#'i want this person to die' <- not a crime

[witherby]

Continuation of the biting baby, y/n as a toddler somehow developed the habit of headbutting people in the gut but not bruce. He still gets bit but aye, he's not alone anymore lmao

(Baby has to be put in air jail almost everyday buy the moment they're out they headbutt the person who placed them in air jail as hard as possible)

(Also just in case people doesn't know what air jail is,u just hold the baby/animal In the air with ur hand)

A pattern is forming. I think you all want Mouse to be a violent baby.

Including me, so —

The Littlest Wayne: Air Jail

"AHH! SHI-AHhhghh sugarhoneyicetea..."

Bruce lifts his eyes from his newspaper and looks at the couch, waiting for the inevitable. Like clockwork a pair of hands shoot into the air, with you as prisoner, and you start complaining and windmilling your limbs. The hands holding you are encased in leather; Jason must have been the victim then.

"Mousey, I'm workin' with two broken ribs and a concussion," the man complains, jostling you for emphasis. You squeal, giggling. "You cannot keep running into me with that thick little noggin at full speed. I felt a third rib crack upon impact. You're killing me. You're killing your brother. I'm gonna die again."

"Wanna!" You insist, back to windmilling. "Down! Jay-Jay, down!"

"No down. You get Air Jail 'till you say sorry and promise not to headbutt me again."

"I sowwy..." You whine, jutting your bottom lip out for emphasis. "Down, p'ease."

"Jesus Christ, the puppy dog eyes are lethal. I — ugh. You gotta say you won't headbutt me anymore. No more headbutt, okay?"

Your eyes start to water. Bruce watches you sink back down, vanishing behind the back of the couch, and snorts into his paper. He lets out a full laugh when Jason cries out a minute later. You've struck again.

"WE HAD A DEAL. Get over here, you're going back to Air Jail."

You shriek with delight, toddling away as fast as your chubby legs will allow. Jason, as injured as he is, actually can't catch up to you before you spot your dad and make the motion for Uppies.

"Daddy!" You cry. Bruce sets the paper aside and scoops you up.

"Are you being naughty?" He asks. You grin and hide your face in his shoulder. "Uh oh. Maybe I'll let Jay put you back in Air Jail — OW?"

He winces and your peals of laughter ring right next to his head. You open your mouth to bite him again, but he's the one to lift you into the air this time. "Daddy! Down!"

"I'm calling the police," Bruce deadpans, dropping into the Batman Voice. "Your rampant string of crime has gone unchecked for too long. Victims are piling up left and right. You've headbutt all your brothers this week, and Uncle Hal, and Titus. How Grandpa is escaping your tyranny is a mystery, but it's time to turn you over to the law."

"No powice, daddy!"

"Yes powice, child."

Bruce stands up and carries you into the day room, lowering you down into an extra tall play pen.

"Time out for five minutes."

You pout and cross your tiny arms, glaring at the ground.

"Don't wike, daddy. Want out."

"Yeah, well Daddy doesn't like getting bitten like a cookie, and your brothers don't like taking your skull to their bodies at high speeds. We want our skin free from bruises and teeth marks."

"Ha-ha," Jason teases from the doorway, pointing at you. "Get got, criminal!"

Your pouting intensifies. You reach out to Jason and make small whining noises.

"Want out. Want Jay-Jay, p'ease! Jay-Jay!"

The smug little smirk fades from Jason quick, turning into something fond and pitying.

"....I mean...c'mon, B, they're three. Five whole minutes?"

Bruce rolls his eyes. "This is why we haven't been able to curb this behavior yet. You can't fall for big eyes and a please every time —"

You hitch a little sob, and like a wet paper bag, Bruce folds.

"Maybe I'm being a tad harsh. They're three years old..."

