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ibtisams · 3 months

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Super Bowl confetti vs leaflets Israel dropped in Gaza

#I can’t stress enough how dystopian the world is right now #🦢

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jesncin · 12 days

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I really hope this doesn’t come across as rude, but why did you decide to make Lex Luthor, whose motivation is basically racism and xenophobia from my understanding, a person of color? This isn’t like, a criticism, more just, I really like your JL remix stuff and you usually have cool reasons for the stuff you change, so I was surprised by this one

I understand the curiosity! But I have to point out that "you usually have cool reasons for the stuff you change, so I was surprised by this one" made me laugh, haha. Long answer coming because I have a lot of feelings- but the point in the very end is worth it, trust me.

So for one, Lex is Afro-Greek in my version. This comes from the popular headcanon that STAS/DCAU Lex is Black (and his design is based on a Greek man). His character design, skin tone, and Clancy Brown's enigmatic performance became unintentional perceived representation for Black fans (and even DC writers). And now in the Harley Quinn show, that's become canonized! For why they like it, that's not my place to say as a non-Black person- so I listen!

I don't agree that Lex's motivation is "basically racism and xenophobia"- his themes are much broader than that. It's the desire to be the Man of Tomorrow, his jealousy of Superman, the way his intellect alone is a match against Superman's strength. Sometimes that jealousy is expressed through bigotry, but it's all a means to an end for Lex. My approach is: if Lex being Black is something we want to integrate more into his character, what opportunities does that open up narratively? Because there's rich potential for him and the characters connected to him.

When discussing MAWS I talk a lot about how when you're writing a bigoted marginalized character, there needs to be specifity with where that internalized bigotry is coming from. So a change like that for Lex Luthor could, for example; discuss how privileges like wealth can assimilate otherwise marginalized people into the kind of power that harms others in their community.

The ripple affect this has on a character like Superboy/Conner is that we get to see how -even though they're both Luthors- Conner is profiled, othered and further marginalized as a Kryptonian and a Black homeless teen because he doesn't get to benefit from any of Lex's privileges. This is just part of the many reasons why I think Conner would be infinitely more interesting if he didn't look like Kal El despite being a clone. You get to see a new intersection of how the Kryptonian identity intersects with Blackness on Earth. The potential ripple effect for a character like Lena is also really fun! What if she's struggling with her own model minority pressure when she's making up for her brother's crimes? It's all very compelling!

And MOST importantly, in a 3 trillion IQ Lex Luthor-style move-making Lex Luthor Black means that some version of Matt Fraction & Steve Lieber's Superman's Pal Jimmy Olsen arc exists in my au. Which famously hinges on the twist that LEX LUTHOR AND JIMMY OLSEN ARE DISTANTLY RELATED. THEREFORE!!! We have now found a convoluted way to have Wacky Renaissance Artist Jimmy Olsen connected to The Manifestation Of Black Excellence Evil Edition Lex Luthor in this au.

#askjesncin #jesncin dc meta #lex luthor #remember how in Crazy Rich Asians the inspiring moral was “u can transcend racism with ungodly wealth”#when that should be dystopian actually #also Lex being Black isn't “marginalized evil person” trope when he isn't the sole Black person in the Supers cast #the weight of representation isn't placed on one character- so why not have some evil ones for a variety of reasons

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messydiabolical · 9 months

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i’d once read a Mass Effect take that has been stewing in my melon ever since, about Wrex and him demanding a cure for the genophage during the war in 3. (I think it was on twitter but I can’t remember for sure. Just the idea of it stuck with me.) The general sentiment was that this was a dick move on his part, that there were “bigger problems” and this wasn’t the time and it was cruel and manipulative of him to put Shepard in that position. He should have helped out first and Shepard would have helped him back once the war was over. A lot of people chimed in agreeing, saying how they stopped liking Wrex after that. It bothered me for a bunch of reasons I didn’t feel I could adequately articulate, but i’m gonna try now. Prepare for my meandering thought style! The governing bodies of the Mass Effect Galaxy have repeatedly proven that they believe themselves superior to other species and know what’s best for everyone. They don’t let all species have a say in the council, always look out for their own species’ interests in so much as it pertains to keeping things as they are, and will happily go along with literal genocide to aid this. They approve of secret police and biological warfare espionage tactics. They weaponise bureaucracy to hide their cruelty behind ‘oh red tape has us bound, sorry uwu’. I’m going to try to remain pertinent to the Wrex subject but as one great example of these governing bodies ways of dealing with percieved outsiders: The first contact war is a great example of how ludicrous and fascist things are.. ‘It’s ilegal to use this thing so we’re going to kill you for it’ without so much as a heads up. How were humans supposed to know that, exactly? The governing bodies of this place do not care about anyone outside their own self interests. Fall out of line and they will work to end you. Until you prove you might be useful or of interest to them in some way (or a threat). And then of course we later learn the asari were breaking these laws themselves, hoarding this tech to stay superior. Classic. Anyway, back to Wrex. Wrex knows this. Wrex has seen how the krogan are regarded and treated, the dangerous monolith species, outsiders who can never be let in, never forgiven, never given a chance to grow or change. For a long arse time. “But the krogan were getting out of control and also committing genocide, the genophage was a last ditch resort to stop a galactic war” … And it’s been hundreds of years since then. That 'last ditch resort' wasn’t used as a stop gap, a reset to even out the playing field so that new negotiations and relations could be developed. It was used to end the krogan, and has been actively maintained to continue that, ever since. Do you really, truly believe that if Wrex petitioned the council/ world leaders to negotiate reversing the genophage, they’d even let him have an audience with them? And if they did, do you really think these people, with their history and all the shit they pull, would listen and be reasonable? I can already hear the responses, that weaponised bureaucracy (“you raise an interesting point Mr Wrex but unfortunately we are recovering from a war don’t you know, please come back in 300 years for review, we are very interested in discussing this further then!”) Wrex is old, wise and knows exactly what is up. The only way the governing bodies of power were ever going to have a listen, was if he had something they needed. The war with the reapers provided that. And even then, he knew that they wouldn’t listen outright; having Shepard’s voice was a way to get the foot in the door. It makes my heart hurt to think about that honestly; how dehumanising (dekroganising?) it must feel to be the ruler of your people and know that you have to rely on your alien friend to even get someone to listen to you, when what you want to say is an extremely reasonable “hey committing genoicde against my people sucks, stop that now”. Anyway, Wrex was right, this was his one chance to save his people and he took it. Good for him.

