#end of post ty

[cozyships]

K.karlach.

[chiptrillino-art]

(ID in ALT text)

I know posting vice this year was a bit meagre. not every year is the same but at the end i am kinda happy by the drawings i managed to do this year. compared to last year its funny how sokka got into the spotlight more often this year. and even suki was more prominently featured. zuko watch out who knows if i even draw you next year~

i guess my main goal for next year is to finish wips... like every year. oh my -starts sweating-

recap 2022 . recap 2023

also tried out again to make the characters turn around.

very wonky far from the smoothest animation. but still fun to see.

thanks for sticking around for so long and happy new year. let's kick ass in the next year!!! -battle cry-

[lotus-pear]

mourning black and the death of ideals

[edwardsdeathcabcd]

i've said it before but it will forever and always make me insane that jacob's ending is to join the cullens for the sake of bella not having to give anything up. they find out jake will be immortal & tied to renesmee forever, so bella gets to smile & say "my family is finally complete! ^-^" but jake already HAS a family. he has a father and 2 sisters. quil, embry, seth and sam are like his brothers. jacob and leah were planning to run away together. he's always been welcome in emily's home, sue has been a family friend since before his birth. bella abandons her mortality by choice because she feels no connection to the people around her, but jacob has really strong bonds. it's clear that every character we meet in la push is like family to him, he's an active member of the community. jake would've graduated high school and been a mechanic, would've grown into a young man. a good friend, a fun uncle, a present son. he's set up to have such a rich life. and he's just magically compelled to give that up. beyond his control, he loses sight of everything, because his high school crush's baby is now the singular most important thing to him. he's perpetually 18 with his perpetually 18 year old girlfriend, running around vancouver or alaska or wherever with the girl who friendzoned him at 16 & her in-laws (who were antagonistic to him for months). and i'm just supposed to say omg yay now he doesn't have to let go of bella! everyone is happy! it's complete madness

[heybaetae]

maknae line + gestures of love 🫰🏼💋🫶🏼🌹🤟🏼 happy birthday @jkvjimin! ♡

[askinsufferableprick]

[a2zillustration]

Why is it always rats.

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[[ All Croissant Adventures (chronological, desktop) ]]

[[ All Croissant Adventures (app) ]]

[wynandcore]

Experimenting w adult Beck going through his beefcake era

[ginger-rat]

Oh Tex it was awful

I missed these two

[double--blind]

(SPOILERS) Ashley, self-esteem, and starvation

So, I adore Ashley. She's this intensely toxic, vicious, cruel, manipulative girl, and her psychology gives me hella brainworms. Andrew's not the only one whose head I wanna crack open and root around lol. She's thrown away the world just to keep her brother by her side, and she'll continue to do worse and worse for the same reason. She's pretty awful! I've been thinking about why, though. How did things get so bad? How did her soul get so dark?

We don't know everything (I'm waiting for those new eps patiently aND CLAWING AT THE WALLS AND FROTHING AT THE MOUTH but whatevs y'know whatevs I'm normal. I'm fine), yet what information we have been given is bumping around my brain like a DVD screensaver on hyperdrive

It's clear from the start that the roots of Ashley's issues lie in her horrible, neglectful upbringing, but it's hinted that even those outside of her family felt the same abt her. I'm lowkey even betting we'll learn later on that she was ostracized by her peers somehow. However, what's most disconcerting, I believe, is how little she was when the results of this alienation are first made apparent to us (bc kids aren't dumb; they notice this stuff oftentimes instinctively, impossibly young, before they even know what it means to be hated), and how devastating the consequences were.

(There's something decidedly childish abt her dream sequence in the "questionable" route—filled with crayon scribbles and rabbit plushies, the metaphors simplistic yet profound—which really hammers in how these sentiments are things that have made a home in her since childhood. Formative subconscious truths.)

Growing up unloved and noticeably unwanted by virtually everyone around her likely left her with a gaping hole in her heart that she'd spend the rest of her life trying to fill. She'd make friends, but she'd always worry that they'd leave her, that they'd betray her, nothing tangible or weighted enough in their connection to trust in its persistence. Why should she expect otherwise? Not even being bound by familial ties ensures affection if her parents are any indication.

Every lesson she'd ever learned had always taught her this: you are easy to abandon. You cannot love and be loved by virtue of your own worth.

You have to rip their affection from their clenched hands if you want it so bad.

This understanding carries with it an undercurrent of degradation, instilling within Ashley a constant, biting inferiority complex which will never fail to be a source of insecurity. She will always be put last. She was difficult to raise, so her parents gave up on raising her. She was difficult to get along with, so her friends gave up on getting along with her.

It's an odd cycle. She's difficult bc she needs to be to get attention, but bc she's difficult, she can't keep it. Not without having whatever fondness she's managed to cultivate within someone fray at the seams, volatile and prone to collapse, bleeding toxicity.

Hence, her relationship w/Andrew.