[charleemoon]

this is what ive BEEN saying. save me popular x only person who doesn't care. capcom robbed us of so much interesting dynamics between them because they put klavier in the Basement.

why is it every prosecutor is crucial to their game and its cases and therefore get important character growth that affects their character permanently (edgeworth with dl6, starts to heal from his trauma + is able to open up again; simon with ur1, literally being freed from prison and starting to find peace and redemption; nahyuta with. i haven't played aa6 (or 5) BUT I KNOW HE GETS GROWTH + THE WHOLE LEGAL SYSTEM STARTS GETTING REFORM.) and then klaviers literal brother is the overarching serial killer of aa4 and then he like. doesn't do anything. and then fucking disappears and becomes woefully irrelevant.

they stand on the same backbone as wrightworth and THEN some. to have someone insist on you, to see through whatever lies you've told yourself for so long you've grown to believe them, to let guilt become your mentor, your friend, your refuge. EVERYTHING about klaviers character is built on entrusting himself to the few people who know him as klavier, not headliner of the gavineers, not prosecutor gavin, but klavier. and it seems like that was his brother and his band. within a few months he loses his ENTIRE foundation and found out his only space to exist as himself was with people who played him for a fool and took advantage of him in order to commit gruesome crimes out of selfish gain and pettiness, as far as we know.

people who told him how to feel, told him what he wanted to hear, who seemed to hold little value towards him and his instincts, feelings, values. (kristoph obvious gaslighting all the time, daryan referring to him as depressed, a perfectionist, basically calling him a tantrum thrower). people who actively took advantage of his two genuine passions in life as an extension and opportunity to benefit themselves (daryan with his music, killing at a show ; kristoph interfering with gramarye case and his prosecution to make sure phoenix's framing went through)

he genuinely loses EVERYTHING. and then there's apollo. the man who got his brother arrested. a pupil of wright, who he still partially believes is a forger and a liar. everything about him should be something klavier is against. instead he's honest, blunt, and outspoken. he doesn't buy klavier's charm or his facades, cares only about the truth, the ideal that klavier admired so much during his time at themis.

a unrelenting force that rips the veil off every haunting suspicion klavier has had about his brother, his career, himself. someone who helps him find the truth.

and he just. never experiences any of that. not in front of apollo at least. we don't see his grief, his panic, his paranoia, the damage this would've done to him. honestly, to BOTH of them. it's like 4-4 they just barrel through it all and pack it up. and i haven't played aa5 so i don't know exactly but it seems like his return in 5-3 just ignores all of that. he's mostly unaffected, save his disbanding of the gavineers.

like. WHY.??? even 2 games after 1-4, we still see edgeworth processing his grief. he has panic attacks, he has REAL lasting trauma because something TRAUMATIC happened to him. he was betrayed by a mentor, a father, watched his only family die and thought it was his fault. and phoenix saved him from that fate. that insistence on the truth.

EVEN IN TGAA, prosecutors are still deeply tied to case plots as per usual, and they have lasting developed trauma that is completely valid for what they've witnessed. a common theme with aa prosecutors is the guilt they carry with them, things that haunt them, that eventually find some kind of peace, solace, or retribution through the events of the game. THEY ONLY DO THIS TO KLAVIER. WHY 😭😭😭

i don't even remember what i said anymore actually. capcom hates klapollo

You ever think about Klavier Gavin, having grown up with someone as manipulative as Kristoph and then being thrown into stardom and being sweet talked by millions of fans who only love the idea of Klavier Gavin but dont know the real person under that mask he carefully build over time? Do you think about him finding Apollo Justice, who is blunt and honest to a fault and does not care about Klavier Gavin the Rockstar, he cares about Klavier Gavin the person and he will tell him so? He will tell him that he loves him? And Klavier Gavin will tell Apollo Justice that he loves him too?

[xjulixred45x]

If requests are open could I ask for Jack the Ripper ROR x daughter Jack the Ripper reader. Where the daughter acts as the person who spread the legend of Jack the Ripper and built up the fear and rumors around her fathers crimes to protect him.

Ok! First time writing for Jack, so sorry if this a little OOC

Jack the Ripper and Daughter! Reader: Memories

Reader knew that her adoptive father was not normal. In no sense. In fact, he could be someone very dangerous.

She had known it since the day they met, when she was just a little girl on the streets of London. Trying to survive as best he could with an alcoholic father in bed, working when she could and taking from others when she needed it. They were the hard years after all, she couldn't afford another life, if she didn't end up in one of those horrible orphanages, she would end up in the brothels.