#mass effect #urdnot wrex #wrex #my hot take of the day #I usually avoid hot takes because discourse is exhausting #but this one has been revolving in my mind for like a year since I read it #and I read that great post about how dystopian mass effects governments are earlier and my mind has THOUGHTS now

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cemeterything · 4 months

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the thing about fourth wing is that if it was at least bad in an original way i would have so much less beef with it. but it isn't. it's literally divergent with dragons. which is just. look. if you want to write an indulgent cash grab of a YA novel then you could at least have a little more self-respect. i mean, divergent? really? fucking divergent???

#🐉#'killed the dystopian ya novel industry by exposing how formulaic it is' divergent?#like im sorry but the dragon riders are just a copy of the dauntless faction from that book. its driving me CRAZY.#its very entertaining to read as a hater though

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tanadrin · 4 months

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There’s something that has always struck me as ironic about discussions of, like, undeserved indigenous land and sovereignty in the same context as criticisms of colonial systems of property and ownership, in that the vocabulary being used fundamentally grants the premises of the system being critiqued. And it makes me wonder, in the long run, if this is the fate of a global civilization—trending gradually toward a political, material, even maybe a linguistic monoculture, on a level too fundamental to even really consciously resist, all while being dissatisfied about it but not actually being able to shape the incentives around it. Or even while loudly proclaiming that’s not what we’re doing, managing to give lip service to only the most superficial differences.

#I don’t think this is a dystopian fate or anything #just maybe an inevitable hypocrisy #like how everybody wants the benefits of a liberal secular democratic society #without having to run a liberal secular democratic society #everybody wants the benefits of participating in the emerging global monoculture #without succumbing to it #and I’m not sure that’s possible

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fox-bright · 4 months

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OKAY SO I HAVE TO TALK ABOUT THE WHOLE SENDING CREMAINS TO THE MOON THING If you haven't heard about it, a bunch'a dead people (cremated) (just a teaspoon or less of each) are going to the Moon, where they will stay forever. They left this morning, riding up on a United Launch Alliance rocket for Peregine Mission One, technically out of Pittsburgh, PA but launched as usual from Florida. There are five NASA payloads on the mission, so Science is Happening. That’s cool, I’m all for it. But I, and it turns out the Navajo Nation, are not very cool with the Elysium and Celestis parts of the deal, which is sending a hundred something dead people’s remains up there. I’m against it because while I’m all for scattering cremains in nature—returning your carbon to the cycle—and I’m all for cemeteries and tombs, this won’t be either; there’s not any breaking down, there’s not any cycle, and there’s no hallowed ground. The Navajo Nation, in the letter they wrote to NASA in December, is against it because to them the Moon is sacred. You don’t just drop corpses on sacred things, basically. They weren’t asking to stop the mission, just to be consulted about how to handle it with grace; their request was denied. NASA couldn’t have done anything for them, anyway, because this isn’t a NASA mission even if they’re sending payloads up. So the Magical Flying Husband and I good-naturedly Got Into It on the topic, on Saturday, and we still don’t quite agree. To my mind, it’s gross and tacky to throw a Space Rubbermaid full’a cremains up there. There were already the remains of one single person on the moon, as Eugene Shoemaker’s ashes went up with the Lunar Prospector thirty-something years ago. He was a scientist who trained Apollo astronauts about what to expect when they reached the Moon; a geologist with his eyes on the stars. Having him up there doesn’t oog me out. Having a bunch of randos who only get to go there because their families have the money for it, that oogs me out. And then there’s just the pure metaphysical aspect; we put gates around our cemeteries for a reason. We make specific places out to be the resting places of the dead, so that we can say here are the dead and here the dead are not. Most of the religions or belief systems which have the dead remain in the home, on altars or in special (holy!) rooms within the building, also have requirements for attendance on those lost relatives. Incense, prayer, attention. You can’t do that if you lawn-dart Grandma onto the Moon. So throwing a bunch of bodies into a place where they will never degrade, without marking out land as “this specific place is where our dead go,” is either a hugely expensive method of littering, or it makes the whole Moon into a cemetery.

