our enemy the state

Hostage (Damian x Reader)

Requested: Yes

Request: Can you do one where literally everyone on the Team and the Justice League knows that the reader and Damian like each other, except them. So everyone teams up to get them together?
Summary: When you’re kidnapped and in danger, Damian will do whatever it takes to make sure you’re safe, even if it’s just a set up…
Word Count: 1224

The Teen Titans’ tower was quiet as you searched for any of the other occupants. After almost an hour of looking, you resigned yourself to a day by yourself and relaxed on the large plush sofa. You were zoned out watching trash television when someone grabbed you from behind. They yanked you up over the back of the sofa and put a black bag over your head before you could even turn around. You struggled wildly, thrashing your arms and legs trying to connect them to your attacker at any point. The person who had a hold on you was good though. They evaded every hit with expertise and managed to get an arm around your neck. With all of your panic and struggling, the constricted windpipe quickly caused your brain to swirl and you passed out within a few seconds. The assailant carried your now limp body to the aircraft they had parked on the roof. You didn’t wake up until they were tightening the ropes around your wrists.

You were tied to a chair, from the coolness you felt through your clothing, you could tell it was a metal chair. The black bag over your head had been replaced with a black blindfold and a gag. You groaned and tugged against your restraints uselessly.

“The Titans won’t save you this time, (Y/h/n),” a deep sinister robotic voice spoke from somewhere to your left. You frowned and regretted not wearing your uniform. You had no communicator, no utility belt, and no hope of escaping this chair.

Meanwhile, back at the Tower, Damian, Jaime, Raven and Kori were returning from the grocery store. Garfield wasn’t far behind, shifted into a pack mule as he was loaded down with shopping bags. Together they were able to put everything away in a matter of minutes.

“I’m going to check on (Y/n),” Damian excused himself as he left the room. He ignored the chuckle he heard come from Starfire. He took the elevator to the floor that held the team’s rooms. The doors were unmarked, but he had long ago memorized which door led to your room. He knocked as he stood in front of it. When he received no answer, he knocked again before trying the door knob. As always, it was unlocked. He pushed the door open and was disappointed to see that your room was unoccupied.

He spent almost fifteen minutes searching your usual spots in the tower before he opened his tracking device. He frowned when he saw the dot designated to you glowing far outside of the Tower.

What’s going on, Damian? Where’s (Y/n)?” Raven asked calmly. Damian was too caught up in his own thoughts to notice the smile Garfield was trying his best to smooth out.

“(Y/n) is not here. Her tracking device says she’s about ten miles from here in the warehouse district,” he answered. “Something is not right,” he added.

“You don’t think she’s in trouble, do you?” Garfield asked and concealed a chuckled as a cough.

“Of course not!” He scoffed. “(Y/n) is completely capable to take care of herself,” he explained. He looked back at the dot and worry crossed his features.

“It wouldn’t hurt to see what she’s up to though, would it?” Raven asked. He considered her question for a moment before nodding.

“No it wouldn’t do any harm. This way we know for sure she’s not meeting with our enemies or anything,” he stated as he put the tracking device back in his pocket before heading to his room to change into his uniform.

“(Y/n) would never betray us,” Garfield said with sincerity.

“We’ll see,” Damian said coolly, but deep down he was worried that’s exactly what you were doing. He had seen you train and knew you were more than able to defend yourself, so what other explanation was there? He changed quickly, as did the rest of the team and they took off to her very stationary location. As they got closer, Damian began to worry about what they might be walking into.

They team gathered on the rooftop of the warehouse she was supposed to be inside. Starfire looked the most concerned about the situation.

“Blue, what does the security look like?” she asked. Jaime scanned the area.

“Several hostiles are guarding the area. They also have an alarm system. If anyone opens the doors or windows, they’re going to know about it,” he explained. He was actually impressed with the lengths they had gone to accomplish this.

“Then we’ll have to go in ready,” Damian concluded. “We can assume that whoever has the ability to take (Y/n) hostage is armed and dangerous,” he continued.

“Should we call in the Justice League?” Starfire asked with concern.

Not yet,” Damian shook his head. “We should be able to handle this and get her out safely,” he added. He clenched his jaw at the idea that they had hurt her. If they had caused her any pain, he would make them pay. The team went over Damian’s strategy a few times before they set the plan into action.

Blue Beetle blasted the front door off its hinges. The team entered and almost immediately Starfire was taken down. She hit the floor, but Damian couldn’t stop as he saw you tied to a chair in the center of the room. He blatantly ignored the fighting around him as he cut his way through to you.

