Clone^2 Damian
If you really think about, Damian's situation in the clone^2 au is... kinda tragic? Especially in the early months of his arrival. Like,,, think about it. Damian has always known he was a clone of Damian Wayne, that he was a copy of the blood son. There was nothing 'original' about him, not even his name (of which at least Danny has that). He was just... a replacement. A disposable one, to boot.
And he knew that, to an extent, by the time he was six years old. he might not have been actively acknowledging it -- he's six years old -- but deep down he knew. And like, he's six years old. Every small child craves the love and affection of an adult, especially their parents, and even though he knew he was clone, I imagine he still considered - and still does consider, somewhat - Talia and Bruce as his mother and father. And I really doubt he was... getting it?
Now, I know Talia loves Damian, her son. At least in some interpretations she does, and in this au she does. But... a clone of her son? I'm not so certain if she would have the same affection for baby Dames as she would for Damian. I don't think she would treat him badly, but I don't think Talia would treat him warmly either. Kinda just, distant. Colder than she would have been with OG Damian.
And, I know I've mentioned Damian's arrival from Danny's point of view, and its kind of comical kind of insane from his perspective -- a little boy clone of Damian Wayne falls through a portal and immediately attacks him. That sounds like a bad joke.
But, if you think of this from Damian's point of view? It's like he just got dropped into a scary movie. Like, think about it. You're six years old, and suddenly a portal, as green and as swirling as your grandfather's pools, opens up beneath your feet and sucks you through.
After an intense bout of vertigo, you end up in a massive, urban city -- completely different from the rural mountain palace that you lived in for the last six years of your life, and in this city, you don't know any of the language. You don't know what anyone is saying, you can't read any of the signs - you are completely stranded, away from home.
And then, to make things worse, you're facing a figure with a terrifying mask and eyes as burning green as the portal you fell through. Of course Damian's first instinct, six years old, is to attack. He's terrified.
And this figure, he's not a good fighter, but he's fast, and he dodges you quickly. He grabs your sword with his hands, and tries to restrain you, saying something in a language you don't know. Naturally, Damian is just scared. He's six! He'd just be learning how to read if he was normal child going to school.
This figure halfway through the fight yanks off his mask -- he realizes you're scared -- and looking at you now, is a youthful version of your father. This is a clone of your dad, someone you have never met but, six years old, still wants to. Damian gets defensive. This is an imposter.
But this imposter eventually gets you home with him - and he's using his little box, his phone, to communicate with you through a mechanical voice speaking in arabic. and it's frustrating. The boy, the imposter, can say whatever to you just fine, but trying to talk back is a hassle and a half. He's six, he doesn't have that much patience.
He wants to go home.
And so he keeps trying to run away. He keeps trying to find out of this hellish concrete jungle, and he keeps getting lost. It's loud, and busy, and there are people talking to you and you don't understand them, and there are rules and signs you don't understand - Damian tries to cross the street and nearly gets hit by a car. He doesn't know how the road signs work, he was never taught. They didn't get to that.
And he gets lost. And it gets dark, and Damian is brave, but he is six, and this is the worst stress he's been under in all his six years of life. He wants, desperately more than anything, to go home. Why wouldn't he? The only stable... semi-stable environment he was in just got ripped out from under his feet, literally! He wants his mother.
And it's not happening.
But there's something good to be said, at least. The imposter that looks like his father always comes and finds him, no matter what. He could have left that morning, and he will find Damian at midnight, frazzled and worried, and carrying an extra jacket with him because it is cold in Amity Park and Damian is six years old.
And sometimes Damian attacks him - he's scared and stressed and he doesn't want to be here. And every time he catches the sword. Even though Damian can see it cut into his hand and pearls of blood well up and stains his fingers. Even though Damian can see him wince in pain and bite his lip, he still catches it.
But with that little box, he coaxes Damian to come back with him. It's cold, it's dark, Amity Park is unsafe at night. They can figure something out tomorrow, please. And every time, he agrees, reluctantly. And the imposter takes the extra jacket he brought with -- a flannel, a hoodie, a jacket -- and he wraps it around him. It's warm, Damian's clothes are not that thick, and even though he thinks he might hate this imposter, he still sticks close to his legs as he leads him down the street.
