admin powers in the side stories you think she could just discover them accidentally or use them without realizing

Anyways au where Monika and friends discover her admin powers but dont know about the wider context of what it means. So they just go around thinking Monika has magic and try practicing with a bunch of silly fun shenanigans because they figure it’s some chosen one bloodline stuff and not like. A product of their reality being a constricted digital science experiment.

This au will not end well

#yeah she probably needs the epiphany to consciously use it but hypothetical aus are fun and the angst potential it plentiful #the beauty of this au is that it contains potential for both wacky slice of life escapades and soul crushing angst #they’re like doing a dumb 3am ghost summoning ritual and Monika accidentally does some admin stuff and they’re like ‘woah your magic’#and they research a bunch of other dumb stupid rituals and nearly set the carpet on fire #they like try to rob a bank or cheat on a test and nearly delete half a building #and then at some point Monika suddenly extends her admin powers too far and acts real despondent for no reason #because she ends up epiphany beaming herself and is even more conflicted than base game because she grows so much more connected to the club #it’s even worse because they were her whole world and she knows so much she sees how human they are but they just aren’t apparently?????#and while she can’t pull a base game and kill everyone for a nonexistent player she still goes through so much angst and like #the girls notice and want to help but don’t know how because she won’t tell anyone and she keeps avoiding them and like aauughhh #it would probably end with Monika doing something drastic and trying to reach out for anyone out there who understands #and idk maybe she’ll find base game Monika post act 4 and she’s like ‘what the heck why did you abandon your friends don’t to what I did???’#and maybe she could fix her mistakes???? maybe not??????? whatever’s narratively fulfilling #shoot this was supposed to be a short post for a silly au what have I done #this feels like the plot of a kids tv show where the plot randomly gets really dark on its fifth season #also realizing al lot of the same plot points happen in my fantasy au so I really gotta get to that too #ddlc #doki doki literature club #tempestmothtalk

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eddiediaaz · 1 month

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contemplating ending it all while doing the dishes (for the 3rd time today because i couldn't do them for like 2 weeks) on a summer saturday night. i'm such a fucking loser i hate living so bad. like what's the fucking point here??? everytime i feel like i'm taking a step forward in life, or simply feeling better mentally, it's actually 5 steps back. there's literally no point of me being alive right now. why am i even here i don't matter

#j'ai le mal de vivre etc etc #tw sui ideation #tw sui vent #writing goodbye letters in my head while showring (when i remember) or washing dishes (not as often as i should) is not fucking normal #and then i feel bad for feeling like that because some people have it so much worse than me #i asked my doctor last month if we should up my medication but she said no it's normal that i'm feeling that way due to my situation #okay yeah it's normal that i feel sad...but....that bad?#i don't know #anyway sorry i just need to vent #i'm not gonna do anything i would never want my parent to blame themselves #shut up alie

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soracities · 1 year

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Hey! It has been on my mind lately and i just wanna ask..idk if it would make sense but i just noticed that nowadays ppl cant separate the authors and their books (ex. when author wrote a story about cheating and ppl starts bashing the author for romanticizing cheating and even to a point of cancelling the author for not setting a good/healthy example of a relationship) any thoughts about it?

I have many, many thoughts on this, so this may get a little unwieldy but I'll try to corall it together as best I can.

But honestly, I think sometimes being unable to separate the author from the work (which is interesting to me to see because some people are definitely not "separating" anything even though they think they are; they just erase the author entirely as an active agent, isolate the work, and call it "objectivity") has a lot to do with some people being unable to separate the things they read from themselves.

I'm absolutely not saying it's right, but it's an impulse I do understand. If you read a book and love it, if it transforms your life, or defines a particular period of your life, and then you find out that the author has said or done something awful--where does that leave you? Someone awful made something beautiful, something you loved: and now that this point of communion exists between you and someone whose views you'd never agree with, what does that mean for who you are? That this came from the mind of a person capable of something awful and spoke to your mind--does that mean you're like them? Could be like them?

Those are very uncomfortable questions and I think if you have a tendency to look at art or literature this way, you will inevitable fall into the mindset where only "Good" stories can be accepted because there's no distinction between where the story ends and you begin. As I said, I can see where it comes from but I also find it profoundly troubling because i think one of the worst things you can do to literature is approach it with the expectation of moral validation--this idea that everything you consume, everything you like and engage with is some fundamental insight into your very character as opposed to just a means of looking at or questioning something for its own sake is not just narrow-minded but dangerous.