When he made it to your side, the entire team was on the floor. He pulled the blindfold from your eyes and the gag from your mouth moments after cutting the ropes around your wrist. You were so overjoyed to see him after the hours of darkness. You through your arms around him tightly. He pulled back slightly and looked down at your face. Without a second thought, he pressed his lips to yours. You melted into the kiss.

The kiss would’ve lasted much longer had applause not erupted from around the warehouse. Damian pulled back and looked around threateningly, but relaxed when he saw only the team smiling and clapping.

What is going on?” he demanded angrily.

Damian, this was the only way we could figure out to get you two together,” Kori explained as she walked forward. “We all knew that you cared for each other,” she admitted. Your cheeks turned bright pink as you recalled the conversation when you admitted to Kori and Raven that you liked Damian.

“You went through all this trouble to set us up?” Damian frowned. His arms were still tightly around you, almost as if he refused to let you go now that he had you.

“It worked, didn’t it?” Dick Grayson spoke up from where he had been hiding only a few moments earlier. Damian’s frown deepened.

“Grayson, you were in on this?” he asked.

“I knew it!” you called out. “No one else could’ve gotten the drop on me like that,” you admitted.

“Exactly,” he chuckled. He held up a small circular device to his mouth. “No harm, no one was hurt,” he spoke in the robotic voice. Damian just shook his head.

Would you like to go to dinner with me?” he asked you. You couldn’t help the smile that broke out across your lips.

“I would love to,” you answered. 

A/N: I hope you like it! I had some fun trying to think up the plot!

Imagine: Being a famous Assassin

Originally posted by elputoduke

Imagine: Being a famous Assassin and having the houses fight for your loyalty and your strength. 


Word Count: Long, kinda 

Warning: None  

Part 2

Castle Talsworth. A stronghold that my lord father and his father built before my time, you thought to yourself. 

You are in the courtyard walking around and greeting everyone a good morning and making sure everyone is in good health. You are a famous Assassin with your Valyrian Steel sword named Ruthless Fire that your father gave you before he passed away.

Keep reading

The State has said to society…I shall confiscate your power, and exercise it to suit myself. [T]he interests of the State and the interests of society…are directly opposed… The State…has invariably, as Madison said, turned every contingency into a resource for depleting social power and enhancing State power… There are two methods…whereby man’s needs and desires can be satisfied. One is the production and exchange of wealth…the economic means. The other is the uncompensated appropriation of wealth produced by others…the political means.

The State…is the organization of the political means…[which] stands as primarily a distributor of economic advantage, an arbiter of exploitation…an irresponsible and all‑powerful agency standing always ready to be put into use for the service of one set of economic interests as against another.

The State is not…a social institution administered in an anti‑social way. It is an anti‑social institution…

State power has an unbroken record of inability to do anything efficiently, economically, disinterestedly or honestly; yet when the slightest dissatisfaction arises over any exercise of social power, the aid of the agent least qualified to give aid is immediately called for.

Under a regime of actual individualism, actually free competition, actual laissez‑faire–a regime which, as we have seen, cannot possibly coexist with the State–a serious or continuous misuse of social power would be virtually impracticable.
—  Albert Jay Nock, Our Enemy The State [1935]
  • Star Trek: Humanity's destiny is to explore the universe peacefully and make friends
  • Stargate: Humanity's destiny is to explore the universe,defeat all our enemies and ascend to a higher state of existence the way our ancestors did
  • Jupiter Ascending: Humanity's destiny is to be harvested and turned into an anti aging cream
  • Battlestar Galactica: Humanity's destiny is to have babies with the robots it created
  • Doctor Who: Humanity's destiny is to seek new life, and, and....dance. So many species, so little time
Guide: Terrains and Tilesets

(2000)

(2003)

(XP)

(VX and VX Ace are very similar, so only one graphic is needed for both.)

(MV)

Well, looks like we got another duo of tabs to cover for today, so let’s not dally. So far, we have our animations, actors, enemies and troops, states and elements, and screen resolutions gone through relatively thoroughly (click the words above to go to linked guide). So, what kind of areas will our characters live in? There are almost infinite possibilities for this question. We get to choose where our characters are. Do we want them on a normal planet that is very similar to earth? Do we want them in space? Do we want them in a parallel dimension? These are some things that need to be considered along the lines as well: how detailed should my tileset be? what is the standard size for my project and engine? Do I want my map to be completely for dimensional with no diagonals? Questions upon questions that lay upon the maker’s decisions.