By being the only reliable constant in her life, caring for her and keeping her company, Andrew essentially became her only source of happiness, and she's since learned not to bother with anyone else. Still, it's dangerous to keep all your eggs in one basket; since he is all she has, she must protect her place in his life with even greater ferocity, which becomes a torturous ordeal when coupled with her damaged self-esteem.

It's apparent in her quarrels with Andrew that she needs constant reassurance that she is wanted in some capacity or perceived in some positive light (getting pouty when Andrew says he's "stuck with her", needing to hear that she's pretty, needing him to "choose her", wanting him to say he loves her back, etc. etc.), yet her insecurity remains, bc unlike her, he's got options. She doesn't think he needs her like she needs him. He's got a gf, their parents love him, her friends love him. Why would he settle for her? What if someone better comes along? Someone she can't scare away?

Wouldn't he just leave her like everyone else?

Even before getting locked in the coffin of their apartment, starvation's been a constant theme in Ashley's life. She's constantly aching for love, and Andrew's the only one who can feed her. When you're forced to fight for a bite to eat or suffer every moment you hunger, you become ravenous—covetous—when faced with food; you don't want the hunger to return, so you lock down the source of your sustenance, wary of its retreat. Ashley's in a permanent state of intense insecurity, always anxious that the love that gives her life will leave her.

Andrew knows Ashley better than anyone else in the world, and it's obvs to everyone and him how desperate Ashley is for him, but I don’t think Andrew has truly, consciously processed the depth of that desperation. It's there buried in his head somewhere no doubt, but rn, he doesn't operate w/the direct awareness that he is everything. He is brother, mother, friend, and soulmate. He is life and love, air and water, everything that is good in the world—everything that there is to justify existence.

It's heartbreaking, in a way, that it's so difficult for Andrew to convince her of his loyalty. This goes further than his tendency to hide his true feelings, bc when push comes to shove, he's at her beck and call. Objectively, he's hers. She doesn't see that bc all she sees is all the ways she can lose him.

So, she gets bratty. She gets pushy, possessive, territorial. Manipulative. Gets under his skin, guilts him to exhaustion, bc she can't see him staying any other way, bc he doesn't get it, bc it works. He bends to her will, for her sake. For now. It's always "for now", bc he'll start slipping away again, and then it'll get worse. She does worse.

Becomes worse.

[windcarvedlyre]

I've been following @druidposting's DR2 playthrough on discord and we just had a really good discussion about DR's Closing Arguments. Specifically the way the murderer is depicted as grey and featureless, which until now I found a bit annoying.

In Danganronpa it's repeatedly the case that we don't have the full picture until the talking actually stops- which always goes beyond the end of the trial. We generally vote first and come to understand what the murderer's actual motive was, sometimes filling in important pieces of the timeline in the process, afterwards.

But none of that matters for the killing game because characters' emotions aren't directly relevant to who was the 'blackened'- the only thing that matters to Monokuma- so it comes out afterwards and does nothing to change their execution. It doesn't matter how sympathetic they are (basically everyone) or whether other people share responsibility for the situation (eg. Hanamura, Pekoyama, Momota) or whether they intended to murder at all (Nanami). They objectively pulled the trigger and nothing else matters. Nothing about them as a person matters.

The Closing Argument mechanic might illustrate that problem- literally. They're a dramatic, conclusive summary of the entire case... constructed before the vote even happens, before we know if we're actually right, and they're missing something really important:

The actual perpetrator.

We quite literally don't even begin to see the real person behind the crime, any real exploration of their mental state, anything besides the cold, hard facts of the murder that are necessary to convict them, until the comic finishes and the protagonist makes their final accusation- replacing the grey figure with their real appearance in a shot that's often intensely emotional.

And these comics lack crucial parts of the case's timeline and sometimes important parts of the very scenes they depict that we only find out about afterwards. And those are what we know; characters may die with some pieces of the truth and prevent us from ever learning them. These aren't objective depictions of the murder, they're the protagonist's subjective attempt to connect the facts they have. A join-the-dots portrait of someone with missing dots and no colour.

Even characters' expressions may not match how they truly feel, with the grey placeholder potentially looking way more confident and sinister than they were in reality. Pasting Falter's commentary here since they put it well.

For obvious reasons this could especially be a problem for characters that die before the trial- the ones we never get a post-vote testimony from. DR1 chapter 4 really highlighted that in the way Asahina's huge misinterpretation of Oogami's feelings took up a lot of the post-trial discussion, only for Monokuma to reveal Oogami's real suicide note and recontextualise everything.

It might really be a problem for how Komaeda's depicted in DR2 chapter 5. While he isn't greyed out, we get panel after panel where he's either level-headed or maniacally evil, and even the depictions of his self-torture and death don't humanise him:

But we know that his real feelings were more complicated than that. We have his actual corpse to compare the last page to.

He died afraid.

If we approach the comic as Hinata's mental image of him instead of reality, he died without anyone truly understanding him. He was alarming, very hard to relate to, actively fought against people doing so, ensured even the killer didn't watch him die, and the survivors couldn't begin to understand his motive until a chapter later. The Closing Argument reflects that.