So the MFH and I have this discussion, back and forth, and then we realize we don’t really have any data. How many people are going up? Who are they? What’s the deal? So I looked it up. There are two companies sending cremains on this trip, Celestis and Elysium. Both of them have (frankly, tacky) websites selling you the ability to send Grandma to the Moon.

Celestis starts you at about three thousand US dollars to put some ashes onto a payload that goes up, and then comes down again; the equivalent of tying her to an Estes rocket that you launch from the park, only this is a proper spacegoing rocket that gets up there. She just doesn't get to take the whole ride.

Further Celestis packages allow you to put Grandma into orbit, send Grandma to the Moon, or send Grandma out into Deep Space.

(Reading that aloud is the point where the MFH's ears really quirked. It is very difficult and very expensive to get something properly into Deep Space. That offering is bullshit, and can't not be bullshit, and this is where the MFH decided probably this whole thing was more than a little scammy.)

The Orbit Grandma package is particularly romantic; the orbit she'll be put into is a degrading one, so that after some time spinning around our gorgeous blue marble, she'll reenter the atmosphere and become a visible shooting star.

(The MFH said "Is there going to be a big enough payload to be visible with the naked eye? What amount of matter is required for that?" and then we had to do Math about it. Of course, it's not just Grandma who would be on that bus, it's another hundred people or whatever; the image appears to show a hundred or more thimbles of cremains stored separately in basically a large cube container. So maybe the size of a soccer ball? I think it would be visible. It is, however, impossible to say "look there, and you'll see Grandma!" so while it would be visible to someone, it's not going to be something you can make sure to see.)

Elysium offers all the same packages, with slightly different names. But unlike Celestis, Elysium has a little row at the bottom of the page with photographs of previous launches. They've done this before, they're saying, and Grandma is safe with them.

So I looked up the launches, and found a Wikipedia page on them. And oh my god. That's where my ears quirked, and then I started cackling, and the whole slightly-fractious discussion with the MFH absolutely dissolved into macabre jokes.

Because, yeah, there have been two previous launches. One of them failed to reach orbit. A payload of Grandmas was put onto the next one, to make up for the failure.

The second launch, which was to be a Shooting Star trip for the god knows how many people that the first launch failed? That one made it to orbit! All good, right? Now Grandma can orbit for a while, and then immolate for a second time, this one much more spectacular and high-velocity than the first?

ABSOLUTELY not.

Because of licensing issues.

(image: two columns of text describing Elysium launches: ORS-4 Elysium Star I, launched on a Super Strypi, was destined for reentry failed to reach orbit.

SSO-A Elysium STar II, launched on a Falcon 9, was destined for reentry and made orbit successfully. "Orbit was to decay in 2 years, but satellite was locked into the Lower Free-Flyer dispenser due to license timing issues." )

Grandma is stuck in the dispenser. Grandma's in a gacha-gacha that just spins around and around and around and around, never releasing its prize to her glorious conflagration.

Because of licensing issues.

I'm siding with the Navajo Nation with this one, either way, but I have to wonder if those folks are actually getting to the Moon as planned.

#space #people are stupid as fuck #bad science #moon #Luna #rocket launch #NASA #how the fuck do I even tag this dystopian nightmare

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nateezfics · 7 months

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ateez ff writers: writing ateez as mafia bosses, bikers, bad boys, powerful and fearless villains, or writing ateez doing anything remotely dangerous

ateez in real life:

#and then you’ve got their whole lore #which is about them being pirates and even anarchists rebelling/fighting against a tyranical dystopian government #and this is how they be in rl lmao #and this why we love fanfiction 💅🏻#☕️#ateez fanfiction

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secondjulia · 5 months

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Necessary but Stupid -> The StarvingArtist!Dream/Plasma AU You Didn't Request

UM. So. This was definitely just a weird little AU idea I had... definitely not while hooked up at csl daydreaming about Dream & Hob... that I was just going to dump in @gabessquishytum's Ask, as one does with weird little AU ideas. And then it kind of exploded. Into an actual story.

---Rated: G. Logistics in the tags. Ao3 link ---

There's no stopping the dark cloud that passes over Hob's head the moment he opens the door to the plasma center. But now he can smile brightly through it and let the storm blow quietly away. The dark memories this place holds still surface every time he walks in, but he's never once considered not going. Even though it's been ten years since Eleanor and the babe died of some rare blood condition that triggered childbirth complications, Hob's still there twice a week, every week, rain or shine.

He waves to the clerk at the desk. The security guard greets him with a comment about the latest football match, and Hob makes an appropriately pained, commiserating expression. He asks the technician taking his blood pressure how his honeymoon went — Côte d'Albâtre, right? — and Hob reminisces cheerily about his own trips to France.

Nobody’s ever exactly happy at the plasma center, but the sunny professor’s relentlessly friendly chatter brightens everyone’s day. All the staff know him by name, his surprisingly colorful stories can help pass the time on those long-line days, and his smile always lights up the room.

Sure, Hob can be kind of opinionated — like whenever he declares that death is stupid and nobody should have to die of preventable diseases! Everyone just goes along with it, and it’s so cruel! (Nobody actually disagrees, but he is very vocal about it.) The first time he said this — sitting hunched with downcast eyes, just weeks after his wife’s death — his voice was soft with hopelessness, and it cracked as he held back tears. But ten years later, when people ask him why he’s still doing this when he’s a tenured professor with a summer cottage and a retirement plan, Hob declares jovially that death is stupid! Nobody has to die when he can give them something they need from his own arms — it’s a renewable resource!