Let us move over to the engine and dissect it a little closer to these tabs. For the first few engines we have both the terrain and tileset tabs. In some of the later versions of the RPG Maker engines, this has been completely moved into another area. Let’s briefly touch on that for a moment. In RPG Maker XP, the terrain option was moved into the tileset tab, though it did not stay there. In the ways of VX, VX Ace, and MV, the terrain options for battle have been moved into another area once again, though this time, it was moved into the main interface window. If it’s remembered about how the main interface window is laid out, the list of maps in the lower left hand side of the screen is where we want to look. From here, you would right click on the map you want to change the battle drop on, and from there you can change the “Battleback” battle background. Generally there is a plethora of different terrains and back drops to choose from. Some of them have the ability and capability of mix and match. MV has two layers in the battlebacks it has an actual backdrop and a foreground. For those who do not know what the word foreground means, the foreground is the space of ground where your characters will actually stand and battle on (unless they fly).

There can be a lot of benefits to creating your custom battle backgounds when it comes to the engine. It gives a general better experience for the players and it shows that there has been time and dedication put into the game, though not just that, it allows for a little more creative freedom than a tileset could normally give you.

Now let’s move over to the tilesets. Tilesets are what create the map of your game so your characters can walk around though it also can block your path. In the early versions they have the tilesets split into a couple different sections and editing modes. There is the main world and tile editing mode, then there is a layer for adding objects, and another one above that for adding events. Let’s delve a little deeper into what these mean for makers. Objects can be used as barriers in your game to keep a player from going to a certain area, or to place furniture into a building. Heck, even plants like bushes, trees, and rocks can be found in this so your players cannot pass through it. Then there is another layer for events, this is where a lot of fun stuff can happen, though we will get to this another day. One final thing before I forget. In the tiles themselves, we can see a bunch of X’s, O’s, and stars. The X means the player cannot naturally cross this terrain without special permissions. O allows the player to wander wherever they please. The star is mainly for objects and object layers and allow the player to go behind the given block.

This is all I have for now folks, I really need to get these rolling out on a schedule or something. Happy making and stay awesome. 

youtube

Laissez Faire Books presents, “Our Enemy, The State,” by Albert Jay Nock, read by Stefan Molyneux. To discover more titles from the laissez faire tradition, please visit LFB.org.

Introduction

by Stefan Molyneux, host of Freedomain Radio

It is interesting to observe that in the year 1935 the average individual’s incurious attitude towards the phenomenon of the State is precisely what his attitude was toward the phenomenon of the Church in the year, say, of 1500. The State was a very weak institution, the Church was very strong. The individual was born into the Church, as his ancestors had been for generations, in precisely the formal, documented fashion in which he is now born into the State. He was taxed for the Church’s support as he now is for the State’s support. He was supposed to accept the official theory and doctrine of Church, and conform to it’s discipline, and, in a general way, to do as it told him. Again, precisely the sanctions that the State now lays upon him. If he were reluctant or recalcitrant, the Church made a satisfactory amount of trouble for him, as the State now does. Notwithstanding all this, it does not appear to have occurred to the Church-citizen of that day, any more than it occurs to the State-citizen of the present, to ask what sort of institution it was that claimed his allegiance.
—  Albert Jay Nock, Our Enemy, The State
This is what we constantly repeat to our brothers—including our
fraternal enemies, the state socialists—“Watch out for your leaders and representatives!” Like you they are surely motivated by the best of intentions. They fervently desire the abolition of private property and of the tyrannical state. But new relationships and conditions change them little by little. Their morality changes along with their self-interest, and, thinking themselves eternally loyal to the cause and to their constituents, they inevitably become disloyal. As repositories of power they will also make use of the instruments of power: the army, moralizers, judges, police, and informers. More than three thousand years ago the Hindu poet of the Mahabharata expressed the wisdom of the centuries on this subject: “He who rides in a chariot will never be the friend of the one who goes on foot!”
—  Elisee Reclus 1894

During the reign of the fourth caliph, civil war raged among the Muslims who had occupied territories of the Byzantine Empire—thus providing an ideal opportunity to get them back. The Emperor Constant II sent secret messengers to the Christians in the Islamic state saying: ‘Here is the God-given opportunity: rise up against your government and I also will at the same time dispatch an army, so that we may drive out his common enemy.’ The Christian population of the Islamic state replied as follows: ‘These enemies of our religion are preferable to you.’ The point is that the freedom the Christians enjoyed was such that they had never known anything like it, even under the Christian government. The religious policy of the Byzantine empire was sectarian: if the emperor belonged to one sect he did not tolerate the other sects, still less religions. Under Islamic policy, on the other hand, complete cultural, religious and legal independence was given to every section of the population, and this was something they had never known under their own government.