So she held on as long as she could to that life, no matter how hard it was to find things to eat, no matter how many times her father got kicked out of work for being drunk, no matter how many times he almost smashed her face in. to blows. She had to continue, she had to continue.

Why? Who knows...maybe everything would finally be resolved. That something good would happen in her life.

And well, one night, something happened.

Reader had been practically knocked out when she went to sleep, after searching for food all day and not being successful, and then being reprimanded by her father, again. She decided that if she went to sleep before dinner she could pretend she ate and not feel so hungry. She didn't even feel when someone broke into the house. She only woke up to the muffled sound of a scream.

Reader didn't even think that anything could be wrong, she simply thought that her father would have vomited or passed out from drunkenness. So he grabbed his blanket, preparing for the possible bad scenario as he walked down the stairs.

What she didn't expect, however, was the absolute silence that filled the entire house, except for the humming of someone, someone who wasn't her father.

London's bridge is falling down, falling down, falling down. London's bridge is falling down, my fair lady...

The reader's father was on the living room floor, covered in red. And a man in his kitchen, cleaning a knife and his hands, humming.

He must have noticed somehow that reader was there, because he stopped humming and slowly turned to look in her direction. Different colored eyes, looking with surprise at the change of events.

Would it all end like this? Die at the hands of an unknown man, in the middle of the night? Did death hurt? Well, surely nothing more than continuing to live like this. Maybe it would be for the better...

The man looked at her like an owl, tilting his head to one side unnaturally. As if I could see something she couldn't. Which, in fact, was so. I could see her lack of fear, her resignation, all that accumulated pain. And yet no trace of bitterness...

Jack had only broken into the house for shelter for the night, but now he was in another difficult situation. Would it really be worth putting this creature out? He wasn't even very big, no one would take what he says seriously if they asked him. But on the other hand he couldn't risk leaving witnesses--

-"…Sir? …” – the girl spoke in a soft tone, surprising the man – “does... death hurt...? I don't want it to hurt anymore, sir..."

Unknowingly, the reader had probably answered Jack's question and saved her own life in the progress.

Life after that was simpler, more bearable. And reader was able to learn a thing or two about her new caregiver, Jack, through the night they met and other things she saw him doing.

Jack was a well-mannered man, that was obvious, but you could tell he had a childish air underneath all that chivalry. She could see it when he joined in their tricks without thinking (playing hide and seek, tag, it almost seemed like the man was playing those games for the first time), or when he recited Shakespeare's sonnets to her. He really didn't know many basic things about taking care of a child, but he tried so hard that the reader couldn't help but empathize with him. Like him.

Jack might be a monster, but he wouldn't let this rotten world swallow another child, create another monster. He would not let another child feel unloved or unappreciated. Not like he was, not again.

However, his daughter wasn't blind, she could see the dark things Jack was into.

Whether it was how they changed houses constantly, how he sometimes came home with his knife wrapped in something, how he spent hours in the bathroom washing his clothes separately from hers (and not because of the colors as he said), but because of the remains of blood that even remained in the drain. How he went out at night and returned hours later, not smelling of whiskey or alcohol, but of iron.

Reader knew that her adoptive father did bad things, but a part of her simply wanted to turn a blind eye to everything her brain was screaming at her to run away from.

This was the same man who took her into his home, who put a roof over her head, who gave her food and clothing, who gave her security and warmth, who spent nights awake when she was sick or in bad shape, the man who It made her understand what love was.

They both knew it, they were the only people the other loved, because after all, he was a monster, and she was a mere zero. Unimportant, irrelevant.

But he could do something for his father. A “thank you” for everything he had done for her.

When Jack died, the reader was already well into her 30s, so it was easier to move among people, influence them, scare them...

Spread rumors about the murderer who had troubled London for so long, the terror he had caused, how he was still on the loose, and the snowball began again. Jack the Ripper. The legend that never dies would always terrorize the streets of Europe, no matter what, reader was going to make sure of that.

Like a good daughter would do.

Shares, reblogs and comments are very welcome!

Just to make sure, i'm only liking the FICTIONAL versión of Jack the Ripper, the actual Jack could go and suck a dick.

[id0what1want]

It's kind of strange to me that I don't see more Michael lovers.

