#and hes just as important

[cowboysmp3]

there’s something sooo sickening about how dunmeshis whole energy is like sometimes something terrible and awful happens to you and it changes you forever and nothing can make you the person you were before but there’s still love and there’s still sharing a meal together and there’s still living

[proxythe]

as long as ur my partner in time >_>

[chiptrillino-art]

(ID in ALT Text) Happy very, very late Mother's Day!

I am not saying that zuko is sokkas substitute for kya. or they look in any way similar! The whole concept here is that something was happening at the moment, be it how they were laying in bed, how the hair pooled over the pillow, or how sokka was able to hold onto it. It just brought sokka back. It triggered a memory, and suddenly he relived a brief memory. Making him suddenly miss his mother again. hope you enjoy!

[chloesimaginationthings]

You think FNAF Helpy misses Michael sometimes?

[tanoraqui]

I just love love love that there’s a guy wandering about Dungeon Meshi going, ‘but what are the socioeconomic and geopolitical consequences of this fantasy quest adventure, both while it’s ongoing and after its inevitable completion?! The skillset required to find and kill a Mad Mage is different than that required to responsibly, benevolently and effectively rule a kingdom. I personally must either find a good candidate, somehow make one, or, most likely, take on the whole Mageslayer/King role myself.” Except he doesn’t have the first skillset, and his whole party keeps dying while these highly competent chucklefucks wander past, kill and eat the monster, and save their bodies for the nth time. Kabru would demand to know if Aragorn is familiar with Gondorin tax law. His isekai energy is off the charts, because this is all exactly what I would do if dropped into a fantasy quest adventure, right down to repeatedly dying due to not actually being suited to the genre conventions.

[prlssprfctn]

Damian wakes up, startled. He doesn't remember what he saw in his dreams, and he is not sure what caused him to feel so anxious, but he knows what to do. The routine is easy and comforting; he just needs to find his brother Jason. So, he goes.

His bare feet against the cold floor is soundless, making no sound, and he keeps rubbing his eyes until he sees one of the doors open. It must be Jason. He always keeps the door of his room open, just in case.

There is a dim light in the room, a small lamp on the desk, where the stakes of paper are stored, and Jason is here, as tall and huge as always, tapping on his feet in an attempt to concentrate, while twirling a pen between his fingers. He is either reading or working on something else: writes down memories, afraid of them slipping away due to the Lazarus Pit hammering in his temples all the time.

Damian yawns and steps closer, tapping on his back.

'Akhi Jason,' he calls hoarsely. The body freezes, almost surprised — he is not supposed to; Jason hears him from the corridor, even if he is the most soundless kid in the whole world. 'I want to sleep.'

He never says he sees nightmares or that he is scared — just that. It always works.

Expect, this time it doesn't.

'What did you say?' Brother asks, his voice sounding so unusually stiff.

'Jason,' he repeats, more irritated this time. 'I said, I want to—'

When Jason turns around, Damian instinctively staggers back, his eyes widening.

The man in front of him is not Jason.

And for a second, Damian is panicking, until-

Until he doesn't remind himself that he is not home anymore. He is in the Wayne Manor, with his father.

With his father that looks exactly like his brother, only older, without scars, marring his face, and without a white streak that makes him look like a bird.

'Damian,' his father calls, slightly shaken. 'How do you know Jason?'

He swallows down. He is not supposed to tell about his brother. They instructed him not to.

But father has a familiar desperation in his eyes, the same one Jason had, when he was pacing around the room, muttering something incoherent, the cut out from newsletters photos of Bruce Wayne with Tim Drake in his hands, and-

And Damian shrugs.

'He is my brother,' he says, almost too innocently; because if he is going to be clueless about it, then what others will have to tell him? 'He stayed with a grandfather. It is a shame.'

Almost as if he doesn't understand what all of this implies.

'I was sleepy,' he adds. 'And got confused. My apologises, father. I shall return to my bedroom.'

Bruce stares, stares, and stares. And then, rubs his face with his hands, exhausted.