Muhammad Hamidullah, Tolerance in the Prophet’s deeds at Medinah

As hip-hop, black music, and black artistry in general continue to trend worldwide it’s important to acknowledge the rich history of black nationalistic ideologies in black music. Too often bigoted/racist individuals consume & appropriate black music without knowing of it’s rich history and purpose...

PROOF: 

As an ideology, Black Nationalism acknowledges America’s unjust prejudice against African Americans and calls for the solidarity and resistance of blacks against discrimination. Authors Darren W. Davis and Ronald E. Brown define Black Nationalism as, “a political strategy for empowerment” (240). In addition the authors list the doctrines of the ideology, “the basic tenants of black nationalism [are] self-determination, racial intolerance, separatism, self-sufficiency, black pride, and the quest for a separate nation” (240). Martin Delany is considered to be the grandfather of Black Nationalism. Delany’s incomplete novel, the Huts of America advocates for black activism and rebellion. Over the years numerous other authors such as: Marcus Garvey, Henry McNeal Turner, Henry Highland Garnet, Edward Wilmot Blyden, and Paul Cuffee also published writings that contributed to the development of black nationalistic ideology. Among the contributions to Black Nationalism is David Walker’s Appeal, a seditious text in which Walker lists ten tenants that ultimately become the theoretical foundation of both Black Nationalism and Pan-Africanism. Walker’s pamphlet was one of America’s earliest militant abolitionist publications with a wide distribution. Both the publicity and availability of the pamphlet threatened the status quo of the southern slave owning society that had already been threatened by an increasing number of slave revolts. Prior to the pamphlet’s publication in 1829, the most successful slave revolt of all time took place in modern day Haiti. On August 22, 1791 “thousands of slaves set fire to plantations, torched cities, and massacred a terrified white population. The slave rebellion that started that night—the most successful slave rebellion in history—lasted 12 long years” (Thomson 76-77). Out of fear that the American institution of slavery would share the same fate, the pamphlet was banned in the south and any slave found in possession of it faced grave consequences. Though the pamphlet was banned during the antebellum era and largely erased from American history throughout the following centuries, the ideologies of David Walker remain influential in African American politics and culture. This influence is demonstrated through the resurgence of David Walker’s tenants in Funk, Soul, and Classic Hip-Hop.

Funk artist James Brown was the first to incorporate Black Nationalist ideologies into music; in his 1968 hit Say It Loud he implements Walker’s tenant of unity by encouraging solidarity among members of the black community. During the time of the song’s release, the Civil Rights Movement was also taking place and thousands of southern African Americans were on the verge of receiving suffrage rights that had previously been withheld from them. There existed among blacks of the time a belief that these forms of discrimination had lasted so long due to disunity among the black population. This same ideology is present in David Walker’s Appeal. When recounting the events of Hannibal’s siege on Rome, Walker asserts that had Carthage been united and given Hannibal support they would have been able to conquer Rome. He goes onto say, “But they were disunited, as the coloured people are now, in the United States of America, the reason our natural enemies are enabled to keep their feet on our throats” (Walker 40). This ideology is implemented in the lyrics of Say It Loud. The track starts with the command, “Say it loud: I’m black and I’m proud” (Brown, Say It Loud). With this command artist James Brown attempts to create among African Americans an agreement of feeling or solidarity. Brown’s resurgence of Black Nationalist ideologies forever changed the music industry.

Furthermore, Brown’s Say It Loud also resurges the tenant on the profound degradation of African American slaves by describing abasement of blacks in modern day America. Since the institution of slavery, both members and officials of American society have degraded African Americans. However, throughout the course of history America’s degradation of its black population has largely been denied or ignored by the country’s white citizens. Despite the nation’s large-scale denial of the abasement against the African American population, blacks in America have always been aware of their condition. This is demonstrated through Walkers acknowledgement of the profound degradation of African American slaves in his appeal. He states, “we, coloured peoples of these United States of America are the most wretched, degraded and abject set of beings that ever lived since the world began” (Walker 27). On his most popular track James Brown exercises similar ideologies. Brown states, “We have been bucked and we have been scorned / We have been treated bad, talked about as just bones / But just as it takes two eyes to make a pair, ha / Brother we can’t quit until we get our share” (Brown, Say It Loud). In this portion of the song Brown acknowledges the manner in which African Americans have been persecuted and rejected in America as a result of their race. He goes onto say that blacks have been treated badly and talked about as if they were “just bones.” This no doubt refers to the mistreatment of African Americans under the institutions of both slavery and segregation. In addition, Brown also acknowledges the way in which these institutions revoked the humanity of the African American population. Since the release of his hit, numerous other black artists in other genres have also incorporated Black Nationalist principles into their music.

