Abigail Brooks (she/her). Fantasy writer, fiction editor, and podcast enthusiast.

bluedaddysgirl:

Must read. Here’ s a snippet to motivate you :

For the still-not-convinced: If you need an AI to come up with ideas for you, you don’t even belong in the fucking room, because ‘coming up with ideas’ is literally the most basic level skill to have. A basketball player who can’t dribble doesn’t belong in the NBA, so why the fuck do you think you deserve a spot on my writing team if you need a computer to do what any goddamn fucking eight year old can do? Take the fucking hint, you fucking fraud: if you need AI to do the most basic tasks required of you as a writer, then you aren’t employable as a writer. Period. Fuck you. You’re a waste of everyone’s time.

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Anonymous:

I don't mean to pry but two questions. Do you know anything about the current status of Chapter 29 of Dominion that is not publicly known? And what is the status of your commentary review of Chapter 17? No rush to either of you I just wish to know.

Last I heard, Aurelia was working on the ending of chapter 29 and is trying to make sure it lands in a way that satisfies her. I’ve started the review for chapter 17, but have gotten distracted with my fanfic reposting project. Once I have everything on AO3, I’ll probably take a break to focus on other fun projects again, like the review.

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Anonymous:

Hey! I wanted to tell you that I love your Dominion reviews, and I also wanted to ask you about your opinion on a possible Azula-Catra comparison. Because people tend to compare Zuko’s and Catra’s redemption arcs in order to debunk the latter, and though I can see the parallelisms, I’ve always believed that Catra is, at heart, much more similar to Azula, and even more if you consider Dominion!Azula (which will never not be the real, full-fledged Azula to me, never mind canon). What do you think?

So I think any redemption arc in media tends to get compared to Zuko’s because, A.) The people doing the comparing often grew up with ATLA, so it’s the first one that comes to mind, and B.) It’s a redemption arc that takes time to develop, has setbacks, and has Zuko working towards earning the trust of those he hurt in the past.

Catra’s, I think, is harder for people to swallow. A large part of this is because she spends 4 out of the 5 seasons being an angry, toxic person, especially towards Adora and Scorpia (Scorpia, I want to point out, does not respect Catra’s boundaries, forcing physical affection on her when she doesn’t want it. This doesn’t mean that Scorpia deserved how Catra’s treated her, but I think that friendship was unhealthy both ways). I can understand why people, looking at Catra, would say that getting only one season for a redemption arc wouldn’t be enough–especially because she nearly destroyed the world and did, functionally, kill Angella. Zuko, in comparison, stalked people and burned down people’s homes, but didn’t kill anyone.

But personally, I liked Catra’s redemption arc. I liked her acknowledging her anger issues and having a therapy animal to help her manage it. I liked her apologizing and trying to make things right to the people she hurt. I liked her realizing that her ambitions in the earlier seasons were mostly a means to have some control over her life and gain the favor of the adults around her. Catra, all things considered, is a pretty self-aware character–she knows how she’s been treated all of her life is wrong, and that the side she’s on is evil, and that what she wants most of all is to be with Adora. However, she gets hung up over feeling abandoned, lashes out when she’s afraid and upset, and ultimately feels so guilty over pushing people away and the things she’s done that she’s suicidal about it. Dying doing a heroic thing seems, to her, the only way to make things right.

Which doesn’t happen, of course. Catra is saved. And ultimately, she’s offered a spot of the best friend squad, because people are still willing to give her a chance to be a better person (in part because she took that first step to try to make things right). And that, I think, is really important–because while it’s no one else’s job to fix you, if no one ever gives you the chance to grow and is always waiting for you to mess up–to prove yourself to be a monster–then what motivation do you have to get better?

