#Comprehensive well-being

[latest-info]

The Right Food & Exercise: A Wonder for Your Body & Mind

Introduction In the pursuit of a healthy lifestyle, two elements stand out: the right food and regular exercise. These two factors work in harmony to create a balance in our bodies and minds that can lead to a higher quality of life. Nutritional Balance Eating the right food is not about strict dietary limitations or depriving yourself of the foods you love. It’s about feeling great, having…

[pankiepoo]

So, what's up with you?

[heartspurgatorio]

(my favorite hmsw design trope goes something like this)

[swagglessmoth]

Badly made comic of And So The Moon Wept bc it just finished and I’m devastated

‼️CHAPTER 15 SPOILERS‼️

I wanted to make one more page between the second and third bc pacing, but I didn’t wanna rethink all three of those pages’ compositions. It’s pretty ass bc it’s all sketches, but the last ones came out pretty decent I think👍

(Don’t look at the house too closely, I really didn’t wanna look at a reference so I just freestyled it)

Scrapped versions bc idk

Now that that’s out the way, I’ll start with the ranting, you can leave now this is for me

THE ENDING⁉️ DAMN⁉️⁉️⁉️

I would start rereading immediately to see all the details and analyze the psychology of the ‘tsukuyomi world’ characters BUT I unfortunately have my global exams next week 🥲

Warning for -1000 media literacy‼️ while writing all this I remembered that my memory is bad an my analytical skills are even worse! So be warned :p

BUT ANYWAY!! This was a top tear fanfic, seriously at no point did I consider the infinite tsukuyomi as a possibility. And I think this has to do with the fact that the psychology and individual lives of the characters in this dream were so well developed. There’s so many POVs! And they’re so complex and detailed!! Really makes you wonder if this was really the tsukuyomi or if Kakashi’s consciousness was sent to a different world all together. Which is what makes it so terribly tragic. Kakashi lived so many years in this perfect world just to regain all his memories and find out that it really was all fake, a world made up entirely of his own fantasies.

Oh and what a fantasy it was, getting hit by that boulder and fucking dying! The only reason he got to live was bc of ‘Hound’ (which could be interpreted as his consciousness telling him to wake tf up). Everything felt so wrong to Kakashi not because he noticed this things weren’t right, but bc he was never meant to live in this world. This was the prefect reality for everyone around him, his dream, a world without him (FUCK BRO💔💔💔💔). Which is the reason why I think the characters are so three dimensional in this dream, maybe, idk bro I just made this up.

But even then, things don’t exactly add up (if you think about it they do BUT SHHHHHH LET ME DREAM). Why did some characters suffer so much if this was meant to be a better world for everyone else? Why did Rin’s parent’s die? Why did Sakumo try suicide so many times?

We know Rin’s and Obito’s relationship started declining when Rin didn’t believe Obito when he swore up and down that Kakashi was somehow alive (which IS Hound’s fault in a way, he saved Kakashi and that’s why Obito saw Kakashi sinking into the ground, making him believe that Kakashi didn’t die), but it goes farther than that. Rin’s real problem with Obito was that he was so stuck on his dead teammate that he neglected the rest of his living team, Kakashi was literally everything he thought about to the point it started negatively affecting others (which, yeah him being obsessed is pretty normal considering that Kakashi was part of the reason he activated his sharingan and THE reason he activated the Mangekyo). So what did he do? Go hang out with the one other person who would ALSO only think of Kakashi all day, Sakumo. Obito eventually accepted that Kakashi was dead, but he and Rin never reconnected.

Was this really the perfect ending for them? Come on tsukuyomi, you’re more creative than that.

For some reason I think that the tsukuyomi was freestyling all this. Bc (by my interpretation) the point of Kakashi’s dream was that he died at Kannabi Bridge instead of Obito, period. The rest is extra stuff bc their lives have to go on ig? Or maybe the infinite tsukuyomi is really big brained and depicted a realistic depiction of 🖐️🖐️🖐️HOLD THE FUCK UP I’M DUMB I JUST FIGURED SMTH OUT

Bro this is why I need to reread this instead of talking to myself when I don’t remember half the details in the fic.