Hob, it cannot be said enough, brightens everyone's day — usually.

But not today. Not everyone's.

Dream cannot believe the insufferable words coming out of this man’s mouth. It's the first day Dream’s set foot in this particular center, and he already wants to go home.

But home is the problem. Dream's new apartment is much cheaper than the building that just evicted him, but this latest series of paintings are taking far longer to complete than he'd hoped. And also, the art world just fucking sucks. Dream can't fool himself. Even when the paintings are ready, it's unlikely they'll sell well enough or soon enough to plug the gaps in his income.

For years, Dream played the whole shitty-jobs roulette to support his art, but ever since he was kidnapped and spent years in a glass cage in a basement, he can’t even manage that. Seriously, try explaining that kind of resumé gap to a job interviewer. When he does manage to get work, it always goes bad fast. Dream wasn’t exactly totally undamaged before, but now he feels like he's all scars.

Dream is not here by choice. He cannot imagine who would be.

He'd gone to his old plasma center for years — till he was forced to move — in order to make ends meet. Today, he's here to fill in the glaring gap between the meager payment he got for a small watercolor last January, his savings, and a near-maxed-out credit card. (Nearly maxed out in the hasty scramble to get to a cheaper place to live. Moving was expensive. Funny how that works.) The plasma center is, in some ways, far preferable to many of the jobs he's had in the past, and it allows Dream to spend more time on his art. But it is absolutely unfathomable how anybody could pursue an eternity of this if they didn’t have to.

Dream keeps his head down avoiding the attention of the chatty professor. He stays quiet. His cold, bony hands are tucked into his long cardigan sleeves except for when he's chugging water, nearly by the gallon. He's about 2kg from the next weight class. Unfortunately, he's lost weight since his eviction, but if he could bump the scale a little higher, it would mean a higher draw — and a slightly higher payment. He's always cold these days, so the heavy sweater isn't a hardship, and the water fills up his stomach and supplements his inadequate lunch of oatmeal and stolen sugar packets.

The first time Dream meets Professor Hob’s eyes is when they’re sliding the needle into his arm and Dream has to turn his head away sharply. Dream was never afraid of needles — not until that night when someone (he later learned it was a twisted old cult leader named Burgess) stuck him with… something that knocked him out cold and he woke up in the basement. These days, although he's done this many times before, when the metal pricks his skin, Dream still lays frozen like an ice sculpture as his heart pounds against his chest.

He has sold his vintage leather jacket, his treasured collection of elegant handmade cloaks (there was a theatrical phase, it’s complicated), and most of his books (the shelves of his sparse apartment now hold only a few cheap volumes of blank paper for his sketches). But it wasn’t enough.

Burgess was years ago, but Dream's life still lies in ruins.

He does not like being here. But it seems that this — his body's materials, his very essence — is the only thing of value he has to offer the world. This most basic biological function, the blood pumping through his veins, is all anyone wants of him now.

So despite his fear, he lets them bleed him.

Hob is usually quiet when he’s hooked up to the machine. He'll chat in the line and in the lobby and at the vitals check, but on the donation floor, he politely minds his own business. Here, everyone retreats into their own world, usually scrolling on their phone or staring at the clock. People don't usually feel like talking when they’ve got a needle in their arm. And Hob’s an extrovert, not an asshole.

But today, the man beside him looks over, and Hob can’t wrench his eyes away. The man is thin and sheet white and his eyes are huge and watery over jutting cheekbones. His lips might be trembling.

“Alright there?” Hob asks kindly.

The man’s head twitches. It might be a nod.

Hob has seen people pass out here before. With the way this guy looks, Hob’s mildly shocked that anyone thought it was a good idea to drain him of vital fluids. But the people here know their business. His numbers must be under control, or else he wouldn’t’ve been allowed in.

Still, under control doesn’t necessarily mean ok.

So Hob gently keeps the conversation going with the man. Dream, he learns and his heart flutters at the name. He weirdly doesn’t seem bothered by Hob’s donation floor chatter (maybe because he's too bothered by the needle in his arm to notice anything else). Dream doesn’t even pull out a phone. He seems to hang on Hob’s every word of small talk.

“I can shut up if you’d life,” Hob offers when he realizes with a shock that he’s babbled through the entire first draw. “It just seemed like you needed some distraction.”

“Please.” Dream blushes slightly. Well, at least his skin is getting some blood. “Tell me about… your experiences. What… have you been doing?”

Huh?

What has he been doing? That’s vague.

But if anyone can find a way to fill a vague prompt, it’s Hob. So he chatters some more about the union organizing at his university and a ridiculous new scheduling system for the adjuncts — it’s like they’ve taken all the worst aspects of on-demand scheduling from the fast food industry and applied it to higher education for some incomprehensible reason. One of his colleagues had a class — and £2000 of pay — cancelled two days before term started. But not everything’s bad. Hob knows the students are planning a walkout next week, which he fully supports and has already adjusted his lessons to compensate for the lost time. Also, there’s a new pizza place on campus which is rather decent.

He really is just rambling.