Michael Ole is a character that definitely isn't perfect by any means, but every character in Jentry has flaws. It's strange to me that people are a lot more critical of Michael's flaws than they are of Kit's.

Michael does not get the same screentime that Kit does and there is also the added factor of Kit dying at the end of his arc, making it so Kit dies a martyr instead of actually having to face the consequences of his actions.

We now have the mental image of Kit dying for Jentry in a brave and selfless action.

Except

Michael has the strength to live for Jentry. Michael has lost his house and his job to Jentry's powers and still accepts them as part of her. Michael doesn't change himself to be with Jentry and has interests outside of Jentry. Michael makes mistakes and fucks up, but he doesn't essentially commit suic*de the first time he and Jentry have a big fight.

Michael of course isn't perfect. He's a teenager, he's messy in relationships and struggles to communicate well. When they break up, he rebounds on another girl. He hurt Stella. He also didn't k*ll himself. He owns up to his actions. He lives with his consequences.

The reason why we're supposed to like Michael isn't because he doesn't do as much for Jentry as Kit did, it's because Michael handles his problems with growth rather than selfishness. Kit dying for Jentry was not for Jentry. Kit wanting to be human was not for Jentry. He would rather die than live with the fact that he fucked up. It's unfair to Jentry.

Michael wants to help Jentry because above all else they are friends. There are romantic undertones, yes, but Michael doesn't get anything out of their relationship the same way that Kit does. In fact, people forget that Michael has ALSO sacrificed for Jentry. He has ALSO risked his life time and time again for her.

It's definitely not that I hate Kit. Kit is my favorite character. I wholeheartedly believe that in terms of Kit and Jentry, Kit needs to take a page from Michael's book and grow rather than change himself on a dime. Kit's apology should not have been his death. It makes it so he escapes all responsibility for what he did. Dying is easy, living is harder.

Had Michael died for whatever reason, his actions would also be seen more favorably because of the martyr affect.

I am personally very refreshed that the canon choice in the male leads goes to the healthier option, and even more refreshed that the choice in the love triangle went to the lead with the darker skin tone. Black characters are often cursed with second lead syndrome, if they even get a romantic interest at all. It's also rare for characters of dark skin tones to get with the lighter skinned female lead, interracial relationships in a YA setting are incredibly rare. Jentry Chau already does amazing for having Jentry's love triangle options not being 'very white All-American guy' and 'slightly tanner troubled bad boy but is still very much white'. I would like to note that I am still annoyed that Michael's arc didn't get nearly the attention/time Kit's did and that Stella got sidelined so hard.

I am also still finding it strange, despite all the reasons I listed as possible explanations, that Michael's mistakes are received so harshly in comparison to Kit's reception. Michael committed the crime of teenage drama and Kit is guilty of stalking, attempted murder, and accounts of actual murder. Do I stand with my problematic wife? Yes, I really like Kit. Do I think Jentry is totally valid for not wanting to date a guy that stalked her in favor of a guy whose worst crime is breaking up with his girlfriend? Yes! I personally have been stalked before. Jentry extending the olive branch of friendship is already phenomenal, she is totally right for not wanting a relationship. Michael is very safe in comparison to Kit, and eliminating the factor of normalcy, Michael has never shown any intent of violence/danger towards Jentry.

I also have a theory that if the cast was gender swapped, and Kit acted the way he did towards Jentry, the fanbase would have been harsher in his reception. It strikes me as the same phenomenon where a light-skinned male can exhibit traits of autism and be excused where a female person with autism will act the same way and be considered a bitch. This is mostly theoretical, but it does tie back to Michael; if Kit had dark skin or if Michael acted the way Kit did, would the fanbase be harsher for his instances of violence?

There is the argument that Kit is Korean and thus also a minority, so Michael's race doesn't tie into his less enthused reception. While I would like to say that people make their assumptions solely on their actions, those numbers just don't add up AND it erases the impact Michael being black in the first place has on his character. Echo Wu stated in the Spilling the Milk livestream that she needed an All-American jock character, what was stopping her from making Michael a white boy quarterback? Michael's race and heritage adds dimension to his character past variation in the skin tone roster, people forcing Michael into the role of a jock gains further implication because people tend to force the view that black characters and black people as being physically stronger/more athletic. Black characters are not often portrayed to have nerdy interests like anime, band (specifically instruments that AREN'T percussion), or any kind of intellectual hobby. In-universe, Michael's race is important to his character and affects how he is perceived, why would that suddenly become false to his reception in the real world? The real world where racism DEFINITELY doesn't exist anymore, and subconscious racial bias is DEFINITELY dead.