But I’m getting off topic. What you actually asked me is if I see similarities between Azula and Catra. And in some ways, yes–mostly in how the fandoms treat them–but in other wars, no. Let’s dig into it:

  • Catra knows that she has been abused by Shadow Weaver and that Shadow Weaver is a bad person and parent. Azula does not realize consciously that she’s been abused, or that Ozai is a bad person and parent (though she knows he’s capable of hurting his children, due to what he did to Zuko).
  • Their responses to this abuse differs. Catra is more angry, defiant, and irreverent, and is physically hurt by Shadow Weaver as a result (which isn’t her fault–it’s Shadow Weaver who’s in the wrong). Azula decides to become the perfect firebender and ally to her father, and in doing so secures “safety” for herself from Ozai. Incidentally, Adora also picked the striving for perfection route of appeasement.
  • Catra knows that the Hoard is evil, but goes along with their goals anyway, largely to get back at Adora for leaving her and to gain Shadow Weaver’s and Hordak’s “respect.” Azula doesn’t know that the Fire Nation is in the wrong, because she’s fully been indoctrinated. In fact, Azula and Adora are more similar on this point, at least before Adora realizes the Hoard is attacking villages. Would she have realized this, though, if she hadn’t spent time there beforehand with Glimmer and Bow? In any case, Azula stays with the Fire Nation because she’s never been given a reason to question their conquest, and because that’s how she earns her father’s “love” and “respect.”
  • Catra is happy about Adora’s promotion until she realizes that she won’t be shipping out with Adora (and thus is being left behind). Azula and Zuko grow up in an environment where if one of them succeeds, that means the other one is failing, and thus are never happy about each other’s accomplishments.
  • Catra just wants to be the one Adora chooses and tries several times to get her to come “home.” Azula desperately wants to be chosen by someone, hence her attachment to Ozai. But also, Azula goes to great lengths to get Zuko to come home too, setting him up with Mai and letting him take credit for killing Aang.
  • Catra and Azula both break down and lash out when the people they love leave them. They also both experience guilt over what they’ve done, though Catra, I think, confronts this more head on, while Azula tries to rationalize her actions (“Trust is for fools.”). They also both fully believe that they’re monsters who no one can love.
  • Both Catra and Azula treat their best friends poorly and drive them away. Catra, after doing some soul-searching, tries to sacrifice herself to make things right, and is given the chance to redeem herself after she survives. Azula attempts to do some soul-searching, hits a “does not computer” error message, and is not given a chance to redeem herself, in part because there’s no more show left. If there had been a season four, perhaps we would have gotten that, but unfortunately, all we have are the (terrible) comics.
  • Azula is 14 during ATLA. No one reaches out to her or encourages her to think critically about what her side is doing. Catra is apparently 17-18 at the start of SPOP and 20-21 at the end of it. People do reach out to her and encourage her to think critically about what her side is doing. Azula gets no shot at redemption. Catra does.
  • Azula and Catra are both demonized by some of the fanbase, with Azula commonly being pathologized. Azula, despite being younger, being less self-aware than Catra, and being given fewer chances for improvement, is actually treated with more vitriol than Catra–even though Catra knows she’s in an evil organization and chooses to stay, and objectively does worse things over the course of the show. My guess is that this is because SPOP offers more sympathetic moments to Catra, which ATLA doesn’t give Azula. Regardless, explaining to these fans that these characters are young victims of abuse who responded to it in maladaptive ways, and deserve sympathy and a chance to heal, doesn’t work. Instead, because they were toxic and hurt the characters we like (characters on the other side of a war), they are ruined forever. Despite being incredibly young and, for the most part, barely stepping out of the abusive environments they grew up in.
  • And to be clear on this point–I can understand it if the people these two hurt never accepted them back. Their pain is valid (in fact, I wish Scorpia had told Catra that she needed time, rather than forgiving her easily at the end). However, saying Azula and Catra are lost causes who can’t become better people, who can develop healthy relationships with other people, is incredibly reductive. It also tells real people that if you fuck up in your youths, you’ll never get better and no one will ever love you again, which is appalling. As someone who had maladaptive reactions to growing up abused, if this had been what I was told–rather than having loved ones who were patient with me, told me how I messed up, and encouraged me to self-reflect and grow–I might not be here right now.
  • Which brings me to my final point: To be happy and find peace, what Catra and Azula both need is acceptance and love from healthy sources. Catra receives it and works on herself. Azula…doesn’t. And I’m not sure I can blame a 14-year-old for stagnating as a result.
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lethalbutterfly:

raedmagdon:

raedmagdon:

Give everyone UBI and free housing/internet/health care.

Use AI to do all the jobs that don’t need humans.

