#after checking it said the same thing

[dunmeshistash]

Dungeon Meshi - Canaries' Shipboard Cabin

[crybaby-bkg]

cw: Bakugou dies but comes back to life, “comes back wrong” trope, implied fighting, angst

When Bakugou died, you’re not sure how you went on living. Grief had taken over your life, sat you in the passenger side while it cruised off the highway into icy waters. And even then, you couldn’t find the energy to drown.

It’s why there’s a sudden uptick of energy when you’re promised to have him back. Some top scientists contact you months after his death, tell you to hurry down to the headquarters labs, come and rejoice for what you’re about to witness. And you’re horrified, to say the least.

“This isn’t my husband.” Are your first words when you walk in, watch the figure on the other side of the glass examine its own hands. It looks like your husband but—but his hair isn’t the right shade of blond all over. His nose bridge had a slight bump after a scuffle with a villain. He had a scar on his hand but—but it never looked like it was to sew a pinky beside the other fingers.

“Is that really my husband?” You ask next in disbelief, slowly entering the room. Bakugou’s head snaps up, his eyes a little brighter than you remember but—they hold so much emotion. So much memory, so much panic, so much guilt.

“I left you.” He mutters, his voice raspy and ragged, and you wonder if it’ll always be like this now. It makes you cry a little harder than it should, but you only embrace each other. He’s cold and his shoulders don’t hold the same mass and his back doesn’t carry the same scars. There’s one, jagged and rough, running down his back, and you think, you think that’s where they slipped a new spine in.

“Welcome back home.” You tell him, weeks after meeting him again, new and not totally—Katsuki. He’s stiff and he doesn’t immediately take off his boots when he enters, and it worries you. Makes you think if you’ve just let a stranger into your home, one that has stolen your dead husbands face. Makes you wonder if he’ll be as loving as Katsuki once was, or if he’ll become your monster looming over you with the guilt of not being able to rest anymore.

“I’ve missed you so much.” You whisper against his mouth one night, a little while after he’s moved back. You don’t know why you lay under him, why you let him nestle himself inside of you, why you let him hold you against his chest. Katsuki always ran his hands over your cheeks and neck whenever he held you like this, but this…man, only holds himself up with his hands resting beside your head. It’s alien, how he looks at you, how his hips are methodically measured with every thrust, how he kisses you every 8 seconds. You wonder if he’s more robot than Frankenstein monster.

“Why did you come back to me like this?” You ask him one night, barricaded in the bathroom away from him. You can hear his sobs on the other side, his pleading to be let in. He tells you he never wanted to come back if he had to be like this, that he’s sorry, please let him in, he misses the warmth of your skin, he’s never been so cold before, he’s never liked the cold.

“Is this considered cheating?” You ask yourself aloud one night, when Bakugou is forced back to the lab when he becomes too…un-Bakugou. To sleep with a man that is your husband in every way but? Your husband has been dead for a year now, and yet you stroke the chin of the man that tries so hard to be him everyday, but fails so miserably at it every time.

“I’ll come back to you right this time.” Bakugou promises to you when he’s strapped down to leave for the lab and before he’s sedated. But you don’t believe him—you never did. Your husband is dead, and this animated corpse has been nothing but a cheap mockery of everything you’ve lost and something you will never truly get back.

[ebonytails]

(clasps my hands) Hi everyone, i'm doing a quick interest check !

Please only respond if you would consider becoming a patron of mine! I want to see what site people would prefer the most and where my audience is. :-]

As for rewards, I have many ideas! From regular WIPS of all my work (school, commissions, boothing, etc), to Livestreams (If my internet allows it), to timelapses, etc! Also commission discounts :-)

[liquidstar]

a friend who'd wait :)

[toasteaa]

Wait, no, I'm unwell. Neuvillette shows that he cares by being present in order to give support. Neuvillette, who doesn't accurately know how to voice his own emotions, doesn't know the "proper" way to comfort someone, goes out of his way to leave his work and be present with the people he cares about to show that he cares for them. To show sympathy for them. He views this with the upmost importance.

He understands feelings of sympathy, he knows feelings of regret. Of loss. Of mourning. He knows that often being present, even without knowing what to say, is all that is needed to show support. To show that he cares.

