DP x DC: The Most Dangerous Card Game
Ok so Danny has essentially claimed earth as his. And he is fully aware that there are constant threats to the planet. Now he can’t stop a threat that originates on earth (that’s something he’ll leave to the Justice league) but he can do something about outside threats. Doing some research on ancient spells, rituals, and artifacts, he cast a world wide barrier on the planet to protect it from hostile threats so they cannot enter. This will prevent another Pariah Dark incident. However, barriers like this come at a price. You see, there are two ways to make a barrier. Either make one powered up by your own energy and power (which would be constantly draining) or set up a barrier with rules. The way magic works is that nothing can be absolutely indestructible. It must have a weakness. The most powerful barriers weren’t the ones reinforced with layer after layer of protective charms and buffed up with power. Those could eventually be destroyed either by being overpowered, wearing them down, or by cutting off the original power source. No, the most powerful barriers were the ones with a deliberate weakness. A barrier indestructible except for one spot. A cage that can only be opened from the outside. Or that can only be passed with a key or by solving a riddle. So Danny chooses this type of barrier and does the necessary ritual and pours in enough power to make it. And he adds his condition for anyone to enter.
Now the Justice league? Find out about the barrier when Trigon attempts to attack, they were preparing after he threatened what he would do once he got to earth. How he would destroy them. The Justice league tried to take the fight to him first but were utterly destroyed, so they retreated home to tend to their injuries, and fortify earth for one. Last. Stand. Only when Trigon makes his big entrance…he’s stopped.
The Justice league watch in awe as this thin see-through barrier with beautiful green swirls and speckled white lights like stars apears blocking Trigon and his army’s advance. The barrier looks so thin and fragile yet no matter how hard the warlord hits, none of his attacks can get through and neither can he damage said barrier. That’s when Constantine and Zatanna recognizes what this barrier is. Something only a powerful entity could create. For a moment, the league is filled with hope that Trigon can’t get through yet Constantine also explains that it’s not impenetrable. And clearly Trigon knows this too for he calls out a challenge.
And that’s when, in a flash of light, a tiny glowing teenager appears. He looked absolutly minuscule compared to Trigon and yet practically glowed with power (this isn’t a King Danny AU though).
And that is when the conditions for passing the barrier are revealed. And the Justice realize that the only thing stopping Trigon and his army from decimating earth. The only way he can get through….is by beating this glowing teenager in a card game.
Not just any card game though. The most convoluted game Sam, Danny, and Tucker invented themselves. It’s like the infinite realms version of magic the gathering, combined with Pokémon, and chess. And Danny is the master. So sit down Trigon and let’s play.
(The most intense card game of the Justice league’s life).
After Danny wins, this happens a few more times with outer word beings and possibly even demons attempting to invade earth, yet none have been able to beat the mysterious teenager in a card game. Constantine might even take a crack at it and try to figure out how to play. He’s really bad though. Every time this happens, the Justice league worry that this might be the time the teenager looses. Yet every time, he wins (even if only barely).
Meanwhile, Danny, Sam, and Tucker have gotten addicted to the game and play it almost daily. Some teachers might seem them playing the game are are like ‘awww how cute’ not realizing this game is literally saving the world. Jazz is just happy they aren’t spending as much time on their screens playing Doomed.
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lonely
[ID: A limited palette of green and pink, Vashwood comic. The first page serves as a prologue. The first panel shows Vash speaking to someone off screen while Wolfwood is lingering behind him. A black arrow is drawn pointing at him. In the second panel, Vash is buying donuts in the distance while Wolfwood is once again in view, lingering. and the black arrow is drawn pointing at him. In the third panel, Vash is leaving a cubicle and turning towards his right with a slightly peeved expression. He sees Wolfwood, leaning against the cubicle, waiting for him, and with the black arrow drawn, pointing at him, implicating the consistent hovering of Wolfwood’s presence during Vash’s everyday. At the bottom of the page, they’re drawn out of panel with Vash turning to Wolfwood and saying with an irritated expression, “You’re really following me everywhere, huh?” Wolfwood responds, “What, you got a problem?” Vash responds without hesitation, “Yeah, kinda...”