Art isn't obliged to be anything--not moral, not even beautiful. And while I expend very little (and I mean very little) energy engaging with or even looking at internet / twitter discourse for obvious reasons, I do find it interesting that people (online anyway) will make the entire axis of their critique on something hinge on the fact that its bad representation or justifying / romanticizing something less than ideal, proceeding to treat art as some sort of conduit for moral guidance when it absolutely isn't. And they will also hold that this critique comes from a necessarily good and just place (positive representation, and I don't know, maybe in their minds it does) while at the same time setting themselves apart from radical conservatives who do the exact same thing, only they're doing it from the other side.

To make it abundantly clear, I'm absolutely not saying you should tolerate bigots decrying that books about the Holocaust, race, homophobia, or lgbt experiences should be banned--what I am saying, is that people who protest that a book like Maus or Persepolis is going to "corrupt children", and people who think a book exploring the emotional landscape of a deeply flawed character, who just happens to be from a traditionally marginalised group or is written by someone who is, is bad representation and therefore damaging to that community as a whole are arguments that stem from the exact same place: it's a fundamental inability, or outright refusal, to accept the interiority and alterity of other people, and the inherent validity of the experiences that follow. It's the same maniacal, consumptive, belief that there can be one view and one view only: the correct view, which is your view--your thoughts, your feelings.

There is also dangerous element of control in this. Someone with racist views does not want their child to hear anti-racist views because as far as they are concerned, this child is not a being with agency, but a direct extension of them and their legacy. That this child may disagree is a profound rupture and a threat to the cohesion of this person's entire worldview. Nothing exists in and of and for itself here: rather the multiplicity of the world and people's experiences within it are reduced to shadowy agents that are either for us or against us. It's not about protecting children's "innocence" ("think of the children", in these contexts, often just means "think of the status quo"), as much as it is about protecting yourself and the threat to your perceived place in the world.

And in all honestt I think the same holds true for the other side--if you cannot trust yourself to engage with works of art that come from a different standpoint to yours, or whose subject matter you dislike, without believing the mere fact of these works' existence will threaten something within you or society in general (which is hysterical because believe me, society is NOT that flimsy), then that is not an issue with the work itself--it's a personal issue and you need to ask yourself if it would actually be so unthinkable if your belief about something isn't as solid as you think it is, and, crucially, why you have such little faith in your own critical capacity that the only response these works ilicit from you is that no one should be able to engage with them. That's not awareness to me--it's veering very close to sticking your head in the sand, while insisting you actually aren't.

Arbitrarily adding a moral element to something that does not exist as an agent of moral rectitude but rather as an exploration of deeply human impulses, and doing so simply to justify your stance or your discomfort is not only a profoundly inadequate, but also a deeply insidious, way of papering over your insecurities and your own ignorance (i mean this in the literal sense of the word), of creating a false and dishonest certainty where certainty does not exist and then presenting this as a fact that cannot and should not be challenged and those who do are somehow perverse or should have their characters called into question for it. It's reductive and infantilising in so many ways and it also actively absolves you of any responsibility as a reader--it absolves you of taking responsibility for your own interpretation of the work in question, it absolves you of responsibility for your own feelings (and, potentially, your own biases or preconceptions), it absolves you of actual, proper, thought and engagement by laying the blame entirely on a rogue piece of literature (as if prose is something sentient) instead of acknowledging that any instance of reading is a two-way street: instead of asking why do I feel this way? what has this text rubbed up against? the assumption is that the book has imposed these feelings on you, rather than potentially illuminated what was already there.

Which brings me to something else which is that it is also, and I think this is equally dangerous, lending books and stories a mythical, almost supernatural, power that they absolutely do not have. Is story-telling one of the most human, most enduring, most important and life-altering traditions we have? Yes. But a story is also just a story. And to convince yourself that books have a dangerous transformative power above and beyond what they are actually capable of is, again, to completely erase people's agency as readers, writers' agency as writers and makers (the same as any other craft), and subsequently your own. And erasing agency is the very point of censors banning books en masse. It's not an act of stupidity or blind ignorance, but a conscious awareness of the fact that people will disagree with you, and for whatever reason you've decided that you are not going to let them.