But Dream seems to need it. He hasn’t looked down at his arm once, and Hob’s certain that’s for the best.

Dream has to admit that the insufferable professor has made the time go by a lot quicker. He’s shocked when they’re sliding the needle out of his arm, then wrapping his elbow up, and he’s free to go. He mumbles what he hopes is a polite goodbye to Hob, who is also finishing up, and then practically stumbles out into the rain.

He clutches his cardigan around him and pulls up his hood and plods away from the center. This place is closer to the new apartment than his previous plasma center, but it’s still a half hour hike home. The buses take even longer — his crappy apartment isn't exactly on a convenient route. But at least walking saves him a few quid.

“Hey!”

The voice makes Dream flinch. Out of the corner of his eye, he sees a car slow down beside him, and his heart ratchets up in his chest. He doesn’t look over, only hunches deeper into his wet cardigan and walks faster.

“Hey, Dream!”

Oh.

Belatedly, Dream recognizes Hob’s voice. He finally looks up to see Hob looking out his car window and smiling despite the rain streaming onto his face.

“Looks like you could use a ride!” Hob jerks his head toward the passenger’s seat. “Hop in!”

Dream stares at the kindly professor. Who offers a stranger a ride in their car? Sure, Dream spent the last forty five minutes listening to every mundane detail of this guy's super normie professional life, but they still barely know each other! And if Hob actually knew Dream — a failed starving artist and all around fuckup, consistently two minutes away from homelessness — there’s no way he’d want to associate with him outside of the polite minimum of chatter at the center.

So what the fuck is Hob playing at?

“Come on, you’ll get soaked!” Hob prods.

Fear strikes Dream, and he recoils, stumbling away from the vehicle.

“Dream? You alright there?”

But Dream is already running, tearing off through the rain. He cuts through a shitty neglected park, climbs a fence and gets chased by a rottweiler through a closed off parking lot, and dashes across a highway — almost getting hit twice. He doesn’t stop running until he’s home.

Or, well, what passes for his home now.

Dream dries off, makes some tea, and grabs a sketchbook. His hand shakes as he doodles, but the process calms him and grounds his mind.

Then, as usual, after his fear begins to ebb, he feels stupid.

His mind replays the afternoon's events. Hob’s smile is brilliant in his memory. Though the initial snatches of overheard conversation were insufferable — not to mention incomprehensible — his recitation of the mundane details of life had been oddly calming. And, though Dream had perhaps not appreciated it in the moment, Hob had seemed genuinely concerned.

The more Dream thinks about it, the stupider he feels. Worse, he feels ashamed. How rude to run from Hob, who’d only wanted to help!

The scar tissue that has proliferated over Dream’s heart has truly damaged his ability to function among decent people. That night, he lays awake for a long time thinking about this. He should probably just never go back to the plasma center. He can’t imagine facing Hob after reacting so poorly to his kindness.

But the next day, after he scribbles up the month’s expenses and tries to make the math work, Dream realizes he has no choice.

The day after that, he’s plodding back to the plasma center.

The feelings of shame are almost overwhelming, and Dream slouches in with his head lowered, shoulders hunched, and eyes averted from everyone.

“Dream!” Hob’s voice is like a warm bubble bath. “Hope you got home alright.”

Dream can barely look at him, but Hob's smile is like a ray of sun on Dream’s face. There’s a cloud of concern shadowing his eyes, but he’s otherwise as cheery as ever.

“Forgive me. I…” Dream cannot explain.

“Look, I’m sorry. I totally overstepped,” Hob says. “I know I can be a bit much, and I shouldn’t’ve pushed.”

Dream cannot believe that Hob is apologizing to him.

“If you don’t mind me asking,” Hob said gingerly, “was that your first time? It’s just you didn’t seem particularly pleased with the whole process. I thought I’d likely never see you in here again.”

“It was not. I have done this…” Too many times to count. “…frequently.” Dream finds the prospect of explaining the complexity of his situation too daunting. But he is touched by Hob’s concern. “I do not enjoy the process.”

Hob makes a sympathetic noise.

“But I did enjoy…” Dream pauses. What the fuck is he doing? Hob’s been kind enough to overlook his rudeness; Dream should just shut up and leave him alone. But maybe Dream has been alone too long, been too long without a sympathetic ear, because he keeps on mumbling, “I enjoyed hearing about your university. With the union… and the pizza… and everything.”

Impossibly, Hob brightens even further. “I could take you! The pizza really is delicious—Oh, shit, sorry, I’m doing it again, aren’t I?” The cloud of concern is back as he takes in Dream’s downcast gaze. “I’m being too much. Sorry, I didn't mean to push!”

“No, not at all. It sounds lovely. I just…” Dream shifts awkwardly. “They don’t exactly pay us enough here for going out.”

“Oh, I’ll get it!" Hob says with a wave of his hand. "It’s no problem. I’d love to take you out. You looked like you could’ve used a good meal after that last one. Have you at least eaten something so far today?” Hob tries to keep the worry out of his voice so he doesn’t sound like a mother hen. All the instructional materials are very explicit about not donating on an empty stomach, but he knows that people do what they have to.

“I have,” Dream says honestly. His lips twitch as he takes in Hob’s worried look. But Hob's smile, even suppressed, is a beautiful thing. “Really,” Dream stresses. “Oatmeal is cheap. I've had enough to be getting on with things. But later…”

“Great!” Hob’s heart flutters, but he stamps down the feeling. The memory of Dream running from him twists at his heart. He never wants to make him afraid again.