I need a moment, oh...

[slavhew]

Any advice for doing back grounds?? Shits mad confusing im tryna practice drawing like characters actually in them and im going insane

ouu i can't say im a good authority on this, because I never did much in lieu of backgrounds except painting some sunsets. I do have some theoretical knowledge but i struggle putting it into perspective, because depth is hard.

I feel like the hardest thing really is making the characters look like they belong in the environment, and that sounds like your problem too? I think ? So it's what I'm going to try and address here.

One that is in my opinion by far THE most important is to start a composition with the background in mind. It is always going to look somewhat wonky if you don't

(Rest under cut)

(exhibit A)

(this is the reason why I often don't do backgrounds, because a vast majority of my work starts as a doodle that i polish up later) (and also I used a game screenshot here, I didn't actually draw the walkway)

compare this to the drawing that was my inspiration, and the difference in flow and focus is astronomical

A good background can be either super simple, just a backdrop or something your characters actively participate in; in both these instances, it will be much easier to draw it if you start out with it in mind and being able to adjust early on is a massive lifesaver

Second, and most often repeated I think, is to think of the space as 3D, and use some geometry to help yourself out

the most useful part of this to keep in mind imo, when it comes to scaling characters, is that they will also follow roughly that line of perspective that in reality "runs parallel" to the rest of them, but in perspective looks as if it gets smaller

There's probably plenty of tutorials on getting a feel for this out there, but looking at other people's art (and the classics) and sketching over them can help

this is only linear perspective examples, but there's lots of them out there! point is, the character, and many lines of the environment are going to "flow" into a point. It's usually demonstrated with tiles and suchalike, but as you can see it has many applications, depending on how exaggarated you want to make the perspective.

You should also be mindful of the perspective of your character versus the environment. A few things to keep in mind are their lines, and their color/shading.

Colors are relatively simple; keep the source of light in mind so the shading feels in line for both the character and environment (perspective lines help with that too).

(this is definitely not to scale but just, to illustrate my point)

And keep in mind that with especially pieces that have great depth, like landscapes, the color of the environment changes the further you look. The lines blur, the details are lost, and it fades into more solid colors. A character and their palette will be affected by this environmental lighting

With keeping the characters consistent with backgrounds, lines-wise, it really helps to block them in first, because you can easier keep track of how they look in relation to backgrounds, and fix accordingly early on.

it's good (and painful, honestly) to keep in mind how bodies are 3D objects too. I had this great reference for this point, that I forgot where i saved, so we have to do with my amateurish recreation:

These lines are going to get distorted and effected by the perspective too. To avoid the characters looking flat against the backgrounds, try to keep them "on the same level" of exaggaration, so to speak..

And lastly. USE REFERENCES!! there is NOTHING more needlessly painful than drawing something as complex as environments out of your head.

All these things contribute to the complex thing that is. backgrounds. Now, please dont take my word as gospel, considering that even keeping all of this in mind, this is about the best i can do offhand to demonstrate my knowledge lol

I wouldn't be surprised if all the things I said here aren't anything new to you, in which case i genuinely apologize, because I'm also a huge beginner with this 😭 but i wish you a lot of luck on your journey practicing this!! It's a lot of work to be sure.

As sort of a PS, a few pieces with cool bgs showcasing some of my points *a lot* more competently, that I have saved in my bookmarks on twitter:

[x] [x] [x] [x] [x] [x]

[helianskies]

holy shit i just finished the first draft of my translation for my dissertation that took SO LONG but it was also SO FUN. and i know that when i have to read through, proofread and edit that beast, i am in fact going to be in tears pulling my hair out over it LMAOOOO

[get-more-bald]

the fuck do you mean I have to leave....