I am NOT saying if you are team Kit that you are racist, PLEASE do not let that be the takeaway. This post was simply made because I was surprised nobody had pointed this out already and I think these conversations are important to have and consider instead of pretending these trends don't exist. I also love Michael, and I wish that I saw more people talk about him

[gebstargeb]

Marvel!Arcane AU

Season 2 spoilers

Jinx = Yelena. They are both little sisters. Her leaving Silco could be like how Yelena leaves the red room and becomes her own person? And later learning that she's not this awful murderous killer but has the capacity to do good. Both have mental health struggles. Both have amazing beautiful hair and amazing beautiful makeup.

Vi = Natasha Romanoff. She leaves the “red room” (Undercity crime) before Jinx, her sister. Both have red hair. Both drown themselves in work to “purify” themselves (ringfighter jinx)

Silco = Dreykov. Criminal overlord. Both like using little girls as weapons. Both die in a very satisfying way (sorry jinx but I loved the scene where you shot your dad)

Mel = Captain Marvel. Visually similar powers. Similar arc about rebellion against mother/mother planet and becoming her own person + discovery of one’s own potential. Both are beautiful beautiful girls.

Jayce = Iron Man with him dragging himself out of that cave only using scraps from his hammer. “Tony Stark was able to build this in a cave! With a box of scraps!”. Both big inventors who get caught up in their own egos. Same ugly hair.

Viktor = Dr. strange. Both want to improve on their bodies in the beginning of their stories but later learn to embrace their disabilities. Magic too. +they both fly and have capes. They also both have followers (cult of viktor vs the sanctum sanctorium’s training programs and wizard army)

Ekko = spider-man. They are both inventors + his hoverboard could be an equivalent to web-swinging. And his arc is kind of similar to Peter Parker's. Everyone both forgets them in the end (i actually can’t remember that final scene very well I think ekko got sucked into the hexcore too?)

Heimerdinger = Goose. Orange

Bruce hulking out is like when people turn into monsters because of shimmer

[thewarfox]

Your proposed solution is just execution with extra steps. And an effort to put the blood on the hands of inmates instead of yourself or the state. But it is an indication that you do believe that these particular criminals deserve to die for their crimes, so I respect that. Our dispute is not over what they deserve, but whether they will be more likely to kill their victims or not. That's an important distinction, I think. I don't think it's a controversial opinion to say that the vast majority of people would probably prefer that people who would do such harm to children deserve death. More importantly than punishing them, though, would be to ensure they cannot perpetrate their crimes and hurt more children again. Feel free to correct me, but I think we can have common ground on this point. As far as what international organizations or other countries have decided on the subject? I don't give this much credit. There is a moral quandary in civilized society that has trouble with the idea that modern, civilized people should condone the death of anyone, let alone be responsible for it. Make no mistake, taking part in, paying taxes to, and voting for a government that executes any criminals makes you party to the murder of a human being. It's a small part. It's a responsibility disseminated among the populace. But it's not arguable. Modern Western nations are deeply uncomfortable with this reality. It is a reality that humanity has been a part of throughout human history. It is also a reality that no judicial system is 100% perfect. Innocent people get convicted of crimes, for various reasons, and the idea that an innocent person would be convicted and executed weighs heavily on the populace, and especially a jury responsible for that conviction. Those tendencies, that discomfort, I think is what contributes to these widespread notions of wanting to have the death penalty a part of the legal process at all. Science is well known, I think at this point after the last 5 years, to produce results that are demanded of it, rather than what is specifically scientifically rigorous. And once again, I do not believe that cherry-picked statistics is sufficient evidence to know the mind of a criminal, and specifically the kind of criminal that would sexually harm or murder a child. These people are unknowable monsters who deviate horrifically from the norm. And in a society that balks at the death penalty, but cheers the inmate-enabled murder of inmates of a specific persuasion? I see only hypocrisy. The only benefit of this outcome that I can see is that if you are right, and that the knowledge they won't be publicly executed prevents them from killing their victims, that they will still die for their crimes.