Writers and poets are not separate entities to the rest of us: they aren't shamans or prophets, gifted and chosen beings who have some inner, profound, knowledge the rest of us aren't privy to (and should therefore know better or be better in some regard) because moral absolutism just does not exist. Every writer, no matter how affecting their work may be, is still Just Some Guy Who Made a Thing. Writing can be an incredibly intimate act, but it can also just be writing, in the same way that plumbing is plumbing and weeding is just weeding and not necessarily some transcendant cosmic endeavour in and of itself. Authors are no different, when you get down to it, from bakers or electricians; Nobel laureates are just as capable of coming out with distasteful comments about women as your annoying cousin is and the fact that they wrote a genre-defying work does not change that, or vice-versa. We imbue books with so much power and as conduits of the very best and most human traits we can imagine and hope for, but they aren't representations of the best of humanity--they're simply expressions of humanity, which includes the things we don't like.

There are some authors I love who have said and done things I completely disagree with or whose views I find abhorrent--but I'm not expecting that, just because they created something that changed my world, they are above and beyond the ordinarly, the petty, the spiteful, or cruel. That's not condoning what they have said and done in the least: but I trust myself to be able to read these works with awareness and attention, to pick out and examine and attempt to understand the things that I find questionable, to hold on to what has moved me, and to disregard what I just don't vibe with or disagree with. There are writers I've chosen not to engage with, for my own personal reasons: but I'm not going to enforce this onto someone else because I can see what others would love in them, even if what I love is not strong enough to make up for what I can't. Terrance Hayes put perfectly in my view, when he talks about this and being capable of "love without forgiveness". Writing is a profoundly human heritage and those who engage with it aren't separate from that heritage as human because they live in, and are made by, the exact same world as anyone else.

The measure of good writing for me has hardly anything to do with whatever "virtue" it's perceived to have and everything to do with sincerity. As far as I'm concerned, "positive representation" is not about 100% likeable characters who never do anything problematic or who are easily understood. Positive representation is about being afforded the full scope of human feelings, the good, the bad, and the ugly, and not having your humanity, your dignity, your right to exist in the world questioned because all of these can only be seen through the filter of race, or gender, religion, or ethicity and interpreted according to our (profoundly warped) perceptions of those categories and what they should or shouldn't represent. True recognition of someone's humanity does not lie in finding only what is held in common between you (and is therefore "acceptable", with whatever you put into that category), but in accepting everything that is radically different about them and not letting this colour the consideration you give.

Also, and it may sound harsh, but I think people forget that fictional characters are fictional. If I find a particularly fucked up relationship dynamic compelling (as I often do), or if I decide to write and explore that dynamic, that's not me saying two people who threaten to kill each other and constantly hurt each other is my ideal of romance and that this is exactly how I want to be treated: it's me trying to find out what is really happening below the surface when two people behave like this. It's me exploring something that would be traumatizing and deeply damaging in real life, in a safe and fictional setting so I can gain some kind of understanding about our darker and more destructive impulses without being literally destroyed by them, as would happen if all of this were real. But it isn't real. And this isn't a radical or complex thing to comprehend, but it becomes incomprehensible if your sole understanding of literature is that it exists to validate you or entertain you or cater to you, and if all of your interpretations of other people's intentions are laced with a persistent sense of bad faith. Just because you have not forged any identity outside of this fictional narrative doesn't mean it's the same for others.

Ursula K. le Guin made an extremely salient point about children and stories in that children know the stories you tell them--dragons, witches, ghouls, whatever--are not real, but they are true. And that sums it all up. There's a reason children learning to lie is an incredibly important developmental milestone, because it shows that they have achieved an incredibly complex, but vitally important, ability to hold two contradictory statements in their minds and still know which is true and which isn't. If you cannot delve into a work, on the terms it sets, as a fictional piece of literature, recognize its good points and note its bad points, assess what can have a real world impact or reflects a real world impact and what is just creative license, how do you possible expect to recognize when authority and propaganda lies to you? Because one thing propaganda has always utilised is a simplistic, black and white depiction of The Good (Us) and The Bad (Them). This moralistic stance regarding fiction does not make you more progressive or considerate; it simply makes it easier to manipulate your ideas and your feelings about those ideas because your assessments are entirely emotional and surface level and are fuelled by a refusal to engage with something beyond the knee-jerk reaction it causes you to have.