The second page starts with a new day. In the first panel, Vash is seen alone, weighing apples in his hands at a mart, with crowds passing behind him. In the second panel, he turns to his right and starts to say, “Hey, Wolfwood...” In the third panel, he’s startled from seeing a stranger, whom he’d accidentally called out to when he was expecting to see Wolfwood. He says, “Oh, you’re not him. Sorry!” In the fourth panel, the stranger walks off and Vash muses, “Right, he said he had something to do today...”
The third page begins with a close up of Vash's miffed expression, the continuation of Vash's thoughts, "Now that he's not here, this is just like how I used to be, but... It feels lonely somehow. Oh well, I'll see him again tonight, like always." In the second panel, it shows Vash walking through the marketplace crowd, alone. In the third panel, the door panel is a close up of the door opening with a peek of Vash's head. He says, "Wolfwood!" In the fourth panel, Vash is holding a bag of food with a bright smile and says, "Are you hungry? I got you something to eat today!"
The fourth page begins with a shot of the room, two beds being highlighted, one of them being made properly with the blanket draped over the bed and the other with the blanket folded and pillow sitting on top of it. There's no sign of Wolfwood. The second panel shows Vash with a disappointed look as he thinks, "He's still not here?" The third panel shows Vash putting the bag of food on the table. Stapled to the paper bag is the receipt with a written note "For Wolfwood." Vash's thoughts continue "He does like to stay out so, I guess there's no reason to worry..." The fourth panel shows Vash sitting his bed somberly with his thoughts continued, "It's not any of my business anyway..."
The fifth page starts with a close up his blank expression as he looks downwards, thinking, "Even if he left completely... That'd be understandable and better for him. I'll just travel alone again... like before... Huh?" The next panel shows Vash's composure break, tears welling up in his eyes suddenly, as he didn't expect to cry. He starts to sob, putting his hands to his face to quiet himself and wipe at his tears, as he says, "Ugh... Dammit... I miss h..." The last panel shows Vash leaning over into his hands, still crying, and in the back, the door swings wide open with a bam as Wolfwood walks through with the punisher swung behind him. He shouts, "SPIKEY! You in here?!"
The sixth page starts with Wolfwood confused, looking at Vash and Vash looks back, just as confused, with tears in his eyes and snot out of his nose. Wolfwood starts saying, "Ah? You..." No longer in panels, at the bottom of the page, Wolfwood takes the Punisher off of himself and starts to walk towards Vash, continuing with slight concern, "What's wrong with you? Did something happen?" Vash, hurriedly begins to wipe at his tears, denying immediately, "No! No, I'm fine! Nothing happened!"
The seventh page, Vash points towards the table, with a hand still wiping at his tears and he smiles as he says, "I uh got you food. On the table." Wolfwood looks towards to the table and responds, "Oh. I was getting hungry, thanks." He turns his head back to Vash immediately after with an uncertain expression, knowing the other wasn't responding to his concern, and says, "But, I know you're an idiot with this stuff, so I'm reminding you again. Don't brush it off if it's an issue, alright?"
The eight page, Vash's tears have dried and he looks to Wolfwood with a soft smile and responds, "Yeah. It's okay though..." A panel at the center shows a side view of Vash approaching Wolfwood. At the bottom of the page, with no panel, is a close up shot of Vash's hand, holding onto the edge of Wolfwood's jacket sleeve, as he says, "Because you're here now. Wolfwood."
The final page is a back shot of both of them standing next to each other, Wolfwood's head tilted slightly to the left, not fully believing Vash as he says, "That doesn't answer anything, Spikey." Vash responds, "There's no need to talk about it! You should enjoy your food. Let's have a drink too?" Wolfwood responds, "Tsk, tsk. Fine, yeah. I could use one." END ID]
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"just dont lose yourself, okay?"
"i cant. i've tried to."
"Don't forget to enjoy this, today. Cuz if you lose yourself in trying to hurt the people who took it, you might....just don't forget the good stuff, okay?"