[mieczyhale]

knowing my dad is transphobic and witnessing it are somehow two different experiences every time and they both are fucking shit

[jonathanbyersphd]

Currently overthinking about the time in between Nancy calling Jonathan and them showing up at the house in s3

[thedreadvampy]

it's been a strange arc so far

when I was 19-21 and having an extremely imbalanced relationship with someone in their mid 30s I was like 'we are both adults so the fact that this is fucking me up is my fault'

when I hit my late 20s and saw how young people in their late teens and early 20s seem now I was like 'oh wait I was so fucking young I didn't know shit about my own limits or about managing relationships and I don't know why someone in their mid to late 30s would be into that except for nefarious purposes'

the weird bit is now I'm into my 30s - not even that far into my 30s - and while I still wholeheartedly believe that last thing about how young (and self destructive) 20 year olds are, I'm also kind of like 'huh, actually nobody I know that age has their shit remotely together and frankly the reason this fucked me up is because NEITHER of us knew what the fuck we were doing it how to cope, for different reasons and at different life stages, and there probably wasn't any malice or intent to control as much as there was Blind Flailing.'

[iwritenarrativesandstuff]

Dazai to Odasaku about Akutagawa: "If I'd left him to his own devices, he would've ended up a slave to his own powers until he destroyed himself."

Hey hi what does that mean???

I'm probably way overthinking it but it just reminded me of when I first started my watch of the anime and we get to the opening scene with Akutagawa and Rashoumon (I can't find the exact scene but here's something similar from DA)

He implies he's not attacking with her so much as he's reining her in from devouring everything - and originally I thought, hey, that's a cool premise. It seems like there's something odd about this guy's ability; he's talking about it like it's almost sentient.

But then it didn't really get brought up again so I kind of forgot about it.

And sure maybe all the above line means is that his ability is naturally attuned to violence and he could grow more bloodthirsty, etc - but if that's the case, why bring him into the mafia?

So I started thinking about Dead Apple (which I really need to rewatch...) and how there was this focus on Atsushi as the "antithesis" of special abilities. And I just kind of thought about that because... wouldn't that title go to Dazai...?

But then it's stated that Atsushi's claws can cut through any ability... including Rashoumon (he also has some connection to the Book which absolutely must be related somehow but I'm skipping over that for the purposes of this post). Dazai describes Akutagawa as "a sword without a sheath". Is Atsushi part of the sheath? It would make a degree of sense: after all, we get a sharp reminder in the movie of how imperative it is that Dazai nullifies Chuuya's ability - it is literally needed to keep Corruption in check.

But why such a focus on self-destruction and sheathing... unless there really is something dangerous that needs to be reined in? That needs to be controlled.

I think about the dragon in Dead Apple called the "chaos of all special abilities".

I think about how the tiger and dragon are another representation of yin and yang. I think about how Atsushi and Akutagawa so clearly have that yin-yang dynamic. I think about how Rashoumon very well has the appearance of a hungry snake - or a dragon.

I think about how the focal point of an entire altered timeline was the prevention of Akutagawa from joining the mafia and the taking of his sister. And then I wonder why Akutagawa always seems to factor into Dazai's plans.

I think there's something special about Akutagawa's ability.

I think that something special, whatever it is, is very dangerous - more than we know.

[dragons-and-yellow-roses]

Just found out my two siblings are in my mom's will, but not me. Also my grandpa has told the entire family about his engagement. Except for me. Also my dad told my siblings that he and my mom bought a plot of land. Can you guess who they haven't told?

[softquietsteadylove]

How about jealous Thena in the Doctor au?

Let’s say a small group of 4 doctors 2 females 2 males in different expertises are visiting the ER to gather some information on something medical. And these 2 females would not stop flirting with Gil

"I have to say, I'm really quite impressed."

Thena offers a genial smile. Making nice with other people has never been a forte of hers, but the visiting doctors from a nearby hospital have been perfectly civil. "Our staff is quite impressive."

"You run a tight ship, Doctor," the other male doctor comments, also making light talk as they tour through the hospital. The ER is the last stop on their trip, releasing them back on the ground floor after touring through the rest of the hospital.

Thena gives Ajak a wink on their way to the main door, "believe me, it's all her."

Ajak winks right back at her and then nods at the visitors, "she's my favourite kid here."

Ajak is an odd handful of years older than Thena at most.

"We've heard such wonderful things about your triage centre," one of the female doctors offers a bright and lovely smile. She's a pediatric specialist, if Thena remembers correctly. "It doesn't surprise me--wow."

The other female doctor also cranes her neck to look down the hall. "Wow is right--those are...?"