But make no mistake. That is still a condemnation to death. It's an elaborate contraption built to murder child sex criminals in the hopes they won't realize that was their fate, that they won't have a cushy ride through prison and when they get out they can reoffend. It's also a contraption that isn't guaranteed to succeed. It's also a contraption that is just as capable of executing an innocent person that was wrongly convicted.

We need to be honest about the goals here. We want less children to be harmed and killed. I think we agree on that. You propose we leave the perpetrators alive in the hopes they'll be murdered by a virtuous inmate. I want society to be honest about what they want and intentionally and purposely remove the murderer from the equation. I do not feel like there is room for mercy for people like this. I want these animals to understand that the punishment for what they do will be in no uncertain terms the end of their lives.

Criminals are responsible for their crimes, not the people that punish them for it. A child that is killed is a tragedy, but it's a tragedy at the hands of the person that killed them. And that's a crime that should be punished appropriately. If you leave a child molester alive, there is a chance that another child could be their victim. Many, in fact, could be. They could indoctrinate others into their ways.

There is a reason that inmates kill these people when they find them in their midst. Even they do not tolerate the evil of these monsters. Even hardened, convicted, merciless criminals become avenging angels in the face of a child sex criminal or child murderer. They are being more true to themselves than most of society are.

The civilized process of this is to give them their day in court. They are entitled to their defense, and a jury of their peers. The jury must do their duty to determine whether or not they are guilty. If there is doubt, then that is where mercy can come from. If there is no doubt, then there can be no mercy.

Anything less than this is hypocrisy.

[whotfelsewantedtobelynnyx]

Even More Agatha All Along Incorrect Quotes!

Rio, to Agatha: I’d jump in front of a gun for you <3

Agatha: And I’d move out of the way, so you’d just get shot like a fucking idiot.

Lilia: Oh, look, a hole. *promptly walks directly into the hole*

Jen: Why did you- *lifting her out of the hole by the arms* WHY DID YOU DO THAT?!

Agatha, clutching her seatbelt: YOU CRASHED THE TRUCK INTO THE GIGANTIC MONSTER?!

Teen: I THOUGHT IT WOULD KILL IT!!!

Agatha, slumping over in her seat: You are INCREDIBLY stupid.

Jen, texting Alice: I literally want to cry right now.

Alice: Uh…quick,look at these baby dragons guarding the houseplants.

Jen: …

Alice: They’re doing a very good job?

Jen: That actually does help, thank you.

Rio: You ever think about how many songs are secretly about sex?

Alice: Wha- no, but now I am.

Agatha: What’s it called when you commit arson on a person?

Alice: …murder?

Agatha: Wha- no, that’s not murder!

Alice: Yes, it is!

Agatha: Okay, but when you set yourself on fire, it’s called self-immolation.

Alice, sighing: I guess.

Agatha: So immolation is when someone is set on fire.

Alice: Yes.

Agatha: So setting someone else on fire-

Alice: Murder.

Agatha: But if they don’t die-

Alice: Attempted murder.

Agatha: But if you argue that you didn’t MEAN to kill them-

Alice, covering her head with a pillow: Fine, aggravated assault! Now leave me alone!

Sharon: I got peer pressured into getting into a trunk the other day. They were like “Do you wanna see what it’s like to be kidnapped?” And I was like “okay!”

Rio, in a dreamy voice: Maybe we’ll be branded as suspected sapphic serial killers, where true crime podcasts will speculate on the true nature of our relationship for decades to come.

Agatha, COMPLETELY drunk: If you’re coming in to judge me, don’t bother. God and my mother have it covered.

Agatha, in the middle of a struggle with Rio: You know what I would rather have in me than this knife? That di-

Billy: What does ‘no te preocupes’ mean?

Rio: Don’t worry about it.

Billy: But I wanna know :(

*watching a horror movie together*

Jen, leaning against Lilia: Maybe it’s just because it’s been a second since I’ve been a kid, but I feel like the kids in this movie have a LOT LESS common sense than I did when I was younger. Like I might have believed in some weird shit, but I knew better than to get closer to the clown under the bleachers, even if he said he could grant me a magic wish.