'I'll tuck you in. Let's go,' and a second later, with his voice sounding so familiarly small, just like how Jason's sounded when he first acknowledged him as his brother, he adds: 'Can you tell me more about your brother, Damian?'

And Damian tells him, of course.

He is not surprised to see the result of his work the next week.

[notherpuppet]

@/coma_0423’s cursed cat alastor will bring you happiness ♥️

Lulu scolds the cat

[the-phantom-peach]

🗣️ huh?? what do you mean I haven’t posted any Link signing propaganda yet??

[emberglowfox]

birds of a feather

[oifaaa]

It's funny how opinions can change over time for instance I used to want Bruce to be a good parent but then I realised how fucking boring that is to read at the end of the day comics are soap operas and I'm here for the drama

[aethersea]

another thing fantasy writers should keep track of is how much of their worldbuilding is aesthetic-based. it's not unlike the sci-fi hardness scale, which measures how closely a story holds to known, real principles of science. The Martian is extremely hard sci-fi, with nearly every detail being grounded in realistic fact as we know it; Star Trek is extremely soft sci-fi, with a vaguely plausible "space travel and no resource scarcity" premise used as a foundation for the wildest ideas the writers' room could come up with. and much as Star Trek fuckin rules, there's nothing wrong with aesthetic-based fantasy worldbuilding!

(sidenote we're not calling this 'soft fantasy' bc there's already a hard/soft divide in fantasy: hard magic follows consistent rules, like "earthbenders can always and only bend earth", and soft magic follows vague rules that often just ~feel right~, like the Force. this frankly kinda maps, but I'm not talking about just the magic, I'm talking about the worldbuilding as a whole.

actually for the purposes of this post we're calling it grounded vs airy fantasy, bc that's succinct and sounds cool.)

a great example of grounded fantasy is Dungeon Meshi: the dungeon ecosystem is meticulously thought out, the plot is driven by the very realistic need to eat well while adventuring, the story touches on both social and psychological effects of the whole 'no one dies forever down here' situation, the list goes on. the worldbuilding wants to be engaged with on a mechanical level and it rewards that engagement.

deliberately airy fantasy is less common, because in a funny way it's much harder to do. people tend to like explanations. it takes skill to pull off "the world is this way because I said so." Narnia manages: these kids fall into a magic world through the back of a wardrobe, befriend talking beavers who drink tea, get weapons from Santa Claus, dance with Bacchus and his maenads, and sail to the edge of the world, without ever breaking suspension of disbelief. it works because every new thing that happens fits the vibes. it's all just vibes! engaging with the worldbuilding on a mechanical level wouldn't just be futile, it'd be missing the point entirely.

the reason I started off calling this aesthetic-based is that an airy story will usually lean hard on an existing aesthetic, ideally one that's widely known by the target audience. Lewis was drawing on fables, fairy tales, myths, children's stories, and the vague idea of ~medieval europe~ that is to this day our most generic fantasy setting. when a prince falls in love with a fallen star, when there are giants who welcome lost children warmly and fatten them up for the feast, it all fits because these are things we'd expect to find in this story. none of this jars against what we've already seen.

and the point of it is to be wondrous and whimsical, to set the tone for the story Lewis wants to tell. and it does a great job! the airy worldbuilding serves the purposes of the story, and it's no less elegant than Ryōko Kui's elaborately grounded dungeon. neither kind of worldbuilding is better than the other.

however.

you do have to know which one you're doing.

the whole reason I'm writing this is that I saw yet another long, entertaining post dragging GRRM for absolute filth. asoiaf is a fun one because on some axes it's pretty grounded (political fuck-around-and-find-out, rumors spread farther than fact, fastest way to lose a war is to let your people starve, etc), but on others it's entirely airy (some people have magic Just Cause, the various peoples are each based on an aesthetic/stereotype/cliché with no real thought to how they influence each other as neighbors, the super-long seasons have no effect on ecology, etc).