Books are profoundly, and I do mean profoundly, important to me-- and so much of who I am and the way I see things is probably down to the fact that stories have preoccupied me wherever I go. But I also don't see them as vital building blocks for some core facet or a pronouncement of Who I Am. They're not badges of honour or a cover letter I put out into the world for other people to judge and assess me by, and approve of me (and by extension, the things I say or feel). They're vehicles through which I explore and experience whatever it is that I'm most caught by: not a prophylactic, not a mode of virtue signalling, and certainly not a means of signalling a moral stance.

I think at the end of the day so much of this tendency to view books as an extension of yourself (and therefore of an author) is down to the whole notion of "art as a mirror", and I always come back to Fran Lebowitz saying that it "isn't a mirror, it's a door". And while I do think it's important to have that mirror (especially if you're part of a community that never sees itself represented, or represented poorly and offensively) I think some people have moved into the mindset of thinking that, in order for art to be good, it needs to be a mirror, it needs to cater to them and their experiences precisely--either that or that it can only exist as a mirror full stop, a reflection of and for the reader and the writer (which is just incredibly reductive and dismissive of both)--and if art can only exist as a mirror then anything negative that is reflected back at you must be a condemnation, not a call for exploration or an attempt at understanding.

As I said, a mirror is important but to insist on it above all else isn't always a positive thing: there are books I related to deeply because they allowed me to feel so seen (some by authors who looked nothing like me), but I have no interest in surrounding myself with those books all the time either--I know what goes on in my head which is precisely why I don't always want to live there. Being validated by a character who's "just like me" is amazing but I also want--I also need-- to know that lives and minds and events exist outside of the echo-chamber of my own mind. The mirror is comforting, yes, but if you spend too long with it, it also becomes isolating: you need doors because they lead you to ideas and views and characters you could never come up with on your own. A world made up of various Mes reflected back to me is not a world I want to be immersed in because it's a world with very little texture or discovery or room for growth and change. Your sense of self and your sense of other people cannot grow here; it just becomes mangled.

Art has always been about dialogue, always about a me and a you, a speaker and a listener, even when it is happening in the most internal of spaces: to insist that art only ever tells you what you want to hear, that it should only reflect what you know and accept is to undermine the very core of what it seeks to do in the first place, which is establish connection. Art is a lifeline, I'm not saying it isn't. But it's also not an instruction manual for how to behave in the world--it's an exploration of what being in the world looks like at all, and this is different for everyone. And you are treading into some very, very dangerous waters the moment you insist it must be otherwise.

Whatever it means to be in the world, it is anything but straightforward. In this world people cheat, people kill, they manipulate, they lie, they torture and steal--why? Sometimes we know why, but more often we don't--but we take all these questions and write (or read) our way through them hoping that, if we don't find an answer, we can at least find our way to a place where not knowing isn't as unbearable anymore (and sometimes it's not even about that; it's just about telling a story and wanting to make people laugh). It's an endless heritage of seeking with countless variations on the same statements which say over and over again I don't know what to make of this story, even as I tell it to you. So why am I telling it? Do I want to change it? Can I change it? Yes. No. Maybe. I have no certainty in any of this except that I can say it. All I can do is say it.

Writing, and art in general, are one of the very, very, few ways we can try and make sense of the apparently arbitrary chaos and absurdity of our lives--it's one of the only ways left to us by which we can impose some sense of structure or meaning, even if those things exists in the midst of forces that will constantly overwhelm those structures, and us. I write a poem to try and make sense of something (grief, love, a question about octopuses) or to just set down that I've experienced something (grief, love, an answer about octpuses). You write a poem to make sense of, resolve, register, or celebrate something else. They don't have to align. They don't have to agree. We don't even need to like each other much. But in both of these instances something is being said, some fragment of the world as its been perceived or experienced is being shared. They're separate truths that can exist at the same time. Acknowledging this is the only means we have of momentarily bridging the gaps that will always exist between ourselves and others, and it requires a profound amount of grace, consideration and forbearance. Otherwise, why are we bothering at all?

#this is so much longer than i intended but yeah. those are my very long 2 cents #tbh i also think social media makes it worse in a way especially bc “transparency” has become a form of public vetting which is insane to m #me* transparency and honesty are not the same thing ans its ludicrous that this is where we're at and while we all have to live with this #demand for transparency i do think it affects writers differently bc the whole art as mirror thing comes to the fore in this argument #why would you sit with your feelings about a book when its easier and more accessible for you to @ the authors twitter handle #but anyway #ask #anonymous #book talks

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