On the donation floor, they're next to each other again. And again Hob chatters happily about whatever he can think of to keep Dream distracted. It all seems to go well until they emerge together into the parking lot and Hob notices Dream tense as he glances at Hob’s car.

“We can hop on the bus, if you prefer,” Hob says. “The campus is just down the main line, and I've got extra passes.”

Dream blushes, and his shoulders hunch like he's ashamed. “I wouldn’t want to inconvenience you.”

“It’s nothing of the sort! It saves on gas and it's good for the planet!”

At the bus stop, Hob notices the way Dream’s gaze constantly flicks around his surroundings. Even when he looks down and hunches in on himself, his eyes remain alert, as if he's still hyperaware of every movement on his periphery. Hob wants so badly to reach out and comfort him and wipe away whatever has caused him to move through life with such fear, but he doesn't dare overstep.

Hob is glad that the pizza place is in the bustling, well-lit central food court. Dream's body relaxes somewhat, and that specific tension which Hob had notice in the parking lot doesn't return. Hob buys him a giant slice of spinach, mushroom, and feta and a sealed bottle of water, and Dream even cracks a smile.

“I apologize for my behavior,” Dream says as they find seats at a plastic table in the middle of the food court.

“No need," Hob says. "I didn’t mean to frighten you.”

“You were being kind, and I reacted… extremely.” Dream takes a deep breath and then a long sip of water.

“You don’t have to tell me,” Hob hastens to assure him, "about… whatever happened… if you don't want to."

Dream nods. He knows. Despite his annoyingly resurgent fear, he feels safe around Hob. So slowly, hesitantly, he begins to explain.

It’s an abbreviated form of the story. Dream avoids the details of how Burgess thought he could siphon the life force from vibrant young adults. How he'd drawn a whole following into his delusion, even though he'd ultimately kept Dream for himself. How (Dream had learned later) Burgess had boasted about having a fresh young man, the font of youth, trapped in his basement — and no one had done anything, whether because he was just a rich eccentric who could get away with a "joke" like that or because he'd paid enough people off. He didn't tell Hob how the elder Burgess hadn't ever been held accountable because he'd died before any of it had come to light, and the younger Burgess had fallen into a coma. A care worker had ultimately taken a wrong turn, stumbled into the basement, and that was how the police were finally called to Fawney Rig. But since no one was alive (or conscious) for a big, thrilling trial, the entire ordeal just fizzled quietly into the background.

It’s not the whole story. But it's enough.

Hob’s face grows progressively more horrified. He's abandoned his half-eaten pesto and prosciutto slice. It sits cold in front of him now. He feels sick.

“I make art,” Dream says into the silence. “It is not lucrative, but I can work when and how I wish. I have not… had a great deal of luck with traditional employment. Especially not since… those events.”

“Right. Of course." Hob's voice cracks over his words. For once, he's struggling to extract his usual chatter. "Can’t imagine anything’s easy after that.”

Hob doesn't touch the remainder of his pizza, but Dream polishes his off. He looks oddly relaxed now, as if, in the telling, some of the weight of the horrifying story has slid from his body.

“I’d love to see your art,” Hob says on the bus back to the plasma center parking lot. Belatedly, he cringes at the presumption, wondering if it's too much, knowing now that he really ought not to push his interest onto a bloody kidnap victim.

“I have a website,” Dream says, bringing it up on his phone and showing the address to Hob. Then he stands, though they're only about halfway back to the center. “This stop is closer to my home. I… Thank you. For the meal. And the kind ear. Perhaps… I will see you next Tuesday?”

“Of course,” Hob says, and a little bubble of happiness rises in his chest. “It’s Tuesday and Thursday for me until the schedule changes next term.”

Over the next few weeks, Hob isn’t always next to Dream on the donation floor. But he asks Dream to tell him about his latest project afterwards, so Dream has something to think about during the donation. And also so that it's not just Hob chattering away at their post-donation dinners. Which are happening regularly now. Sometimes they go for pizza, sometimes a good curry or a hefty shawarma; Hob introduces Dream to the pubs with the best (and biggest) burgers. He knows all the places to get a solid, filling dinner, not because he's concerned about getting his money's worth but because Hob just enjoys a good meal and he's more than happy to help put some meat on Dream's bones.

And get the artist to open up.

Slowly, Dream begins to do just that.

It starts to seem like Dream feels safe with Hob. When they're out, he stands close to Hob, as if comforted by his presence. His shoulders begin to straighten out, and he hunches less when they're together. Dream's gaze is still alert, but it rarely sinks to the floor now, and his eyes don't flick fearfully around so much when he's with Hob.

Three weeks after they meet, Dream lets Hob drive him home.

Two weeks after that, he invites Hob inside to see his current projects.

Hob knew Dream was a good artist from the first glimpse at his website, but seeing the bright canvases in person is just stunning. The glistening abstractions echo the swirling galaxies and deep, black voids of the universe. The colors blend in fantastic points of light or unearthly flames or brilliant streaks across the sky. The textures — flattened out in the photos — give an impression of looking into entire worlds. The brushstrokes are mountain ranges and deep ocean trenches and shaded valleys where, somehow, Hob can imagine entire populations living and thriving within the fibers of the canvas.

