Phoenix Rising
How many of my followers know about this story? I believe it had been my very (?) first published fic on FF.net a crossover between DP and Arrow.
My writing has definitely evolved from back then, even I have reread my own works and holy moly does it need an upgrade.
Fun Fact: I’ve wrote this BEFORE I’ve had a tumblr account, and oh boy that rabbit hole had a wild slide.
Now, I’m deep in the dpxdc side of things.
My followers who have already read this bloody thing, would you like to read an updated version? Little more fleshed out, less confusion, ideas added, deleted or just glossed over?
Those who are finding about it now, feel free to read it, just know that it’s only available on FF.
I don’t entirely remember every detail, Ghost King Danny is there...eventually. It’s one of those stories of partially planned out and spontaneous ‘sure lets go with that’ moments.
In one week I’ll be on a 2 week vacation, I’ll be working on this plus multiple other stories both fics and original, cause my brain knows no chill.
Leave your thoughts below.
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“Louis de Pointe du Lac. That's an interesting name.” “Louis of Pointe du Lac Plantation. My great-great-grandfather owned one. All that remains is the name.”
“And a sizable trust to oversee as a consequence. Capital accrued from plantations of sugar and the blood of men who looked like my great-grandfather but did not have his standing.”
When introducing himself to Daniel both in 1973 and in 2022, Louis alludes to the ways that the legacy of chattel slavery in the United States remains present through his life. The ramifications of this history will be explored further in his interviews; it is intrinsic to the racism that Louis describes experiencing, and it is built into the economic and cultural foundations of the societies that Louis has and continues to navigate through. The way that this subject is broached however, in both the past and present, specifically centres the relationship between slave plantations and Louis’ own affluence.
Daniel’s remark being prefaced by Louis offering to “Get the boy whatever he wants”, before carelessly pushing a platinum credit card between them, implicitly correlates Louis’ response with that ostentatious display of wealth. It is not an intentional association made by the characters, and Louis immediately downplays the link when he recognises it (“All that remains is the name.”). Given his reaction, it seems likely that Louis did not talk about this topic during his subsequent interview with Daniel, though, again, that does not mean it would have had no bearing on other matters discussed. By contrast in the present day, Louis broaches the subject himself and fairly openly acknowledges the correlation. It was a slave plantation and the exploitation of enslaved people that created the sizeable trust that paid for the house and lifestyle that Louis and his family enjoyed. While Louis does not state it directly, the unavoidable implication of Louis clarifying that his great-grandfather was black and had a different social status to that of slaves (“[…] the blood of men who looked like my great-grandfather but did not have his standing.”) is that several generations of Louis’ black relatives have, at least indirectly, financially profited from chattel slavery. It is unlikely that this wealth was all inherited after the fact, considering that the abolition of slavery in the United States occurred only a couple of decades before Louis was born. These pieces of information seem to contradict then the implicit suggestion of Louis’ earlier explanation in 1973, that the only direct bearing the de Pointe du Lac plantation has had on his life is a shared name.
Both the dismissal and the acknowledgement are characteristic of how Louis describes the past; factual as a basic statement but carrying additional implications whose accuracy is more questionable and or left carefully unexamined. This is a rhetorical device that aids Louis in maintaining control of the narrative and its meanings while avoiding, as much as he can, outright lies. While Louis does view Daniel as a necessity for him to revisit his story, it needs to be stated that this does not prevent Louis from consciously and unconsciously tailoring it for his audience. It is possible that Louis only acknowledges the subject at all in the second interview because he is aware that Daniel has likely done some background research on his family. Considering how insensitive to racial issues Daniel can be, as well as his deliberately combative and contrarian approach to interviewing, it may be that this is a subject that Louis does not want to explore with Daniel specifically; it is perhaps notable that the penthouse Louis shares with Armand contains at least two pieces of art (Slave Auction by Jean-Michel Basquiat, and Transformation by Ron Bechet) which are about chattel slavery. Regardless of the reason for Louis’ selectivity, this context continues to hover on the periphery of Louis’ story, adding additional layers of meaning to the events that follow.