OK SO HOUND DID FUCK SHIT UP🔥🔥🔥

I was trying to think why Sakumo would be alive (if my shit theory above was true, which it isn’t but I’m not deleting all that) AND IT WAS BC SAKUMO NOT KILLING HIMSELF IS HIS PERFECT WORLD 😭😭😭😭. The one thing I’m not so sure ab is Kannabi (I bet if I keep writing this I’ll find the answer) bc Obito WAS gonna get hit by that rock, but hey, he entered the dream after the Obito reveal so maybe his consciousness already knew he would survive, so maybe he’d just appear later in the dream idk. BUT BRO 😭😭😭😭😭😭😭😭😭😭 WAS HE ACTUALLY SUPPOSED TO COME BACK HOME TO HIS DAD??? AND THEN HIS CONSCIOUSNESS KICKED IN AND HE SAVED OBITO INSTEAD??!!,.. oh I’m sick, this is so evil

That would literally make everything make sense. He derailed the dream so bad that it fucked everything up, making it no longer a perfect world but more similar to reality. If he really was supposed to die, then why did his death have such negative repercussions on everyone he loves? It that was his dream, wouldn’t it be a better world with everybody happy? He wasn’t supposed to die at Kannabi but Hound appeared and saved Obito from a rock, causing a massive butterfly effect.

Pretty romantic if you asked me, “I would leave behind my perfect world just to save you form getting hurt” like damn, it’s not like he remembered that Obito survived at this point in time, but still STOPP I’M DOING IT AGAIN I’M FOCUSING ON THE DETAILS AND NOT THE BIGGER PICTURE AAAA

El cazador de elefantes by Def Con Dos is a pretty good song, hm

Where was I going with this? Don’t remember tbh

This is kinda long, I’m stopping here. Bye internet void ✌️

[hunxi-after-hours]

"Qin Zhou's" throat trembled as he quietly closed his eyes, no longer looking at those souls. "I will protect all of you." "Qin Zhou" slowly spoke his promise. In this moment, everyone heard only the promise, but Mu Sichen heard the words that Qin Zhou could not say out loud. "I will protect all of you, so that no divine monster can harm any of you, including myself." Accompanying these words, all of Qin Zhou's emotions vanished. Even desire, even aspiration, even hope — silently, he obliterated them all. All that was left in his soul was that promise. From this moment, he became Him.

ok ok ok I'll admit I haven't read many books that regularly use 祂 ta (the divine third-person pronoun) so maybe this is me 少见多怪 but GENUINELY this was such a cool moment. I almost had to take a lap around the subway car because this was so well done

[feralglitch]

Martyn's Watcher lore is extra funny if you assume that he's the only one person in the server at unease with the circumstances.

Think about it. The man is having a full on existencial breakdown, the foundations of his very core split open and all, whilst everybody else is totally on board with repeatedly murdering their friends for sport.

[edithdraws]

Listen they barely interact face to face but Adam Warlock and Mistress Death have the funniest dynamic of all time actually.

[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.

[highladyjane]

The assault at Sangravah happened in early ACOMAF (before Elain's existence even came into picture for Azriel - 3 days before he even got to meet Feyre)... So I don't get how G and Az are supposed to be mates when he's had all that time to feel something?

There's the parallel of Rhys' father feeling his mating bond snap into place the moment he met his mother being assaulted.

"One look at her, and he knew what she was..." (ACOMAF, ch. 16)

Or Rhys himself feeling the bond when Feyre was being tortured by Amarantha...

"And I knew as I picked up that knife to kill her... I knew right then what you were. I knew right then that you were my mate." (ACOMAF, ch. 54)

Or Cassian simply meeting Nesta. "Say what I've guessed from the moment we met" he breathed. What I knew from the first time I kissed you. What became unbreakable between us on Solstice night." (ACOSF, ch. 62)

Bonus from Nesta: “‘From the moment I met you, I wanted you more than reason. From the moment I saw you in my house, you were all I could think about. And it terrified me. No one had ever held such power over me."

Or even Lucien after Elain was Made and maybe even while being thrown into the Cauldron... I don't even need a quote for them, but even Lucien knew and has tried seeking Elain out after the incident.