"i cant. i've tried."
godddd cellbits recurring motif of "i cant. ive tried." whenever someone tells him not to lose himself, both the bad and the good is so.. the implication of a perpetual fruitless spiral of turning man to monster and monster to man, and failing at both because loves too deeply and instinct is ingrained into him deeper than the carvings in his knife. he cant fucking stand himself. he can't stand how he can't be normal and has to rely on drinking copius amounts of coffee to stay awake enough to not lose it. he can't stand how even in the depths of his desire for vengeance, he hears the pain in his loved ones' voices and still stops to listen. these two parts of him have to be incongruous, because he knows he was happier when he was one without the other. and yet, time and time again the people who care about him tell him not to lose himself like they view him as whole. and again and again, he tells them that he can't. because he's tried to break himself in half and it doesnt fucking work like that. and he'll continue until he destroys himself because hes fucking Tired of being whole.
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i keep thinking about the datamined conversation between halsin and minthara and what gets me about it is that if you side with halsin and turn minthara away, thats objectively the bad choice.
like at this point, you've rescued minthara from moonrise. you know now that she was being controlled to act against her will. you've gone to the trouble of rescuing her from her tormentors, and you've experienced what it felt like as they tried to destroy her mind. you know what will happen to her if you turn her away. and if you do, you're willingly condemning her to that fate. you've essentially allowed her to experience freedom, to regain her sense of self, only to tear that away from her again.
whereas if you side with minthara, and halsin leaves, that's the only consequence he experiences. that he's not a companion anymore. at this point, we've saved the grove, we've saved him, and we've lifted the shadow curse. we've helped him achieve what hes been hoping to do for over a century. leaving your party won't see him lose his free will. he can return to the grove and live his life.
the choice is essentially either condemn someone to a fate worse than death, knowing exactly what that entails vs not letting someone travel with you anymore. its pretty clear cut to me.
its just interesting to me that they've switched the morality of it around given that minthara is considered the 'evil' companion by so many.
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Dc x dp idea 27
Ellie starts to destabilize again. She’s off traveling and just happens to be in Gotham. She pick pockets a phone of one of the bats civilian personas.
They notice. Just after they get back to the manor. So now they are gonna track it down. Whoever probably assumes they left it somewhere. There first thought isn’t gonna be someone invisible turned intangible to steal a phone.
Checking the tracker they see it’s in an abandoned factory or something. Ellie is passed out green ectoplasma under her.
She ends up in the batcave. Danny tracks her there. No care in the world it’s a hidden underground base. He is getting to Ellie and nothing is stopping him.
Danny isn’t in a talking mood when he shows up. He just creates an ice dome and pushes them out of his way. Grabs Ellie opens a portal and leaves. Ice left behind. I like the belief ghost ice won’t melt unless the person who does it wills it or it’s melted by ghostly means. So it sticks around.
About 2 or so days later. The two pop up again. This time not at the gate but past the security at the front door. Ellie returns the phone and Danny informs them the ice should be gone now. He just panicked and forgot about it.
Obviously the bats are gonna investigate
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my very serious writing advice for people who are trying to write more morally complex characters is to stop caring about their morality and focus instead on their individual motivations
it’s hard to articulate exactly what I mean, but the essence of it is basically: when a character does a murder, not only do I not care about whether they’re justified in doing so, it’s straight-up irrelevant. a character’s moral standing from some nebulous universal standard has no bearing on the plot or their interactions with other characters and has no use in the story for me as a writer. what does matter is why the character thought they were justified and then if it comes up to other characters, what they think about it.
you can obviously think about your characters’ morality but it’s not your job as a writer to interpret your stories for your readers and tell them how to judge your characters. your readers can see the evidence for themselves and draw their own conclusions. your job is just to understand why a character is motivated to act in a certain way and have it make sense
focusing on character motivations is a much more versatile framework than trying to give them specific personality traits or moral alignments, and frankly more useful to understand why a character would do a certain thing instead of just what they do. that way when something fucked up happens and your character starts acting differently, there’s an actual logical reason for it that isn’t you forcing characters to do things because it’s what’s required to make the plot go
when you write your characters with the understanding that people are not static and they act differently under different circumstances, complexity in character and morality follows naturally.
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