Stop using AI to create art of all kinds.

I didn’t sign up for a world where AI gets to “create” (aka. steal from human artists) while humans have to work shitty low-wage jobs that can easily be done by AI. I want off this ride.

Don’t put people’s novels, fic, or writing into ChatGPT either.

It doesn’t understand tropes, pacing, metaphor, or characterization the way writers do. It cannot do what we do. All it does is steal from us and regurgitate bits and pieces of our hard work in a nonsensical jumble.

You won’t get “updates” to your fics this way, even abandoned fics. All you’re doing is stealing.

And when we say STEALING we really mean STEALING.

You are taking not only the source material, the written work, but also the author’s narrative voice and allowing a company that owns an “AI” to take legal possession of it.

IP Law in America does suck, but if you’re going to go violating it please don’t do so in a way that screws over small creators in favor of large corporations!

ama-ar-gi:

The raven is sometimes known as “the wolf-bird.” Ravens, like many other animals, scavenge at wolf kills, but there’s more to it than that.

 Both wolves and ravens have the ability to form social attachments and they seem to have evolved over many years to form these attachments with each other, to both species’ benefit.

There are a couple of theories as to why wolves and ravens end up at the same carcasses. One is that because ravens can fly, they are better at finding carcasses than wolves are. But they can’t get to the food once they get there, because they can’t open up the carcass. So they’ll make a lot of noise, and then wolves will come and use their sharp teeth and strong jaws to make the food accessible not just to themselves, but also to the ravens.

Ravens have also been observed circling a sick elk or moose and calling out, possibly alerting wolves to an easy kill. The other theory is that ravens respond to the howls of wolves preparing to hunt (and, for that matter, to human hunters shooting guns). They find out where the wolves are going and following. Both theories may be correct.

Wolves and ravens also play. A raven will sneak up behind a wolf and yank its tail and the wolf will play back. Ravens sometimes respond to wolf howls with calls of their own, resulting in a concert of howls and calls. 

Sources: Mind of the Raven, Bernd Heinrich, The American Crow and the Common Raven, Lawrence Kilham 

digitaldiscipline:

rubyleaf:

rubyleaf:

You know, when I see fictional characters who repress all their emotions, they’re usually aloof and very blunt about keeping people at a distance, sometimes to an edgy degree—but what I don’t see nearly enough are the emotionally repressed characters who are just…mellow.

Think about it. In real life, the person that’s bottling up all their emotions is not the one that’s brooding in the corner and snaps at you for trying to befriend them. More often than not, it’s that friendly person in your circle who makes easy conversation with you, laughs with you, and listens and gives advice whenever you’re upset. But you never see them upset, in fact they seem to have endless patience for you and everything around them—and so you call them their friend, you trust them. And only after months of telling them all your secrets do you realize…

…they’ve never actually told you anything about themselves.

Adding onto this: characters who are so deeply repressed that they don’t even realize they’re not fine, or at the very least not supposed to be fine. Characters who do tell you about a situation they’re in that should be bad, but instantly laugh it off saying they can handle it (spoiler: they can, in fact, not handle it). Characters who laugh with you and listen to all your woes and much later you learn that they were actually going through something at least equally bad at the time, but they wave it off and don’t want to speak of it. Characters whose main coping mechanism seems to be “don’t think about it” on endless loop.

Basically, the fictional embodiment of the “this is fine” dog.

“characters” who do this.

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Anonymous: Please, obligatory "hunger games au" please?
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thejakeformerlyknownasprince:

[Technically a Catching Fire AU, since I didn’t actually want to write all the protagonists killing each other, but the concept is the same.]