And sometimes the imposter carries him, because Damian's shoes are not that thick, and he cuts his foot on broken glass while they're walking home. The imposter sits in the bathroom with him and carefully cleans the cut out, and makes sure it doesn't get infected.
There's hope you know, he still has it. His mother will be looking for him. She'll be worried. He's important to them. Damian may not be the original, but he is still a blood son. He is still her son. She will come find him. This nightmare will end soon. He can go home.
And then weeks pass, and nothing. Then months, and nothing. His family is not coming for him, and it hurts. Hurts more than anything. And yet while that happens, the boy he's attacked, and hurt, teaches himself arabic in order to speak to him. He takes Damian out of the house one afternoon and buys him new clothes, or tries to. And then he keeps buying him new clothes. He gives him blankets and gives up his bed to him until they can get him one himself, and steadily he teaches Damian english.
This boy is kind. Kinder than Damian's ever experienced, and he doesn't know what to do with it. He's devastated by the fact that he is not as important to his family as his family is to him. What do you do when you're six years old and you learn something like that? When a random stranger who looks like your father is kinder to you, and cares more about you than your family did?
And then Damian tells him he's a clone. He's Damian Wayne's clone, and he tells him his purpose - that their grandfather made him to kill him. And the boy, the imposter, Damian thinks he probably already knows that he's a clone. But he doesn't say that. He just nods, and asks him if he wants to tell his original about him.
Damian says no. He doesn't want to. He's tired of living in the shadow of his original. He wants to keep this to himself. This is his. For once, all of this is his.
And to his surprise, the imposter doesn't try and convince him otherwise. He just nods, and says okay. And when Damian asks why, the imposter - his brother - looks at him and says.
"I don't care about Damian Wayne. I care about you." And in Damian's gobsmacked silence, his brother continues. He tells him that if Damian doesn't want to tell his original that he exists, then they don't need to. They don't need to worry about the LoA going after him, because clearly if his 'grandfather' needs to make a clone of Damian in order to take him out, then whatever it was that Damian Wayne was doing to keep himself safe, was working.
"Wayne already has people in his corner, he's got Gotham's army of vigilantes to keep himself safe." his brother says with his eyes as blue as moonlight. "You, however. Do not." And he continues, and says that if Damian Wayne has the same training as Damian does, then he will be fine. He doesn't need to be aware of his clone. Because if DW doesn't know about Damian, then the LoA doesn't either.
And here's the thing. Damian would not have survived in the LoA for long. Not as a clone. No matter what, he was going to die no matter what he did, and sooner rather than later. The sword of Damocles was always hanging above his head in the League of Assassins.
That portal, and meeting Danny, saved his life. There's no way around it. And to an extent Damian knows this even at six years old. He may not be aware that he would've died, but he knows that meeting Danny was the best thing to happen to him.
It's no wonder after that, that Damian is as clingy to Danny as he is. Danny is the first person he's met to offer him unconditional love, with no strings attached, only pure affection.
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Thinking about how... the game shows you the two ways in which a puppet can "awaken" by showcasing NPCs and even the boss battles themselves, even detailing specifically as to how certain puppets awaken as their past lives as opposed to taking on a new ego.
The Parade Master and Fuoco both have their personalities-- they're not mindless puppets. They're following orders, yes, but by choice. They have egos and are rather... inhuman looking.
Polendina and Pulcinella both seem to me as being modeled as more generic in appearance, something that would speak "I'm a Butler" to everyone who sees them. Gentle faces and welcoming postures. They developed egos.
Camille, Geppetto's wife and Carlo's mother, woke up. It is stated specifically "It was God's miracle that Camille was made into a maid puppet" and "Her appearance and identity in living years were similar, so it was probably easier for her to manifest an ego". She specifically tells those who took her "Send. Me. Back. To. My. Child."