It's stated in the books and shown again and again that it's the males who are deeply affected by the mating bond. That they can know from the moment they meet. They all in one way or another sought after the females. Even Nesta and Feyre felt something before they knew or opened themselves up to it. And since they all met - They. Couldn't. Stay. Away.

But there's like... no hint of it from Az after stumbling upon G? Like he just literally stumbles upon her - never actually even actively seeking her out through all those years? He hasn't even actively tried to stay away? He's just... *crickets*

It's been Gwyn making noises and attracting his attention through all their scenes together. It was Gwyn asking for dagger lessons. It was 'Gwyn' making Az the new ribbon (whatever that means). And it's Az's shadows reacting to Gwyn, not Az himself. But there's no real hint that Gwyn feels anything romantic for him. There's barely any interactions between them without linking it to her assault in Sangravah and her growth from it.

Besides Az's shadows reacting to G, and that ribbon moment that everyone deems so pivotal when Az realises what it means for the Valkyries (that he's had a hand in training) and maybe even reflects upon Gwyn's character development and therefore what the ribbon means for Gwyn - which made me feel proud too, and that's how I interpreted it - but I can't see an undeniable sign of it being a mating bond anywhere.

I thought at first that mayhaps he was giving her space because of the assault, but then the BC came and he went "It was too late to bank without appearing like he was running," and then "He wouldn't go so far as to call Gwyn a friend,". (ACOSF, Azriel's Bonus Chapter)

Let's not even mention the part where Gwyn was actually in danger (no matter how capable she was at that point), while Cassian was going ballistic at Nesta being in danger, but Az is all like "Let's go save Eris". Eris who both he and Cassian hates. Eris who Az himself nearly killed during the HLs' pre-war meeting (before he exhibited actual mate behaviour and sought and risked his life to save Elain who's not even his mate). But no, he gave just as much or even less action and reaction about Gwyn as Tamlin gave when Feyre was UTM.

And I was like...

How are they mates? Where's the mate behaviour every male - mated or not - in Prythian has exhibited throughout the books? Why did I keep seeing things about them being mates and endgame?

The only hint between them that I could even begin to consider it from is the second to last sentence in Az's BC.

"But Azriel tucked away the thought, consciously erasing the slight smile it brought to his face. Buried the image down deep, where it glowed quietly."

But I basically have the same interpretation about that as this post from @merymoonbeam. (Although I'm still neutral about the lightsinger theory, it's the most interesting take.)

Because again.

Why hasn't Azriel felt/shown anything or actively sought her out or even actively stayed away if he's known Gwyn since Sangravah?

If they're mates, shouldn't he have felt and shown something - like that glow - and Gwyn be the one to snap him out of his 'love' for Mor before he even had the chance to meet Elain? If he's just lonely and jealous of his brothers having mates then... Why has he barely noticed or sought out Gwyn who's supposed to be his mate?

What, he had to wait until his shadows reacted to her to even think about her?

I'm not an expert at analysing things - I wouldn't even say I'm good at interpreting things especially when I've got my rose-tinted glasses on, so/but I'm always open to being wrong and changing my mind accordingly.

But/so convince me with actual canon and not just your biased opinions, delusions, self-insertions, or ships.

[slavhew]

Hello!

If you're not too busy, would you mind listing some of the things you think count as death flags for Mr. Spender?

There's the obvious fact that he's the "old" mentor to group of young protagonists, but what else do you think would count?

OHH BOY ok so I'd think I'm a crackpot for this but since we're talking about Zack "Foreshadowing" Morrison. I have some thoughts

No harm in leading with the (chronologically) first thing that jumped out at me:

This one IMMEDIATELY made me antsy whenever I came back to it after my initial read, and considering Zack has referred to it on twitter in the past as one of their favorite jokes it's definitely not been forgotten about.

Second, the sheer amounts of near-misses, jokey or not, of Spender narrowly avoiding specifically lightning

Again, not much, but it's weird that it happened thrice, latter two of which had real gravitas rather than an one-off joke.