  • When the announcement of the Quarter Quell comes, past Hunger Games champions to be reaped all over again, Rachel thinks Oh.  Thinks, they were always going to find a way to get rid of me.
    • She cheated, after all.  Broke the Games, ensuring two winners instead of just one.  The poison passing between her lips and Marco’s.  The defiant dare: that the Capitol could have two survivors, or it could have none.  She and Marco sobbed out their love as they clung to each other later that day, and it’s been enough to keep them alive until now.  But it was never going to last.
    • When she tells Marco this, he laughs.  “It’s not just us, though.  Think about it.”  He ticks them off on his fingers as he goes. “Erek sabotaged the Arena itself to win.  James was one of the figureheads of the District 6 protest.  Ax is too well-liked by too many important people.  Even your boy Tobias smuggled all of those Avoxes out of the Capitol — no, don’t try to deny it, it’s not like I don’t know.”
    • “So it’s not just us people are rallying behind,” Rachel says.  “We’re not the only troublemakers.”
    • Marco winks at her.  “You are the rallying point, my dear.  I’m just your adorable side piece.”
  • “If it had to happen again, better that it do so while you’re still young and strong and pretty,” Alloran intones.  He’s looking over Ax and Estrid, unamused as always.  “Better yet, Aximili, you could’ve kept your mouth shut and we wouldn’t be here at all.”
    • Ax shrugs.  He’s one of dozen surviving male champions from District 4, so it’s just bad luck that he’s got an honorable streak he can’t seem to shake.  Ax is pretty sure that if his own name had been called then Alloran would’ve volunteered in his place, which is why he’d volunteered for Alloran.
    • “We’re both out of practice,” Estrid says.  “I’ve been in biotech labs for most of the last thirteen years, and Ax’s been getting fat entertaining the upper crust—”
    • “Do not speak about things you do not understand,” Alloran says flatly, and Estrid shuts up.
    • Ax keeps his expression pleasantly neutral.  He’s very good at it, by now.  “She has a point,” he says.  “We’re both past our prime.”
    • “Not as far past as I am.”  Alloran narrows his eyes at Ax, almost certainly still angry about Ax not letting him go die in the Games.  Alloran might have been a butcher in the Arena in his own time, but he’s seventy-six years old.
    • Ax lifts his chin.  “Tell us what you would have us do, mentor.”
  • “Go on, start making friends,” Nora says quietly, looking over the lunch room.  “It’s high time you got to work on your strategy.  Rachel’s no good at alliances — just look at that kid Karen she helped through half the last games.  So it’s all on you.”
    • Marco makes no move to go join anyone.  “We shouldn’t delude ourselves about my chances.  Last time, I was up against mostly half-starved kids, and I still would’ve died if Rachel hadn’t carried me through, sometimes literally.  Now?” he says.  “Twenty-three warriors.  Every single one of them a card-carrying baby-killer.  My scintillating wit and charm aren’t going to be enough this time.”
    • “So you have no strategy at all, then.”  Nora only says it because she knows it’s not true.  She knows his mind; she sponsored him in his own Games, and then they co-sponsored eight other kids.  Hell, after what happened to his parents, and hers, each of them is the closest thing the other one has left to family.
    • “Probably for the best if my strategy doesn’t depend on trusting any of these people,” Marco counters.
    • “Not even the District 10 girl?”
    • “What, Cassie?  Just because she cries over ‘em after she kills them doesn’t mean she’s not still a killer.  I don’t trust her any more than David.”
    • Nora smiles grimly.  “In that case, you’re probably trusting David too much.”  David won 10 years back by luring several tributes into deadly traps with promises of or requests for aid, and then ripping apart their bodies even after they were long dead.  The first kill he’d made had been the 12-year-old girl from his own district, who’d given him some of her food and then been too weak to resist as he held her face-down in the mud until she’d stopped struggling.
    • “Maybe I’ll go cower behind one of the Careers, see if that’ll keep me alive,” Marco says.  “Big Jake, for one.”  Jake Berenson of District 2 is from a long bloodline of Career tributes, one that has turned out more champions per dead child than any other.  He’s well-liked, well-fed, and strong enough to kill barehanded.
    • “Erek King,” Nora suggests.  “You know, the District 3 boy?  He doesn’t look like much, but he probably won’t turn on you.”
    • Marco snorts.  “He’s only a pacifist until you back him into a corner.  Just like the rest of us.”