Thena's eyes bounce between the women, a strange and uncomfortable feeling welling up in her chest. "Those are two of our paramedics, Gil and Kingo."

The visiting women grasp at each other, not even attempting to hide their interest as the muscle of the ER make their way over to them. They grin at each other before looking back at Thena, "who's the one waving at us?"

Thena bristles. "Gil."

"Hey," he greets them with a smile, because of course he does. Kingo doesn't even bother to say anything, continuing on to the nurse's station without him (as is a regular thing, with Gil).

"Gil, these are the visiting doctors here to look at our facilities," Thena introduces (somewhat). "Ortho, Cardiovascular, Peds and Neuro."

The doctors might be a little surprised at her choice to list their specialties and not their actual names. But Gil isn't surprised in the least, giving them a friendly smile and a tilt of his head. "Thena's been showing you around, huh? Well, you won't find a better run ER."

"Yes, we were just remarking upon that."

"Are you just getting back?"

Thena watches as Pediatrics drifts closer to Gil, her hand raising up as if to touch his arm before drifting down again. She instead clasps her hands in front of her, batting her eyelashes at him.

"Yep," Gil answers blithely, totally unaware that he's being ogled.

"The paramedics at our hospital are never in on time after a run," Neuro sighs, landing herself at Gil's other side, even closer than Pediatrics did.

Gil skips over both of them, though, looking at Thena, "I try not to stay out too long. Just in case I'm needed here, y'know?"

She smiles at him, able to forget about the intruding doctors for this one, tender, fraction of a second.

"You help out here, too?" Pediatrics gasps, now actually laying her hand on Gil's arm. "A real jack of all trades, aren't you?"

Thena taps her toe on the floor, although it's silent, given they're all wearing running shoes.

"Well, Thena and Ajak are the real captains of the ship, down here," Gil shrugs. The only awareness he even has of the hand on his arm is his confusion over it. "If we're not out on a run I just kind of float around. Some of our interns are real airheads."

Both women let out a loud and exaggerated laugh. Neuro takes the opportunity to pat the back of her hand against Gil's shoulder, although it's a little too close to his chest.

"You're funny!"

Gil is funny--everyone knows that. Thena crosses her arms. "It might be funny if it weren't such a headache."

The Orthopaedic specialist at least gives her a sympathetic smile, "some of ours are terrible too."

"Wait you just got in!" Pediatrics gasps and beams at Gil, "so you can show us one of the ambulances!"

Thena rolls her eyes, muttering just to herself, "it's an ambulance, it should look just like yours."

"Uh, yeah, I guess," Gil shrugs, though. He looks at Thena, asking her to come with them so he's not stuck hosting three strangers by himself.

If it were anyone but him; Thena sighs but follows behind them. Ortho and Cardio are talking to each other from either side of her but she's not listening. She can't possibly; Neuro is walking so close her elbow keeps knocking together with Gil's, while Pediatrics is all but hanging off his arm as they walk.

Not that it bothers her, but they could have a little professionalism. A modicum, even--one fluid ounce of professional integrity!

"Here we are," Gil announces as they exit into the ambulance bay, his particular bus parked right outside. "We have the usual stock of stuff. Although Thena had the idea for us to add an inventory specifically of fast working anaesthetics."

"Really?"

Gil is beaming with pride. "Well, we're always advised to be so stingy with them. But patients can describe what they're feeling better when they can think straight. Plus, women in particular are used to downplaying their pain, even when it's really serious. So we always try to give them just a little bit more than the recommended amount."

"That's so forward thinking!" Pediatrics gasps up at him.

Gil seems like he's barely heard her, "it was all Thena's idea."

"And Ajak," she mutters, not that anyone is listening to her. Pediatrics and Neuro are still chattering away at Gil's sides while Ortho and Cardio have climbed into the bus to examine the extra supply Gil was describing. She looks down at her hip. She's being paged, "Gil."

He leaves the sides of the visitors in a second, pulling his hands out of his hoodie pockets to touch his palm to her elbow. All she does is look at him to tell him that it's not something she can ignore. He nods, "you go."

She nods back at him, offering a smile before trotting back inside, her ponytail swinging behind her.