And third, Spender himself. He's repeatedly shown himself to be kind of a self sacrificing idiot, as well as prideful to a fault. Granted, it's both him and Mina trying to take on all the responsibility of saving Mayview and its inhabitants from their fate.. But Spender is exactly that right measure of doesn't-value-himself-enough (chest footprint aftercare or lack thereof), having an obscene amount of power (enables his loner act + pride) and poor judgement that has the capacity to put him at great risk. And it has!

Spender has not only shown low enough self-esteem to view himself as the de-facto scapegoat for the safety of the town, but also prideful enough to make very bad calls that end up in people, often himself, hurt (COUGH FORGE INCIDENT COUGH)

This is all conjecture, but it's definitely enough to make me worried about him :') Even if all this doesn't mean he'll necessarily die he's definitely getting (even more) seriously injured at some point. I love the guy but he's so far doing a horrible job of convincing me he wants to live bad enough to circumvent at least that

[angelicdonuts]

Nene my cutie patootie <3 <3

I genuinely love nene so much. There's SOOOO much to her but I feel like literally no one talks about it because " oh she's a girl and she's hot" or something >:( !!! Also nowhere NEAR enough people draw her as deranged and disgruntled as she should look imo.. like guys she has SO. MANY. ISSUES. She's not just some object of your attraction pleeeeeeaaaaeasessseeee hghgnchhf :(( 💥💥 and like don't get me wrong she is so fine like 100% but literally sit and think about her as a character for a second PLEASE I beg of you it's so worth it she's so interesting :(<

ALSO GO LIKE MY OTHER POST OF HER PLEASE THAN THANK YOUUG !!!

[erstwhilesparrow]

hey does it ever make you kind of crazy that post-reunion, c!owen introduces himself to us as owen agarci? agarci as in the name of the demon he shot in the chest during his trial? we know that's not c!owen's real last name -- he tells us so right then and there -- but i think it matters that of the last names he could have chosen for his lie, he took this one. his last name might have been the only thing he still carried with him of his family, of his past before the attack, and he refuses to use it or admit to it.

because it is an introduction, y'know? his narration, after the reunion, is a way of remaking himself in our eyes -- he is not the person we thought he was, so he needs to introduce himself again. and here, the thing he claims as his originating point, as the moment from his past he wants to carry around with him in something so fundamental as his name, is the moment he first killed a demon. this is the most important piece of his past. this, he is telling us, is where he comes from.

i think a lot about how we never actually see owen's parents. i don't even think we get their names? we get their voices in flashbacks over shots of empty fields and unpopulated streets. there is a kind of blankness to owen's past, or to what owen will reveal to us of his past, that forces us to take on faith that he is telling the truth when he talks about his own history. there is no one who could say otherwise; all the people who might have known him before he was a soldier and then a general are almost certainly dead.

it grants owen a fascinating degree of control over his own history. of course he can remake himself in this way, of course he can tell any story he wants of himself in this way; there's no one left to dispute his claims. in a way, he is his own origin -- as he tells us the story of his life, he is also creating that story. he came out of those woods with nothing but a bow on his back, no history, no one still living who could call to him by name. whatever life he lived before that point doesn't matter -- the thing that fundamentally made him the person who walked into town and demanded to join the army wasn't the life he lived with his parents, it was the violence he'd been exposed to and the violence he'd discovered himself willing and able to engage in. or so his story goes.

do you think when he woke up at the bottom of that elevator, memories wiped, nothing left to him of his past, there was some strange sense that he had done this before? do you think he rose up toward the light of the clearing above, empty-handed and alive, his entire life before this point a history waiting for him to tell it, and wondered why it felt familiar?

or maybe it's that he's refusing us. because following his turn during reunion, there's almost a sense that he has tighter control of the camera now. he addresses his 'voices' nearly antagonistically, wishing we/they would go away, responding and talking to us/them in a way that feels harsher than how he's addressed chat in the past. he's frustrated with us/them: why are you still here, i thought i was done with you. he accuses us/them of only pretending to care, of lingering not so much out of concern or any desire to do something as out of some morbid curiosity. there's a degree of access to him that we seem to have lost. it's as if he's finally certain that there is an audience, and what he's willing to show us shifts.