It contextualises the contradictory feelings Louis has about his work as a landlord and pimp, roles that may step outside of the shadow of sugarcane and slavery but are only made possible through investing the profits of them. When Louis confesses to the ways he treats his workers, tellingly he invokes plantation imagery with “[…] I lie to myself, saying I'm giving them a roof and food and dollar bills in they pocket, but I look in the mirror, I know what I am; the big man in the big house, stuffing cotton in my ears so I can't hear their cries.”. This conflict then deepens the resentment Louis has towards his family for criticising how he provides for them, with Paul being the only member who even entertains the idea that they should not spend the money at all (“We should tithe that o'er to St. Augustine's 'fore this house falls in on us.”). Whereas the family judges Louis for connecting them to an industry they view as sinful and lacking respectability, contrasting it to the seemingly fondly remembered family plantation (“Daddy was here, we'd still be in sugar cane.”), Louis is troubled by the exploitative nature of that work and capitalism as a whole. Yet there are also times when Louis exhibits pride towards his business dealings (“And I was now the owner of the brightest club in the district. My club, my rules. […] It was everything I had ever wanted or wished for. […] I made a mountain of money, enough to retire and be buried like a pharaoh.”). This could be suggested to be partly because Louis has moved away from the legacy of his family’s past to create something that he can try to believe is helping his, primarily black, workers (“I paid the staff better, paid the band better, all the while helping those who had been with me down the block to better themselves.”).
Most significantly of all, this context adds an additional lens through which Louis and the audience can examine some of the overarching existential ideas that Louis has been grappling with throughout his life, and that the second interview brings to the forefront. How does the past continue to define our present? Can we be considered in any way culpable for the actions of others? What reparations can we make for the harm, deliberate and unintentional, that we do? The open-ended way that Louis approaches the link between his inherited wealth and chattel slavery, as well as the subsequent ways that these have shaped his life, is reflective of those unanswered questions. Louis is desperately trying to find, if not a definitive answer to these philosophical quandaries, an insight that can give his existence purpose and direction. It is vital to Louis that his experiences offer some greater lesson (“That's the purpose. Our book must be a warning as much as anything.”), and ideally one that he can prove that he has already learnt. The different ways that Louis approaches the subject in 1973 and 2022 then reflect how he is revaluating the past and himself (“The passage of time and the frailties that accompany it have provided me perspective.”), but despite this, critically and symbolically, Louis still does not seem to have come to any conclusions.
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sorry folks im posting my huge backlog of talloraven sketches and taking up the tags and feed, god forgive me etc etc. cowboys upon ye aces and eights except its super gay
their names are desden drake and james o’halloran/jesse ari smith, later jesse ari drake. i have a lot of thoughts about these two but the gist is that dresden was a bounty hunter looking for the infamous witch of los angeles james o’halloran but fell in love with the gorgeous doctor smith along the way, shenanigans ensue, and they both become outlaws bonnie and clyde style. yes they die tragically young in the end what else do u expect
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omega dnfies have a mega nest in a room of the house and its so ridiculously covered in plushies and blankets bc they just keep buying each other presents
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God March's companion mission made me insane though like the atmosphere? The building creepiness as you work backwards through her memories and see all of her friends and loved ones start parroting the same warning? When it even seeps into the fucking loading screen messages? The questions it gives you of like is the force trying to keep her memories suppressed her or someone else? Is it really trying to protect her or is it hiding some truth from her? Not to mention protective Fu Xuan at the end </3 and those sweet fuckin moments with the Express Crew
Also if you pay attention to the mission descriptions you get some fuckin adorable tidbits like March coming up with jokes in her head to tell Dan Heng later lmfao
Also this one which is less than adorable :(
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Death Note au where Light is stuck in a time loop and no matter what he does L always dies, he freaks out, and the loop begins again. L's fate is so tangled and twisted around Lights plans from the very start, or perhaps it was simply always written to be this way, but no matter how far back he unravels it all he can't stop L's passing. Light tries again and again and again, relentlessly, to change their futures but it feels eternal. Endless. At a certain point Light realizes he can sacrifice himself to ensure L's survival. But no matter what, it all restarts. After a decent number of resets, L catches on to the time loop and with each reset his memories grow stronger, until he's fully aware of his entanglement with Light. They spend eternity searching for a branch in time that's strong enough to hold them both. They learn to weather the storm and to cherish their time together, seeing it as a blessing despite.
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