  • “Hold the lift!” someone calls, and Cassie lunges forward to punch the door-open button.  Both District 12 tributes slide into the elevator with her, panting slightly.  They’re no longer on fire, she’s glad to see.
    • “Thanks,” Rachel says.  She and Marco are still holding hands, as always, but up close it looks like Rachel is holding Marco upright by their shared grip.
    • Marco barely lets the doors close before leaning heavily into Rachel’s arm and kicking off one of his shoes.  It clatters loudly across the floor, and Cassie realizes it has an almost eight-inch heel — their stylist’s trick to make Marco taller than Rachel.  Marco lowers himself to the floor, standing on his own now, and yanks at the other shoe.  It catches on the hem of his robe, and with a hiss of annoyance he rips that off too, revealing that he wears nothing underneath.
    • Cassie turns away, feeling her face flush.
    • “What, like you’ve never seen a naked man before?” Rachel asks, laughing.  “You were at the opening ceremony, you saw what Ax was — and wasn’t — wearing.”
    • Yes, and Cassie had felt sick to her stomach watching the way the crowd ogled him, a piece of meat that they couldn’t wait to devour.
    • “Come now, my love, you know style’s all part of the strategy, for that one especially,” Marco says to Rachel.  He’s not wrong: if Ax can play the crowd well enough, the sponsors might even be able to get him another version of that scythe-thing he favors.
    • “Doesn’t mean it’s not crass, sweetheart.”  Rachel grins at him.  “Kind of like stripping down in an elevator to try and shock the baby tribute.”
    • “Doubt I interest her, my darling,” Marco says, “seeing as I’m not a muttation.”  He laughs and adds, “not yet, anyway.”
    • Cassie realizes she still hasn’t said a word.  Not about the nudity, not about the taunting reference to her own victory, earned when she nursed an injured muttation back to life and taught it to kill for her.  And what’s she supposed to say?  One of these two will kill her, likely as not, before the week is out.
  • The best that Tobias can say about his own interview is that he manages not to let anything show on his face.  He does his best to answer the questions — about District 11, about his feather-patterned costume, about what he thinks Crayak has planned for the games ahead — in ways that are unremarkable and inoffensive.  He and Melissa both won, eight years apart, with the same strategy: they’re small and lithe and easily underestimated, but they’re also able to flit through the trees well overhead of their fellow tributes without being spotted until it’s too late.  Now, the advantage of surprise is gone with the broadcast of his last Games, and the advantage of agility disappeared with the bottom half of his right leg after infection set in.  He’s going to die.  But he wants to die with dignity, he told Melissa last night, even though he knows that probably won’t be possible.
    • Rachel and Marco both have it easy during the interview process.  All Marco has to do is tell the story of Rachel first trying on her flaming dress, and how beautiful she’d looked to his eyes even while waiting for her hair to catch on fire.  The audience is eating it up, laughing and cheering even as many of them sob openly throughout.  Rachel’s so stunning in her wedding dress, even as it crumbles to ash around her, that it’s easy to fall in love with her through Marco’s eyes.  When she promises to protect what is hers, staring fiercely into the camera with clenched jaw and narrowed eyes, half the Capitol falls in love with Marco all over again.
    • Cassie’s interview is still the most interesting, in that she gets six words into a protest speech about the treatment of the outer districts before her mic cuts off and a “technical malfunction” shuts down the conversation.  Jake’s is exactly what you’d expect from a Career, lots of shrugging and mumbling and letting his bulk speak for itself, while Ax’s causes no less than fourteen rapturous fainting spells as various audience members are overcome with the power of their love for him.
    • All in all, Tobias is pretty sure he fades into the mass of tributes — Collette in her wheelchair, Loren who smirks under opaque glasses, Taylor whose beauty remains undiminished by her three prosthetic limbs — whom everyone has written off as unlikely to win.  It’s probably for the best, Tobias assumes.  If it comes down to that, he’ll be just like the rebels and sponsors: fighting tooth and nail to keep Rachel alive.
  • Rachel buries her face against Marco’s neck, dark hair and blond tangling together.  “I think…” she breathes against his skin, too soft for the microphones to detect.  “I think maybe we can trust the Ellimist.”