there's something really lovely and horrifying about a lot of the more scripted sections of owen's pov after the reunion. how it shows us things only he knows (the knife in his hotbar for much of his dinner conversation with guts, the beat where he grabs his backpack and reaches for a weapon when it seems like ayngel is about to recognize him, the interaction with puddy in the second clearing when he visits with krow), but we are nevertheless shut out of his interiority as he starts talking less to others, starts favouring third-person camera shots and narration where he gets to step out of the moment and talk to us directly. you can even think about the 'scripted by owengejuicetv' segments after each kill as signalling this: he has such visible direct control of the story we get to know now. he is the one who gets to tell this story, who gets to move the pieces on the board. here's what happened, he says to us. this is how it went. this is what i do and who i am and here are the parts that mattered. do you ever think about how rasbi's ending wasn't streamed from her pov? do you ever think about how the only witnesses to rasbi's death were rasbi herself, and owen?

[orcelito]

I got.... my official adhd diagnosis....🥺🥺🥺🥺

Had my appointment where she went thru all the different parts of the testing and what they found by it. All sorts of things that I didn't even Realize what it was testing. And they pointed to combined type adhd!!!!!

There was also an iq test involved, specifically to test working memory in comparison to other categories, bc that's smth that adhd people tend to score low on. And I did too!!!! Compared to my other scores, at least. It was still average overall, but I scored "high average" on verbal comprehension and "superior" on perceptual reasoning and processing speed. WHICH MEANS!!!! Working memory was my low thing!!! Another thing pointing to it!!!!

Also the weird X test I took was the CPT-3 test and apparently it was geared Specifically towards adhd stuff. Which bc of my "atypically fast" reaction speed + "very elevated" commissions rate (which in this context means incorrectly hit space bar, aka I clicked when I wasn't supposed to) it showed a strong indication of impulsivity & some indication of inattentiveness and vigilance. That impulsivity is the big one here tho.

I'm just really excited now. I have a long report talking about all my brain stuffs that says I Do have adhd and that it would benefit me to take stimulants. AND!!!!! That I DONT have depression or anxiety!!!! That's a fuckin big one!!!!!! Bc they've avoided giving me stimulants in the past bc of the "anxiety" except I don't got it!!!! The examiner said exactly what I thought about it, which is that the prior disgnoses of depression and anxiety probably stemmed from effects of the untreated adhd. Aka I had Feels Bad Disorder. Ykno? Except not actually a disorder bc it was just a byproduct.

SO! Hopefully that can help me to get proper meds as soon as possible. Gonna be contacting my doctor to set up an appointment... soon!!!!!

[nyan-bynary]

Ppl who unironically believe gege hates gojo baffle me because???? That's their character??? That's literally one of the characters they've put the most time into thinking about??? We know so much random shit about gojo bc gege keeps doing interviews about him???? Gege gave gojo his own custom infinity halo and everyone else gets the boring normal halo???????? Have y'all ever had a really good oc??? The best ocs get put into the fuckin WORST situations bc that one's interesting enough to make the situation worth it

[revlushaun]

that one post about "dungeon meshi is good because it had time to be good!" (which was a lie about the timeline it was produced in being exceptional) completely misses that dungeon meshi is uniquely good because ryoko kui doesnt rely on tropes and archetypes to explain her world building or characters, and actively subverts what tropes and archetypes characters would be linked to based on their appearance or in-world race or status. the fight for good working conditions has no bearing on how often writers are lazy in their world building and characters relying on tropes, and the fight for good working conditions is irrelevant to how good a piece of media is. you can look to something like harry potter as an example, i dont exactly think harry potter was made in crunch culture but theres a hell of a lot of problems with that piece of media explained away by literal sorting of characters into the good house and the bad house and using racial stereotypes like with the goblins or the offensive naming schemes for non-white characters.