Romeo's face was specifically modeled (or was his actual head used? Still debating on that, it's suspicious) after himself. He woke up, recalling memories of his past and recognizing people from his past.
P was modeled specifically after Carlo, and throughout the game, we're shown him as recalling memories of his past. Geppetto says "It seems you inherited his personality instead of his memories", but with how Sophia comments on his physical reaction to mentioning the familiar necklace ("You look ill. Ever since I mentioned the necklace...") and how we're shown a series of memories through the ergo at the Black Seaside-- he does inherit the memories. The bad ending even goes so far to depict "Carlo", who is obviously not a real boy, in such a terrible light that it screams this is not who you really are.
So then with this trend... he...? ✨
Just really neat how they lay out the differences between waking up and developing a new ego.
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I want to talk about this moment between Lovelace and Minkowski immediately after Cutter dies:
Lovelace GASPS in relief. Both women COLLAPSE, wounded, at the end of their ropes.
LOVELACE
Nice... shot.
MINKOWSKI
Couldn't... have done it... without you, Captain. You all right?
LOVELACE
No. You?
MINKOWSKI
No, I... I... yeah...
LOVELACE
Stay with me, Minkowski.
MINKOWSKI
Yeah... We're almost through this. We just... need to... get Eiffel...
And off of their attempts to hold onto consciousness, we -
Firstly, the acting of this scene is incredible. (The timestamp is 1:42:26 if you want to listen back.) I'm in awe of the way Emma Sherr-Ziarko and Ceilia Lynn-Jacobs convey the sense of pain and exhaustion and relief and trying to hold onto consciousness. The kind of damage they've undergone has been very different - Minkowski bleeding out from her gunshot wound, Lovelace recovering from the external control that caused her to inflict that gunshot wound. But the way these experiences manifest in their breathless pained voices is pretty similar. There's almost a kind of unity in that.
I love that the first thing Minkowski and Lovelace do after Cutter dies, even as they are struggling to speak, is to acknowledge each other's contribution to this moment.
"Nice shot" feels like a comment more suited to congratulating someone on doing well at a shooting range than as a response to a friend successfully harpooning their evil boss. There's a casualness to it as a phrase that feels almost humourous in this context, but it also reflects the fact that there isn't really an established thing to say in a situation like this. (More below the cut)
Minkowski could have just taken full credit here - after all she's the one who fired the killing shot - but she doesn't. It reflects the ethos of this show that neither Cutter nor Pryce, the major antagonists, is defeated by a single protagonist alone, and that the protagonists themselves are aware of that.
This scene is an example of a kind of exchange we get a few times throughout the show, where a character asks another character if they are okay and the answer is a clear no. There's an conversation like this between Eiffel and Minkowski in Ep12 (EIFFEL: You okay, Commander? / MINKOWSKI : No, Eiffel. My second in command just betrayed me and tried really, really hard to murder both us. I’m pretty damn far from “okay.”), and between Hera and Minkowski in Ep29 (HERA: Commander? Are you okay? / MINKOWSKI: No. You? / HERA: No. But I will be.), and between Eiffel and Hera in Ep41 (EIFFEL: Are you okay now? / HERA: No, Officer Eiffel. I'm not. But... I'm going to be.) I think I've said this before in tags on a post, but there's something about that type of exchange that fits the tone of this show so well to me. Of course none of these characters are all right, not with what they've been through. But the asking is still important, because of the care these characters have for each other. And the honest answer is still important, because this is a show partly about communication and because sometimes the awful things need to be acknowledged.
I should probably also say that there are also plenty of instances in Wolf 359 where people falsely claim to be fine in response to questions like this. There's an awful lot of emotional repression and compartmentalising on that space station. Which makes it more significant when characters are honest about not being okay.
In this scene, Minkowski and Lovelace don't need to waste words on saying why they aren't all right. I picture them both looking down at Minkowski's wound as she speaks here. And they laugh, or as well as they can do in their current condition, at how absurdly obvious it is that they aren't okay. Maybe that attempt at laughter is a way to keep going. And they are both so determined to keep going.