and again! none of this is actually bad! (well ok some of those stereotypes are quite bigoted. but other than that this isn't bad.) there's nothing wrong with the season thing being there to highlight how the nobles are focused on short-sighted wars for power instead of storing up resources for the extremely dangerous and inevitable winter, that's a nice allegory, and the looming threat of many harsh years set the narrative tone. and you can always mix and match airy and grounded worldbuilding – everyone does it, frankly it's a necessity, because sooner or later the answer to every worldbuilding question is "because the author wanted it to be that way." the only completely grounded writing is nonfiction.

the problem is when you pretend that your entirely airy worldbuilding is actually super duper grounded. like, for instance, claiming that your vibes-based depiction of Medieval Europe (Gritty Edition) is completely historical, and then never even showing anyone spinning. or sniffing dismissively at Tolkien for not detailing Aragorn's tax policy, and then never addressing how a pre-industrial grain-based agricultural society is going years without harvesting any crops. (stored grain goes bad! you can't even mouse-proof your silos, how are you going to deal with mold?) and the list goes on.

the man went up on national television and invited us to engage with his worldbuilding mechanically, and then if you actually do that, it shatters like spun sugar under the pressure. doesn't he realize that's not the part of the story that's load-bearing! he should've directed our focus to the political machinations and extensive trope deconstruction, not the handwavey bit.

point is, as a fantasy writer there will always be some amount of your worldbuilding that boils down to 'because I said so,' and there's nothing wrong with that. nor is there anything wrong with making that your whole thing – airy worldbuilding can be beautiful and inspiring. but you have to be aware of what you're doing, because if you ask your readers to engage with the worldbuilding in gritty mechanical detail, you had better have some actual mechanics to show them.

[shadowtraveled]

"mithrun is the only real monsterfucker in dungeon meshi" is objectively the funniest bit you can get out of his everything, but in all seriousness i think his attraction to his love interest is deliberately overstated—and that makes sense, because romantic jealousy is a classic and digestible motive, which is explicitly what kabru was aiming for in condensing mithrun's backstory, and also because until chapter 94, mithrun wasn't willing to admit to the true nature of his desires.

but because romantic envy is both classic and digestible, it probably isn’t a unique enough or complicated enough desire to tempt a demon’s appetite. mithrun’s wish, as far as we can figure from kabru’s reduced retelling, was to have a life in which he had never become one of the canaries, and that carries like 3857 implications and desires within it. that’s delicious. his love interest acts as sort of a red herring to his motivation for making it, though. (side note: i'm saying "love interest" here because, keeping in mind that i barely speak japanese on a good day anymore, "想い人" is something i'd usually take as just kind of an old-fashioned and romantic way to refer to a lover, but in context i wonder if both the connotation of yearning and the vagueness are intentional, and i think this phrasing gets those aspects of it more effectively. anyway.)

mithrun considered his love interest to be untrustworthy. there was a minute where i thought that comment might be about a similar-looking elf (yugin, one of his squad members), but comparing the two…

the "sketchy" arrow is definitely referring to the elf we know as his love interest—the bangs go toward her right, she only has the one forehead ornament, and, most notably, her ears aren't notched.

every time she’s given a full-body depiction in his dungeon, she’s drawn as a chimera, with the body of a snake from the waist down. (side note: the “what if a dungeon has chimeras before reaching level 4?”/“then the dungeon lord is unstable” exchange just being mithrun grilling his past self alive is so funny. he’s so. but anyway) there are a couple things about this.

first, the snake part of the chimera appears to be modeled after some species of coral snake mimic

which, in the biology-for-fun manga, i… doubt is a coincidence, especially with the added context of the “untrustworthy” comment. the dungeon’s conjured illusion of mithrun’s love interest was a harmless copycat of a venomous original. for whatever reason, he felt this person was a threat and made up a "safe" version of her to be in a relationship with, and while it’s definitely possible to be attracted to or even love someone you find to be toxic and/or intimidating, when you take that into consideration alongside the configuration of her body, you get some interesting implications.

