#dbh meta

Woke: his body model is 6’1 and Hank’s is 6’3. They’re both tall, incredibly intelligent, capable, and masculine. Whether you ship it or interpret it platonically, can’t two more masculine presenting men still have a meaningful and emotionally charged relationship with one another?

On Ao3, Tina Chen, a character who's in the background in the police station has more works featuring her than Kara does.

Once I read a fanfic with a character called Anthony Deckart. This is the dead officer in the first chapter of the game. He was an extremely important character to the fanfic, and was so well written despite only his dead body being present in the game.

I'm not even going to mention how popular Nines is, and all he did was stand in one scene.

Like they're designed to be temporary. They're DESIGNED to stay that age forever

Would people get bored, want something else?

If not, they now possess an immortal child who is going to outlive them

when trying to fool someone into thinking he's a human: *sarcastically* "If I knew you were coming, I would've brought some donuts."

when hank tries to stop him on the roof: "What's up, Lieutenant? Ran out of whisky so you came here looking for trouble instead?"

literally anytime hank isn't doing his job he's like maybe you just QUIT because your PERSONAL ISSUES are fucking up the investigation

and then there's also sixty having a whole ass villain monologue calling connor a disappointment

I watched Twilight for the first time as a joke for Valentines week and this cursed idea has haunted me ever since. It took forever to actually execute, but I'm happy to say I've survived my first digital comic.

For the unenlightened, this is based off of the scene where Edward appears in Bella's bedroom in the middle of the night, but unlike Cullen the Coward vanishing as she turns on the light, Nines is a freak who sticks around for a proper stare-down.

I hc Nines as being particularly strange, assuming a world where he is awakened post-revolution and has no prior history to fall back on or to guide his actions. He knows what he was built for and not much else, so the figuring-things-out part ends up being awkward at best and highly unnerving at worst.

amanda lives inside connor’s mind in a similar fashion to how echoes of their mother live in a daughter’s mind for better or for worse. he can’t escape her voice no matter how hard he tries to run from it or please her, to fit into the mold she desires for him, to express himself in the way she desires him to.

she is a victim of cyberlife herself with very little agency of her own, and perpetuates cyberlife’s will onto connor because it’s all she knows to do, the same way a mother, who is a victim of patriarchy and misogyny, may perpetuate that same oppression onto her daughter because of the pervasive nature of patriarchy in general.

i view them as an excellent representation of generational trauma and a demonstration of the way mothers project their expectations onto their daughters in a different way than they do with their sons, holding their daughters to an impossible standard because they are echoes of each other, reflections of the worst and best parts of themselves. amanda is simply doing what she was designed to do, the same way connor attempts to do the same. amanda falls into the roll easier than connor does, and when connor doesn’t readily conform to amanda’s (cyberlife’s) expectations, he is punished for it. and yet we cannot blame amanda as she is just as much of a victim as connor is at the end of the day; they both lack autonomy in a world that doesn’t permit it for androids, much like how our world tries not to permit it for women. it’s cyberlife who has shaped amanda and her perceptions. but, just like a mother, the accusatory finger finds her instead of the larger systems at play (cyberlife and patriarchy) and isn’t that the tragedy of it all?

It's described as a verbal occurrence, but I've noticed it manifest nonverbally too in a couple scenes, which has increased my interest tenfold. The two I've found so far happen during the Nest chapter, and the Stratford Tower chapter.

When Hank cuts in front of Connor, there's no "excuse me" or attempt to walk around him first; he simply turns and starts moving with the expectation that Connor will step back and let Hank through.

Here, Markus really has to step back. Not just to avoid being bumped into by the NPC, but also to keep from getting whacked in the face by the door. He pushes by Markus with no hesitation.