"The, erm… the university has spaces for community exhibits," Hob says, struggling to bring himself out of the captivating images as if wading out of a dream. How appropriate. "I could look into that, see if you could do a show. Maybe the Art Department could have you in for a lecture, too — you could talk about the real-life challenges of being an artist, the actual work involved, the practical—" Oh no. He's being too much again. "I mean, of course, you don't have to! I won't say anything without—"

Dream's arms are around Hob's shoulders before Hob can even turn away from the canvas. His wild, dark hair is tucked against Hob's cheek as Dream tightens his grip.

Hob's hands slowly move to Dream's back. He can't speak for a long moment. Instead, his hands gently rub against the thin material of Dream's shirt. Hob can feel the edges of his spine and ribcage, but Dream also feels softer than Hob would've imagined the first time he saw him, pale and shaking, weeks ago.

"Thank you," Dream murmurs. He steps back, and his gaze lowers, but now it's not filled with fear and sadness. He's smiling shyly. "If you could do that, I-I… would be grateful."

Hob can do that!

He's in Medieval History himself, but he's friends with half the Art History department due to overlapping lectures, the occasional historical consultation or spontaneous debate, and just being a friendly guy. And the Art History people know a few of the more curious, historically-aware Art people due to various collaborations and consultations on the evolution of modern styles and techniques and the socio-political contexts of artistic development.

Hob, with his talent for striking up conversation, takes less than a week to find several interested parties. And once he shows them Dream's work, everyone is extremely eager to invite the talented local artist to campus!

The next time Hob walks into the plasma center, Dream is already beaming. His smile is bright enough to singlehandedly banish the residual storm cloud that always follows Hob over the threshold.

"I hit the next weight class," Dream says. He leans subtly into Hob's side.

"Good on you!" Hob says, beaming right back. When he tells Dream about the interest in his work, Dream's arm snakes around his waist for a subtle but firm half-hug.

At Dream's first show (he's already scheduled in with both the Art and Art History Departments — the latter wants to address the reality of artist's lives across time — and, hell, Hob's even lobbying his own History Department to get Dream in as part of a series on creative work throughout history), Hob is enamored with one canvas he hasn't seen before. From a distance it's a dark oil-slick abstraction with iridescent slashes of green and blue, but up close, Hob can see the feathery edges of wings.

He cannot explain the sudden, confusing wave of sorrow-joy-awe it provokes deep in his chest.

"Departed souls," Dream says softly, coming up behind Hob, "come back as ravens. Or so it is believed by some."

Hob sniffs and tries to control the itch in his eyes as he turns toward Dream. "Oh?"

"I painted this one soon after I regained my freedom. It felt like a part of me had not survived the imprisonment. It was… necessary, perhaps, to lose something in order to regain my life, but it hurt nonetheless."

"Oh." Hob doesn't know what else to say, but he reaches out, gingerly wrapping an arm around Dream, waiting for any hint of refusal, but Dream turns into him and clutches him tight, and Hob's arms tighten around him in turn. "It's beautiful," he finally says, his words muffled against Dream's hair.

"I think now… maybe… some part of me that had not survived… has come back. In some form."

And Hob is gone. Tears leak down into Dream's hair. Hob clutches at him for support, but he can feel himself shaking, and now it's Dream rubbing soothing patterns into his back and tightening the embrace.

When they finally pull back, Dream wipes Hob's cheeks with his palm. He tilts his head in a silent question.

"Just… death," Hob says. "It's bloody stupid, isn't it? In all its forms. Necessary, maybe but stupid. I don't want any part of it."

Hob laughs at himself, as if the brash declaration itself is stupid.

But Dream only nods; he can see that there are deep forces moving beneath Hob's usually cheery exterior.

On the way home, he listens as Hob finally opens up about his wife and the unborn babe. After a decade, Hob says, the wound has closed up, he has "moved on" in all the ways one is supposed to move on, he has a new — and rather wonderful — life. But the scar will remain forever. It still hurts, but he's grateful for the life he had and the new one he's grown into.

"Shit," Hob says suddenly.

Dream looks around and realizes they haven't driven back to his own crappy apartment building.

"Sorry." Hob wipes his eyes. "I've blabbered so much, I wasn't paying attention. Driven myself right home."

"It's alright," Dream says. He peeks over at Hob shyly. "I've never seen your place."

Hob blinks at him for a moment — Dream's heart thuds against his throat — and then, despite the tear tracks still drying on his cheeks, Hob's face breaks into a brilliant smile.

"Are you hungry?" Hob asks. "I can actually cook quite well. It's not always pub food and pizza."

With perfect timing, Dream's stomach gives an almost painful rumble. "I'm starving."

Inside, Hob cooks a delectable dinner. Dream watches Hob move about the kitchen, chattering happily — he's already inviting Dream back over for brunch and maybe a Netflix marathon and Christmas. And Dream's mind is blossoming with new paintings, these ones bright with twining paths and colliding galaxies and shared dreams.

Hob is vaguely aware that he might be babbling into too much territory again, but when he sees Dream watching him with that dreamy sparkly in his eyes, his heart is just too full to care. As they eat together, he lets himself just be excited and not worry about reining himself in. Truly, he might not mind an eternity of this.