Thena's ass looks great even in the unflattering scrub pants. The two male doctors have obviously noticed this over the course of their tour, leaning out of the ambulance just for the privilege and indulgence of watching her go.

Gil clears his throat loudly.

The two doctors scramble out of the back of the ambulance - Gil's ambulance - and tug at their white coats. "I-It's quite a fine piece of equipment you're running."

"Hm," Gil glares at them as he tosses the massive doors closed with one hand. His hands are back in his hoodie pockets, mostly so they won't see the fists he's making. He leans down slightly to the shorter men, "I know my wife is beautiful, but do you mind keeping your eyes to yourselves, Doctor Dumb and Doctor Dumber?"

"Y-Your-"

"We didn't-"

Gil just shrugs, heading back into the ER without waiting for their distinguished and invited guests. "Honest mistake. Just don't let it happen again."

[deus-ex-mona]

it’s ✨okay✨, right~?

[majorplayer]

i can literally never go back to TTR at this point. i cannot possibly overstate the degree to which TTCC has permanently ruined rewritten for me in the ONE MONTH i have played it consistently this year so far. (i played it for a month when it first came out but i just never got into it back then.)

rewritten is just... so bad and unfun, relatively. it's fatally stuck in the past. it's for nostalgic people who want a few months of ignorant fun, not for long-term enjoyment. don't get me wrong, TTO was certifiably The Shit back in the late 2000s and all we stupid children loved it exactly how it was (which is how TTR still is), but how can it possibly be enjoyed anymore once you've seen the greener pastures? even if clash was almost an exact copy of rewritten and the only differences were the quality of life changes, those changes are so impactful on every aspect of gameplay that i'd still feel the same way.

but it's not even just QoL changes, clash also improves on every aspect of the story, characters, the game mechanics, etc. fuck, even just the clash team is infinitely better than rewritten's. they actually respond to emails, take action against bad actors, approve names within 24 hours (rewritten takes WELL over 1 month recently), and god man, it's so so SOOOO obvious just how passionate the clash team is about the game. it's not something they need to say out loud; it's something you straight up feel as you play it. they pour their hearts and souls into making clash the best it can possibly be.

i used to play rewritten thinking i was having fun, but i am honest to god questioning that now. i don't think i was ever having fun on it in the past few years, not seriously. it's all nostalgia for a game that suffers from crushing subscription-incentivizing design and 2003 capabilities. the entire game is going through the fucking Motions, wasting your life playing the most soul-suckingly repetitive ways disney could implement to keep a bunch of 9 year olds begging their parents for a monthly subscription back in 2009 so they wouldn't get locked out of their toon before they could complete their seventh Back Nine in a row to do one CEO before their math homework. there's not even any strategy involved in the gameplay because it's not meant to pose any sort of challenge, it's just a timesink for monthly subscriptions. clash feels fresh. there's actual strategy and it can be really difficult (in a fun way!!!!) even if you're experienced.

clash is the modern take on toontown, and man do they knock it out of the park on every single account. the fact that i have recently discovered one of my new favorite fictional characters ever and it comes from clash says a lot about how good it is. meanwhile in TTO/TTR, you can generally find people laughing about lil oldman or maybe saying they enjoy flippy, but not much else love for characters besides edge cases. the story of clash has genuine replayability. i feel actual excitement to replay the managers in clash and even to grind them, whereas i would always dread having to do another suit boss or field office in rewritten. playing it is almost like an abusive relationship. i never maxed a toon in TTO, so i really wanted to max a toon in TTR since it was the closest thing... it's such an extreme example of the sunk cost fallacy, blatantly so now that i've played clash.

the fact of the matter is, i grew up. TTO was, and now TTR is, fun for people under the age of 15, and/or people stuck in the early 2010s at the latest. despite being really into clash for such a short amount of time so far, i've already heard this sentiment echoed a number of times while playing it. no one who goes into clash with an open mind and gives it an honest chance goes back to rewritten in a meaningful capacity. no one hits 115 laff in rewritten and thinks "wow, almost all of the rest of my laff will come from suits, i'm so excited to do back nines!" meanwhile i'm about to hit 115 laff in clash and i'm not even remotely finished with the (compelling, well-written, and cohesive) story, much less doing anything repetitive. i'm only excited to continue where i'm at.