    • She feels his jaw tighten where they’re pressed together.  Marco’s the cynic who dances them away from the worst of the traps; she’s the optimist too stubborn to know when she’s been beat.  They make a good team.  She owes her life to his inspired decision to declare his love for her on live TV just as much as he owes her for the trick with the berries.
    • “He’s one of the Gamemakers,” Marco hisses.  “Fuck that.”
    • Rachel shakes her head just a little.  “He showed me…  I can’t explain it, not here.  Just— Do you think you can trust me?”
    • “Always.”  Marco sounds like he means it, because he’s skilled like that.  “Always.”
  • Ax does his best to breathe, in the seconds between their ascent into the Arena and the gong signifying the land mines’ deactivation that will release them from their pressure pads to begin the Games.  He’s a warrior, the servant of his district and his family.  He has volunteered twice now, once in Arbron’s place, once in Alloran’s.  Let it be done.
    • Across the way, he sees that even as Rachel rises into position she’s already making some busy motion with both hands close to her chest.  Ax can’t see clearly what she’s doing, but he sees Tobias’s eyes go wide in alarm.
    • Tobias frantically shakes his head, but Rachel ignores him.  She scans the lines of tributes until she finds her target.  When she does, her smile grows vicious.  Her right hand flashes out as she throws an object full-force at David’s face.
    • It’s her belt buckle, Ax realizes.  A nearly-useless weapon, small and blunt.  But does the job.  When it smacks David squarely in the cheek it throws him off balance.  Enough that he staggers back two steps — straight off the pressure pad, ten seconds before the gong.
    • Wha-BOOM!
    • The concussion of the land mine triggering breezes against Ax’s face nearly twenty yards away.  And just like that, the 75th Hunger Games begin.
  • The instant the gong sounds, Marco is off and running.  Headed for Rachel.  She whips around when she hears his approach, sliding into a defensive stance, but she relaxes by millimeters when she sees that it’s him.
    • Without any discussion, she and Marco and Tobias fall into a loose phalanx, facing outward with makeshift weapons in hand.  All Marco’s managed to grab so far is a piece of the platform he was on, but improvised weapons have always been his specialty.  He’s yanking and twisting sharp edges into place like this is yet another chunk of District 12 fence ripped from its posts, when something whistles over his head.
    • He ducks, almost too late.  Taylor’s knife flies past, embedding itself in the backpack that Rachel holds up to shield herself.  Rachel yanks the knife loose and flips it around in her hand.  Beside her, Tobias holds a stick like a club, staring around wildly.
    • Taylor’s second knife never leaves her hand.  Instead she dives forward, headed for Marco’s throat —
    • Shink.
    • Taylor coughs hot blood onto Marco’s face.  The steel that killed her yanks loose from her body as Ax pulls his blade back into his hand.  
    • It’s almost faster than Marco’s eyes can follow.  The chain it’s on whips behind him, then snaps outward again.  This time the scythe-thing takes a girl’s hand clean off at the wrist.  Again Ax snaps it back to himself, coiled and at the ready faster than thought.
    • Marco sees Rachel go pale as she registers the kusarigama in Ax’s hand.  It’s like a chain mace with a bladed head, a machete attached to the end of a bullwhip.  Not the kind of thing that one finds at a corner store in Panem.  The kind of thing that the Gamemakers must have placed here, after having seen the way that Ax wields one like it’s an extra limb.  The kind of thing they must have put down deliberately, if they wanted him to win.
    • “We have to go!” Tobias shouts.
    • Marco gestures for him to lead the way.  There’s no use sticking around to get slaughtered at the Cornucopia, and especially no use risking Rachel.  The three of them take off at a steady run, leaving Ax’s graceful slaughter in their wake.
  • Jake kills a muttation just as it is sneaking up on Marco and Tobias.  This makes no sense, Marco concludes, but there’s no time to question it.  
    • Marco takes a thrown hatchet to the shoulder protecting Rachel, because that’s all he can do.  He tells himself that he isn’t hurt when she hisses angrily that there’s no one left to impress so he can just stop with the lover-boy act now.
    • Ax kills the District 3 tribute who nearly killed Marco, but then refuses to kill Marco even as he’s lying wounded on the ground.  
    • They don’t seem to understand, Marco wants to shout, that he’s not important.  Rachel — beautiful Rachel, strong fierce tough Rachel, Rachel who can launch a thousand ships with the power of her bravery — is the important one.  Marco’s just the clever little schemer who showed the Capitol who she is, just set dressing in her story.