And Dream is thinking much the same thing.

#Apparently paid plasma donation is illegal in the UK & you can't donate 2x/week SO...#This is also the Dystopian AU where all the regulations have been axed sorry #+I don't know how buses work in the UK. This is how they work in my city :)#the sandman #hob gadling #dream of the endless #fanfic #dreamling #my fanfic

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teecupangel · 10 months

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It's me, the ratatouille AU anon again djjshd

The only thing that would make this even better is that Desmond hears US, the player, also. The amount of times I called him babygirl, or pretty little angel, or my special little boy. He'd be both horrified and flattered.

Also calling Juno a gnarly ghost lookin-ass bitch. I'm sorry Desmond, I know this is serious business but I can't look at her for longer than 5 seconds.

Hello, Ratatouille AU nonny! For those unfamiliar with it, here’s the post where Desmond’s ancestors can hear Desmond as he ‘controls’ them.

“Let me get this straight…” Shaun rubbed the bridge of his nose as he tried to understand the Bleeding Episode currently plaguing Desmond this time around, “You hear voices that’s not your ancestors or anyone they might have known. And you know they’re talking to you because…”

“They call me babygirl.” Desmond said calmly.

Too calmly.

Like the calm of a man who had given up all his sanity and has reached a zen state of craziness.

Rebecca furiously looked over all the documents they have about the Bleeding Effect that Lucy had given them.

Shit.

How accurate were these anyway considering Lucy’s true allegiance?

These could all be fake or some of the important stuff could have been omitted like…

Desmond’s current situation.

“And… what do these voices tell you?” Shaun asked, curious enough to continue even though he could feel a migraine already coming.

“Uuuhh…” Desmond tilted his head slightly before saying, “Dad’s the worst father in these games and I should just beat the crap out of him… Juno’s a gnarly ghost and wants to enslave people after killing me… uuuhh…”

“Wait, wait, wait, what ‘games’?” Shaun asked.

“Oh.” Desmond blinked, looking like he actually just forgot to tell them that big bombshell, “We’re apparently game characters of this franchise called Assassin’s Creed and… uuuhh… I’m their bestest boi in the modern day setting.”

“Modern day setting…” Shaun repeated before asking, “Are you telling me that our entire existence is… fictional? We don’t exist? We’re just characters in this… video game franchise?”

“Oh crap.” Rebecca mumbled, realizing that Shaun was on the verge of an existential crisis.

Fuck.

Of course the conspiracy theorist would latch on to that idea almost immediately!

“Shaun-”

“Pretty much.” Desmond shrugged before adding, “If it makes you feel any better, you and Rebecca are pretty much the only regulars of the modern day setting.”

“Oh, so our very existence have already been taken care of then? We’re just little puppets-”

Rebecca sighed and ignored Shaun’s rant to ask Desmond, “So? Did these voices tell you anything at all on what’s going to happen after we save the world?”

“Oh, yeah, about that…” Desmond turned to look at Rebecca as he said, “They told me to let the world burn… just to see how it goes and…”

“... as a treat.”

(Let’s be honest, guys, if we were given the ability to talk to Desmond, we’ll be such capricious ‘gods’.)

#all i’m saying is we know how the world end up like if desmond saves it #how about we check how it’s like if it does end?#modern day assassin’s creed set in a dystopian future #desmond hears everyone currently playing assassin’s creed #the past players sounds more muted and barely audible to him #ask and answer #assassin's creed #desmond miles #fic idea: assassin's creed #teecup writes/has a plot

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vinyls-and-valentines · 6 months

Text

There are whispers of things before Battery City.

Of stubby buildings not unlike the skyscrapers modern citizens proudly call home and safety, but adorned with flimsy wood and glass cut-outs, or plaster casts that range from vain to downright obscene. Of wilderness, untamed, smothering clean and orderly neighbourhoods in an onslaught of burrowing roots, web-woven branches, and leaves serving as nothing more than breeding grounds for pests.

The bones of what once were giants now rest on the outskirts of town, hollowed and forgotten, like stalwart reminders of hardship overcome through ambition and human ingenuity. Yet, if one were to take a closer look at these remains, they would find little to no proof of any of the above: no scars left in the pavement or shattered stone ornaments— only scortched earth, shattered glass tinted by years of grime and canned paints amongst pieces of plastic all strewn about and shriveled up in shame.

Instead, the truth lives in glimpses caught between the pages of tattered journals, lost family albums, and long-overdue history books. There once were museums where Battery City now stands. Churches, libraries, and synagogues. Broadcast stations and astronomical observatories. There were post offices and schools, and houses older than the ages of everyone you've known combined, none of which still standing in the age of Progress and Valor (or more aptly known as the Danger Days).

What remains of the past now rests alone and dejected, a warning lost beneath the waves: Make yourself insignificant enough, and maybe one day you'll get yourself to believe comformity will lead you to survival.

#been thinking about cyberpunk/dystopian settings again lately and ended up using my battery city hcs as a point of reference because it's #got some interesting details like how the only surviving buildings from before the danger days are gas stations corner stores and suburban #homes while everything else got demolished in favour of power plants and skyscrapers #anyways. being so normal about change and the state of disrepair of various landmarks from my youth <- lies (silly)#danger days #killjoys #ttlotfk #battery city #danger days headcanons #headcanon

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