which brings us to our second point: if we assume that mithrun was not in fact fucking a snake, then sexual attraction, at least, was so far removed from his idea of a relationship with this person that he did not even bother to keep her dungeon copy human enough to maintain the illusion of the option of a sexual relationship. this is somewhat echoed in the depictions of their interactions, which also imply a frankly unexpected romantic distance. she kisses his cheek and he doesn't seem to react; she's at the edge of a narrow bed with only one set of pillows, on top of his blankets while he's underneath them.

the kiss is particularly interesting because it seems to contrast the text. kabru's narration tells us this was everything mithrun could have asked for, but mithrun is there looking unreadable to pensive, likely because this is right before the panel that makes it clear things in the dungeon are beginning to go wrong.

walking through this backwards for a minute, we have the physical barrier of his bedding and the spatial separation inherent in a bed made for one person, the emotional barrier of his mounting anxiety getting in the way of his ability to enjoy the affection he sought, and... the snake, which historically carries the connotation of temptation, yes, but also mistrust, barring physical intimacy. okay. ok. if a dungeon reflects the mentality of its lord, all of this might suggest that mithrun was not able to have any real desire for a relationship with this person. his unwillingness to be vulnerable or let another person in was insurmountable. but in that case, why was she such a focal point that she remained to the end, after his dungeon had stopped creating iterations of his friends to come and visit him? why would he get so upset over her meeting with his brother that he became lord of a dungeon about it?

well. mithrun's brother was also interested in her, probably genuinely. and mithrun had to win.

you have an older brother who your parents completely ignore, probably in part because he is chronically ill/disabled and almost definitely in part because he received a ton of recessive traits that resulted in rumors that he was an illegitimate child. you are aware, most likely because those same parents fucking told you, that you actually are an illegitimate child. but they keep you around because you had the good fortune of looking just like your mother. what can that possibly teach you but that you, like your brother, are disposable?

it's utterly unsurprising that mithrun, under these circumstances, developed a pathological need to be better than everyone around him. people don't keep you otherwise. i'd argue this is also why he says he looked down on everyone he knew while milsiril claims his dungeon reeked of feelings of inferiority—he sought out people's worst traits and prioritized them in his mind to protect his already extremely fragile sense of self-worth, and all the while he tried to be as likable and high-performing as he possibly could be. his parents disposed of him anyway, but even then he tried to keep up the performance. he was kind to everyone. he never once lost to a dungeon.

when he saw his "love interest" meeting up with his brother, what he saw was himself being replaced by a person his parents had always treated as worthless, and if that was what they thought of the child they'd kept, what value could anyone possibly see in the bastard they'd given away to die? mithrun and kabru tell the story like he wanted to win this unnamed elf's heart, but it was never about being with her. it was about cementing his worth, proving that he didn't deserve to be thrown away.

and so it's particularly cruel that his demon discarded him, too. but maybe it's also particularly gentle that, in the end, there was someone who refused to even consider giving up on him.

kui laid it out in three panels better than i could hope to.

yeah. it's love. you wanted to be loved, even when the only way you were able to understand it was through the desire to be wanted, and you wanted that so badly that the idea of being consumed felt like the promise of finally mattering to someone.

[chaoticfvckingdisaster]

Something I think about a lot is how Rick Riordan very rarely uses "girlfriend/boyfriend" to refer to Percy and Annabeth within their perspectives. They're so intertwined, even Annabeth says in hoh that the word boyfriend isn't strong enough, because Percy was a part of her. They are a singular soul, too wrapped around each others' fates that regular labels are far too weak for them. But, Rick Riordan uses "boyfriend" a lot in Nico and Wills perspectives, not because they love each other less than percabeth, but to show how much the word means to them. Nico uses it any chance he gets- "his boyfriend," "he actually had a boyfriend," because Nico has never been able to say that before. Their struggle with their queer identities mixed with Nico's catholic guilt and chronic everyone-hates-me disease makes the fact that he has someone to call his actual boyfriend so much more important to his character development.

[evan-buck]

DOCTOR WHO The End of Time: Part II

[hinamie]

I'm always pushing you away from me / but you come back with gravity / and when I call, you come home

[bunnieswithknives]

As much as I love angst I think it would be funny if he just didnt give af