  • The Games… don’t work the way they’re supposed to.  Six tributes die of smoke inhalation.  One drowns.  There are four murders, and then no more.  The remaining thirteen, and then twelve, and then eleven, keep allying with each other.  Crayak’s direct intervention, or maybe the Ellimist’s, whittles their numbers, but the survivors keep drawing in tighter and helping one another.  And if everyone is allied, no one is killing.
  • “So what’s it going to be, then?” Jake asks.  He glances around at all of them, but his eyes meet Ax’s and hold there.  Ax stares steadily back.
    • There’s a wary sort of camaraderie there, and Cassie knows its source.  In a way, these two are just the same.  Each one is his family’s second chance at a champion.  They are seconds sons, both of whom watched older brothers volunteer and be shipped off to the Arena.  Both of whom watched their brothers’ state-sponsored murder in full technicolor on 20-foot screens.  Both of whom volunteered in their turn.  Career tributes, yes, but the sort of Careers who lack all delusions of glory or honor.
    • “Let’s do it.”  Rachel speaks first.  She’s the first pick in her own family.  First of three.  And Cassie chills to think of the things that Rachel has already proven willing to do, in order to prevent her little sisters’ entering the Arena.
    • “You know I’m with you,” Tobias says, smiling sadly at Rachel.  She smiles back, brushing the back of her hand over his.
    • Those two are cousins, if the Capitol propaganda is to be believed, but Cassie wasn’t born yesterday.  Marco and Rachel are very good at playing the game behind the game — so good, in fact, that they’re engaged to be married and claim to have a kid on the way — but up close, they’re also very obviously playing, their flirtation only a game to them.  It’s Tobias and Rachel who look at each other with real affection, with real desperation.  But their story didn’t advance the cause, and so the Capitol took advantage of a passing resemblance — blond hair, long limbs — for its own ends.
    • “No offense,” Marco says, in a tone that guarantees he’s about to cause offense, “but why would we ever believe you people?  Some of us who didn’t grow up on three servings of meat a day bought by past kids’ victories need proof that you Careers aren’t just going to turn on us.”
    • “You have no reason to trust us,” Jake says.  “None of us has any reason to trust any of the others.  But I will tell you this much: the Capitol needs us to hate and fear each other, or else this whole sick enterprise cannot continue.  You can all do what you want, but I’m going to choose to believe that maybe, just maybe, everyone else here wants to go down defying the Capitol rather than continuing to play puppet for their entertainment.”
    • Ax plants the end of his kusarigama against the ground, expression hard with determination.  “You tell us what to do, and I will follow.”
    • “Yeah.”  Rachel laughs, tossing her head back.  “What he said.  Let’s start kicking the asses of some people whose asses actually deserve to be kicked for once.”
  • They’re hiding in District 13.  Turns out that’s still a thing.  Marco got away from the Gamemakers; Nora did not.  Marco surprises himself with how much he misses her, like maybe he did care about her after all.  It’s too late now, though.  The next time he sees her, she’ll be brainwashed and mind-controlled, if she’s even still alive.
    • “Hi, there.”  Cassie sits down next to Marco at one of the long cafeteria tables.  She turns to follow the direction of his gaze.
    • Rachel’s sitting across the room, leaning close to talk to Tobias.  The two of them hold hands across the table, able to be affectionate in front of witnesses for the first time in their lives.  Rachel doesn’t seem to realize, caught up in conversation as she is, how easy she is to love.  She doesn’t know the effect she has, and maybe that’s part of her power.  She wasn’t lying when she said she only volunteered to save Jordan, and she’s not lying now when she promises to save all of Panem.
    • “For you it’s real, isn’t it?” Cassie asks quietly.  “She has no idea, and neither did I at first… but you really are in love with her.”
    • Marco laughs, tempted to deny it.  But what would be the point?  “Isn’t everyone?”

occudo:

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So @commsroom made a post about how Hera should have a body and wear one of Eiffel’s shirts, and I wanted to draw it for her, but I can’t find it… Happy belated birthday anyway!

I will laugh so hard if the bad teleport Laura rolled puts them right where the other group just left so they can follow up on the Hishari thread. Matt won’t do it but god would it be funny.