Alice, curled up on the floor between them: *shudders* I don't know how she wasn't screaming her lungs out.

Lilia, absently petting her hair: Well, is this before or after it bites her face off?

Jen: What? Alice, burying her face in Lilia's skirt: Ew.

[auguryofjellyfish]

chapter 4 starts tomorrow!! oh boy! some of my thoughts/predictions before we go in:

who will clean up the crime scenes

not Ken. no way in hell. he wouldn't be able to take it, especially Kamimura's, and he's not nearly self-destructive enough to do that to himself. by the process of elimination, that just leaves Mai as the only one who could. Ken might give her some pointers from what he'd seen Kamimura do and use, but, that's about it.

i have no doubts that Mai could handle this, but…it's still a lot. she's been put through absolute hell, is still in pain, and now this?

this whole cleaning thing made sense only when we'd had Kamimura with us. now it's like…sideyes staffside lazyass fuckers.

Ken

based on his demeanor post-trial, i think he'll just be staying in his room. which- please, don't, i wouldn't want to go through a whole day without an episode with him… if he's gonna be outside, then it's only for maintenance stuff like getting food, or in the library, reading, just for the sake of keeping the routine and having something to do.

if some others seek him out, he won't want to talk, he'll be very subdued and quiet. remember the polite and meek Ken, using lots of hedges and politeness markers? forget about it. if he sees Wada or Hama and they offer him to try their coping mechanism, i think he would decline. he will also be more easily irritable.

i might be sorta off with this, we'll see, but still, he won't be well. i really hope he doesn't cut himself off completely, because then… we won't know what he's thinking, at all. thinking, feeling, or anything. the one person he'd shared himself with is gone. he would be much worse than Wada- that one at least shared his thoughts out loud talking to Isono.

i wonder if Tamba might seek him out? now that would be something. Ken thought Kamimura hated her, and more importantly she kept accusing him of killing Kamimura in the trial, AFTER he'd been exonerated, so, he might not have much patience for her.

actually, Ken might not have patience for anyone. almost everyone considered the accusations thrown his way in the trial to have merit. it makes sense logically, obviously, as it's been stated many times, 'but i wouldn't do it!' is not a valid argument…even in this case.

but emotionally, that shit still gotta hurt, deeply. because we know he'd truly fucking never, not to Kamimura. this, combined with all the fucked up revelations about how Kamimura was treated and the details about the way he was killed…yeah. Ken got fucked over to hell and back. dude got put through a WRINGER. we need to see him tomorrow...

speaking of Tamba…i need her to have more screentime!! she's been so absent in chap 3, it's criminal. i hope she'll get more focus this chapter...

Wada

it turns out that Wada has more connections and support in the wake of Tsuno's death, while Ken has no one. it's like…goddamn. compared to him, Wada has had interactions with like- everyone! even if these interactions weren't often good. but Ken just hyperfocused on one person, whom he liked the most. it was beautiful, until it wasn't.

i'm so, so excited for his development. like, he'd just lost Manami, someone he loved, he's not fine by any means, but..like, he's getting stronger, right? i'm not the only one that feels like it's the case? he was terrific in the trial, with his contributions, and expressed so much righteous fury, and when it came to the matter of whether or not he was beat up by Okazaki, people stood by him. like. god. that made me so fucking happy. he lost so, so much, but i'd like to believe Manami's love won't go to waste.

no… nothing she's done will ever go to waste- even if nothing good happens to them, even if Wada and the whole cast die, she and her love mattered, so much. and so, i'd like to believe that because of her, and others' support, for however long he has, he will continue to grow, and be with other people.

besides, no one is gonna torment him anymore.

and obviously he might get a new sprite!! AAAA!!! chap 4 might turn out to be miserable but at least :3 Wada got new clothes and a haircut!!

i thought of something because of my 'righteous fury' comment...like Manami, Wada is also someone who can't stand injustice, when it's happening to other people. like....imagine him trying to take on Manami's mantle. following in her footsteps. trying to actively become a good person, not just be neutral. to honor her legacy and continue her mission. bruh. that would be Epic™

Hiroaki

my man is not okay. i don't believe that for a second. Ojima saved him, and tried so desperately to find the right words, and his support and presence definitely made a difference, but Hiroaki seriously almost killed himself a DAY AGO. with cyanide!! suicidal intent this strong, this certain, it doesn't just go away.

and Ojima can't just be his sole reason to stay alive. he tried so so hard to be "better" for Hiroaki and it made him break down. he's a very, very caring person and has a big heart but still, this is taking a huge toll on him. he's just one guy.