Lovelace tells Minkowski "stay with me", even though Lovelace is struggling to remain conscious herself. There's something so tender about that to me, and it's particularly heart-wrenching given that Lovelace was forced against her will to fire the bullet that wounded Minkowski.
When Minkowski says "We're almost through this", it feels like a call back to her conversation with Eiffel earlier in this episode, when he said "We're almost through. Just one more day, and then we're done." The "this" in "almost through this" somehow holds everything that they've been through on the Hephaestus. The repeated sense that this is the last confrontation that they will face on that station is perfect for a finale. But there's also something very emotionally heavy about that finality, especially when spoken by a woman who is bleeding out from a gunshot wound. And yet through her exhaustion and her pain, Minkowski expresses hope that they will get "through this", that they are "almost" on the other side of the whole nightmare.
Neither Minkowski nor Lovelace even consider the option of not going to look for Eiffel (and Hera). It would have been perfectly reasonable for them to have gone back to the Urania to try to patch Minkowski up and to wait to see if Eiffel and Hera were able to join them. But these characters would never do that.
They go to look for Eiffel even though Minkowski has been shot and Lovelace has been subject to horrific external control. They go to look for Eiffel even though both of them are "at the end of their ropes" and struggling to hold onto consciousness. They go to look for Eiffel even though waiting on the Urania was the plan they'd agreed upon with Hera. They go to look for Eiffel even though, for all they know, Eiffel and Hera might have the situation completely handled, or might even already be safely on the Urania. They go to look for Eiffel (and Hera) because only once they are all together can they consider themselves "through this".
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modern got au in which asha is a "teen parent"
or more accurately, asha and theon have a much larger age gap, 10/15-ish years, type of age gap (she's at least 18/19 and theon's only like 4/5), and in a series of freak events, their lives are turned on its head.
their brothers were dead. their mother and father were ruled incompetent, the former left a shell of herself after the loss of her sons, no longer able to care for her remaining children, the latter was never a father to begin with and he didn't seem to have any wish to become one now.
she was an adult by law, meaning she was free from the hell that was the system. her kid brother - the one who smiled at her for seemingly no reason, the one who crawled into her bed when thunder rattled the house, the brother who held her hand on their rare family outings - was not.
she couldn't leave him there, even if she wanted to, even if it would make her life so much easier. she wouldn't abandon him like the rest of their shitty family. he was blood for fucks sake, she'd die before she let's him get taken away from her and given away to strangers to be used and exploited or treated like a shelter puppy to be pitied and fawned over.
cue asha fighting for custody of her baby brother, doing whatever it takes to be deemed a suitable guardian, and the two of them taking on the world together.
more thoughts:
they have to find an apartment cause they can't afford to keep their family home. moving into the cheapest place they can find with only the stuff they can fit in asha's truck, sharing an air matress and eating off of a coffee table while watching movies they rented from the library.
asha cleaning her brother up before his first day at his new school, trying to get him to look suitable, but not really knowing what suitable means for a kid going into kindergarten/first grade
theon comforting his sister when she gets overwhelmed with it all, doing his best to ease her tears. the night ending with them both curled around each other, just two scared little kids trying their best.
asha fighting anyone she has to to keep custody of theon, whether it be the social worker, the judge, people who called cps to report her. she doesn't care, no one will take away her baby brother.
asha taking theon to work with her (she works in a boat shop cause she already knows what she's doing) and having to keep him entertained while she works so they don't get sent home.
their first christmas/birthdays by themselves. theon putting together gifts at school (finger paintings or paper mache or something of the like) and asha cherishing it forever. asha spending all the money left to her name each time to get him something nice so eh can feel like a normal kid.
theon doing sports in school (little league or something) and asha making sure she goes to every damn game, being the loudest in the stands.
asha getting more and more used to being physically affectionate with her brother at time goes on. before everything she'd tense up when he'd hug her legs or hold her hand, but now she scoops him up like a rag doll, ruffles his hair, kisses his forehead, without a second thought.
{I'm so normal about them I swear}
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