falin looks like damsel in distress at a first glance but it was her sacrifice to be eaten, shes extremely powerful, and shes a weird little kid who played in the dirt who not many people understand, not some delicate princess needed to be saved by her big brother in shining armor. marcille is extremely ditzy and makes stupid mistakes like pouring boiling water, and instead of being the prissy academic the entire time who plays by the book she uses banished magic to save her friends, and the entire reason shes on the journey is she questions the powers above her dictating what magic should and should not be used for, and her lack of out of book knowledge gets questioned by the others instead of relied on. senshi ran away from the typical dwarf role, not caring for gold over the livelihood of his party and being actively good mannered. instead of making the half foots cowardly because of size, for chilchuck its just a logical thing to not fight if you would be in the way and stick to what your body can and cannot do, except he constantly has to help in combat situations to the best of his ability and starts to learn to care about his friends (and also he looks young but is actually a middle-aged alcoholic dad). normally cat women get represented with some sort of sexual air to them for some reason? but izutsumi makes it very explicit she is a cat, she makes a comment about how no one would be interested in a beastman and strips openly (not realizing laios is a monster maniac and not a perv that would want a sexy cat lady), her mannerisms are catlike instead of stuff like catwoman or 80s catra from she-ra. the other characters also still kind of subvert tropes and it never feels these are characters that stick to some archetype out of comfort and familiarity. the dwarven women dont have dramatic size differences and dont feel like caricatures, shuro is meant to show the problems with a stoic, cant express, overly dedicated to the girl of his dreams character, and thistle isnt just some evil presence for the sake of being evil but instead wanting to keep everything perfect in his eyes. kabru's party being foils makes his group feel like the party you would see in mainstream media too, stuff like his people sense and chosen one past of his old village and raised by elves, or mickbell being the little kid of the group.

another thing i want to mention specifically is the orcs. instead of relying on racist pan-indigenous stereotypes she engages with how they were the victims of elven colonization and that their way of life was suddenly deemed not okay, but elves displacing their homes with violence is somehow socially acceptable. I also REALLY like that the orcs use terms like brutish and s*vage to describe the main party instead of the main party using those words against the orcs, it made me chuckle about the breath of fresh air that provided. i dont think it handles orcs perfectly but its far better than other media that rely on racial stereotypes without unique world building. it even shows marcille's bias as an elf, the "who was here first" dialogue reflects that whole "no one is really indigenous, the dinosaurs were here first!" but replace dinos with zombies. theres a film called "reel injun" that goes more into how indigenous peoples are constantly either these brutish characters or the "noble s*vage" that has some sort of otherworldly connection to nature, usually to prop up the main characters for being "typical" white cishet christian characters like a cowboys and indians or an evangelical kind of way.

im someone who doesnt watch a lot of mainstream popular media because in my head the characters and story feel predictable and reliant on tropes. im very aware im picky with media and i stick to my comfort zone, but it also kind of feels like if i were to watch some mainstream media like star wars or harry potter, it would go as i can predict it would with all the pop culture knowledge id gained before ever watching those things as a kid. the hero is some chosen one, the bad guys are bad because the plot says so, the characters are some version of some archetype... perhaps im wrong, and maybe it doesnt necessarily mean that a piece of media is bad or boring, but i find dungeon meshi so nice to watch because nothing feels super predictable and you have to learn people's characters and morals instead of: this is the studious prissy one, this is the main character guy, this is the pan-indigenous race that is inherently brutal to people or mystical with nature, this is the tiny coward who doesnt fight cause hes scared and a big softy, this is the big dwarf that wants gold and minerals and has no manners, this is the evil lord of the dungeon that wants to destroy everything, etc.

(i also think the subversion of archetypes in dungeon meshi is why ive seen so much of it even though most of what i follow on tumblr is for hot queer guys or cute nintendo stuff, because if your identity itself subverts what is assumed of your body's archetype in cishet white christian society, youre likely going to enjoy the stuff that doesnt follow that a little bit more.)

[ectonurites]

ZACH TAYLOR x MODERN BASEBALL on JOSH TEMPLETON and ALLISON BANNISTER

[ BROKEN CASH MACHINE | ROCK BOTTOM | THE OLD GOSPEL CHOIR | THE WEEKEND | ALPHA KAPPA FALL OF TROY THE MOVIE PART DEUX (2 DISC DIRECTOR'S CUT) | EVERYDAY | HOURS OUTSIDE IN THE SNOW | NOTES | I THINK YOU WERE IN MY PROFILE PICTURE ONCE | HOME | REVENGE OF THE NAMELESS RANGER | INTERSECTION ]