Hiroaki carried the trial cause he's one of the smartest people there, but there was still an air of resignation to him. he's not okay. also, he's continued the trend of giving stuff away…it was specifically a gift this time. still. still.

ALSO. FUCK. I'M SO WORRIED ABOUT HIM. he said he'd just tried to kill himself, to everyone. during the trial. that puts an enormous target on his back.

if you were a person who doesn't really want to kill, but had to choose someone…i mean…why not Hiroaki? he actively, truly wants to die anyway, right? out of everyone, he'd be the least "morally wrong" pick. one might even be able twist it into almost being a good thing. a sort of "mercy". these justifications could be enough....

Watari

Watari…she will try, but she won't be the same. i hope Hama and others will offer her support, cause…like, she lost her good friend, AND that friend ruined people's lives, irrevocably. it's not Watari's fault, she couldn't have known. but…who will take care of her? even if she seems fine, not as bad as Ken or Wada, like- she's not fine. i also hope nobody will put any blame on her cause holy shit. so many people need support, so many pillars of this cast are gone. this chapter's looking bleak.

chap 4 as a whole

a new floor will be opened, whee. we've had arts, STEM, what's next…sports? after the uhh something that was chap 3. what could they possibly do? is there even a point in doing anything? the kids are not okay…

Kamimura and Tsuno

i miss them. i miss Kamimura. i miss Manami. i miss them a lot. i wish i could write lengthy paragraphs about what they'll be doing as well. it feels wrong, to not be able to do that. the upper part of the list of my Tetro faves feels so empty now. they're still there...but, not. and their absence will definitely be felt more acutely tomorrow…actually, i will say more about this in a separate post.

to sum up:

Ken fan in me: 💀 Wada fan in me: 🥰 Kamimura and Tsuno fan in me: ☠☠☠☠

[iclimbtreestofeelalive]

hey for everyone talking about jury nullification etc etc: it only works if you lie and say you dont know what it is. if youre chosen for jury duty and they ask you if you know what it is, you say no. here's an article going more in depth, and here's the cgp grey video about it.

like. just so we're clear, it's good to know about, but if you go into a courtroom and start talking about nullification, you could very well have voided your place on that jury. be smart about it 👍

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[will-pilled]

How to get a boyfriend as a trans masc no borax no glue

[moeblob]

So uh. Eventually I'll stop drawing these guys so obsessively but not today I guess.

(DND AU where it's just these two, Brent, and Paul on a life mission to annoy Chris the GM by having the pact of "we're only here for Karen's benefit")

Karen is a warlock, Right is a cleric, Paul is a paladin, and Brent is a bard (so he can use bardic inspiration on Karen).

[pa-pa-plasma]

i don't think i'll ever get over how people treat kids that aren't good in school as worthless no matter what. "oh it can't be that bad" my guy idk how to tell you this but the last time i went to a normal high school the principal called me into his office to brag about how he failed me in all of my classes before the semester was even finished & i should quit while i'm ahead cuz i'm too stupid ("officially" diagnosed as such by a school counselor & a psychiatrist!!) to succeed. & this is considered normal

[trying-to-jew]

Deeply tired (but unsurprised) sigh

[bibuckleykinard]

how many times do we need to learn as people that irony and hyperbole can be harmful because 'jokes' aren't easily distinguished from genuine thoughts and feelings until we stop rewarding people for speaking or posting about violence

like even if you're joking/don't actually believe that/think whoever you are insulting is bad/immoral/fictional therefore deserves it - ad hominem attacks always do more harm to the people who share those characteristic then the individual you intend to cause harm to or discredit

[sga-owns-my-soul]

one of these days i'm going to go to prison for committing crimes against my cities transit system and tbh they'll deserve it