Famous Soul artist Marvin Gaye incorporates David Walker’s theme on the possibility of the occurrence of a new society of peace and justice by pleading with white America to change its suppressive ways. Throughout American history African Americans have been suppressed by institutional racism. Over the years there have been several attempts by the black population to get white Americans to acknowledge this oppression. Walker asserts that the only way that a society of peace and justice could come into existence is if white America acknowledges their oppression of blacks. He states, “The Americans may say or do as they please, but they have to raise us from the condition of brutes to that of respectable men, and to make a national acknowledgment to us for the wrongs they have inflicted on us” (Walker 90). Marvin Gaye implements this same ideology in his hit single What’s Going On. On the track Gaye says, “Picket lines and picket signs / Don’t punish me with brutality / Talk to me, so you can see / Oh, what’s going on” (Gaye, What’s Going On). On the track Marvin Gaye references the occurrence of protests against institutional racism in America. He then rebukes local law enforcement for the use of force against peaceful protestors. Gaye then instructs white America to acknowledge (talk) the wrongs that have been committed against the African American population. Marvin Gaye’s track What’s Going On resurges ideologies of Black Nationalism as outlined in David Walker’s Appeal.

Hip-hop duo Black Star’s song Astronomy (8th Light), also implements Walker’s tenent of solidarity among African American slaves by encouraging “black people [to] unite.” Often individuals outside of the influence of Hip-hop culture misinterpret it. In fact, the popular conception of the genre is that it is preoccupied with sex, drugs, and fame. However, contrary to the popular opinion Hip-hop often serves as a political platform that establishes the aims and principles of the black community. Though it has largely been erased from American history, Black Nationalism still manages to shape these aims and principles. For example, Walker’s ideology of the need for unity among African American slaves remains integral to black ideology. In the appeal he states that slaves, “were disunited…in the United States of America, the reason our natural enemies are enabled to keep their feet on our throats” (Walker 40).  This ideology is applied in the lyrics of Black Star members Talib Kweli and Mos Def. The track opens with the rappers stating, “Black people unite and let’s all get down / We got to have what? / We got to have that love” (Black Star, Astronomy (8th Light)). In this portion of the song Kweli calls for the immediate unity of African Americans. Like Walker, he too faults the lack of solidarity among blacks for the ongoing success of America’s oppressive system. Kweli asserts that the only way to destroy said system is to establish a sense of unity and love among the black peoples of America.

In addition, Astronomy (8th Light) applies David Walker’s ideology of the importance of education among slaves by educating listeners on the cruelness of slavery. As well as serving as a political platform to the black community, Hip-hop also frequently attempts to educate its listeners on black history and race demographics in America. Though a majority of America’s school systems neglect to include these subjects into the required curriculum, numerous hip-hop artists underlie their lyrics with statistics and events from black history in attempts to educate the black community. In his pamphlet Walker references the importance of the education of slaves with one of his tenants:
For the coloured people to acquire learning in this country, [sic] makes tyrants quake and tremble on their sandy foundation. Why, what is the matter? Why, they know that their infernal deeds of cruelty will be made known to the world. (Walker 52) On the track Astronomy (8th Light), Mos Def resurges Walker’s tenent of education:

Black like the planet that they fear, why they scared? / Black like the slave ship belly that brought us here / Black like the cheeks that are roadways for tears / that leave black faces well traveled with years (Black Star, Astronomy (8th Light))

Using his lyrical skills, Def references the changing demographic of the American population. That is, the exponential growth of America’s minority population and the likelihood that one-day the minority will become the majority. Def uses his sarcastic question (why they scared?) to reveal that white America fears the possibility of a predominantly black population and the changes it would bring. He goes on to reference the American institution of slavery and its traumatic effects on blacks of antebellum and modern America. Mos Def’s use of the term “roadways for tears” is meant to depict the long lasting depression endured by African American slaves as a result of slavery. Furthermore, the rappers use of the word “are” implies that he is speaking in the present tense. That is, he’s acknowledging the fact that the institution of slavery still has a negative affect on the modern day black population. Much like Walker, Mos Def attempts to educate the black community on America’s growing minority population and the cruelty of slavery so that they may use this knowledge as weapons to dismantle the racist system.