Early in DR1 Togami calls out the rest of his class for judging others by their own standards. However, he, too, is doing this, maybe more so than many other characters; his inability to view other people through anything but the cold, brutal logic of the killing game bites him in the ass in chapter 4. In DR2 chapter 2 voting without a good understanding of Pekoyama's motive or Kuzuryuu's involvement nearly got everyone killed. Komaeda's a walking embodiment of the problems with flattening people into caricatures and not empathising with them, suffered from people doing that back to him, and his case- the Closing Argument for which turned everyone else into grey placeholders- was impossible to solve with objective facts. It was only survivable because the survivors cooperated and one person tried to analyse things the way he would.

The games have always been a critique of the justice system and Japanese society and push us to care about others as individuals, not reduce them to- and judge their right to exist by- something they've done or their net impact on society. There are always consequences when someone neglects to do that, and the above might be yet another way the games explore that theme.

[wikitpowers]

OMFG I ONLY NOW GOT AROUND TO WATCHING CASSIE’S NEW TIKTOK ANS WTF DO YOU MEAN WE WILL GET KITTY’S LETTERS TO EACH OTHER WHAT THE FUCK IS GOING ON WTFWTF WTF!!!!!

[fuluv]

just letting y'all know that me and @milkywaydrinker's oc betty exists in deadendia vol 3 and she's zagan's bff

[pareidolla]

hello.

can you tell me what your biggest gripes normally are when people write broken?

like, I get the feeling that there's a fine line between "adorable pathetic sopping wet cat" and "annoying pathetic sopping wet cat" and I personally find Broken in the former. but I cannot really tell what the line is.

I have written Broken before and not to self promo but here is the link in case anyone is curious; like it got positive reviews for the most part. Still, would be nice to know.

hello dearie!! i'm so flattered you asked ♡

i did write this little post about broken a few months ago, and i'd like to first reiterate that i don't want to be labeled an arbiter of broken characterization or anything similar. one thing i admire about the stp fandom is how we all contribute our own distinct flavor to the characters, and i don't want anyone to feel like they're writing broken incorrectly simply because it differs from my interpretation. if i ever were to write a broken fanfic then his voice would be completely off (i just can't help but make him act cute!! he's just an anime girl to me!!!!) so honestly don't place too much stock in my opinions.

with that being said — i'd say my biggest gripe when it comes to depicting broken is when he's pathetic, flat-out, without any rhyme or reason to his actions. he can't perform basic actions, he cowers away regardless of who he's interacting with, and yammers away about giving up just because.

for anyone struggling with writing broken, i think you should first and foremost understand his motivations. ironically, tower is a great place to start here!

one could argue smitten and broken could have switched princesses, with smitten accepting the princess's nature as a world-ending divinity and broken's mirror image being someone equally hollow. except, that's not what either of them desires. smitten wants be the perfect knight in shining armor who whisks away the princess on horseback, and broken?

its easy: once you let her in, you'll be safe forever.

she doesn't want to hurt us. she's just doing what she has to.

what's the point of fighting if she's just going to win everytime? it hurts being sliced to pieces.

broken's main desire is to be safe. you ultimately gain him by failing to be a hero: giving up, expressing hesitance in a key moment, or fruitlessly struggling against a power so much greater than you. as a result, his princess, his love, appears not as a horrific creature, feral beast, or vicious demon, but as a a goddess, someone capable of protecting him.

think of tower less as the dommy-mommy broken was so incredibly horny for he cut his own throat just to kiss her feet, and more as a hurricane. a force of nature which tore apart his home, showed him the frailty and meaninglessness of his life, then offered him both meaning and shelter within her eye of storm—as long as he gives his body to her. which is ideal for broken because it restores the control he's lost by, ironically, offering it to someone else. if he is obedient and lovely and grovel then his savior will take pity on him and he will never suffer again.

to return to my main gripe, if we understand broken desires safety and fawning is his trauma response, then we should know it obviously wouldn't be triggered by every little thing, especially in a controlled environment.

for instance, if broken was invited to a game night with the boys then he's not going to be sobbing pathetically in the corner like a child. he is, and i cannot express this enough, a grown adult man. there are several approaches to writing this—personally, i'd have him decline the invitation outright, muttering excuses about being too busy and he'd sour the mood anyway. if wrestled into it then he'd sit quietly, trying not to take up too much space or attract attention, and then fudge a game once or twice to keep the others happy. ultimately, he doesn't care about winning, and just wants to avoid any fights.

having said that, being conflict-averse does not imply cowardice. broken is a hater, and i love that about him. he's very empathetic and gentle and sweet and the perfect boyfriend, yes, but he's so fucking sassy it's amazing. broken may shy away from conflict but there are several scenes where he expresses his disbelief over how unusual the other voices all are, bickers with them, or straight-up insults them in their face.

like, i'm chill with interpretations where broken secretly admires the voices and aspires to do better, especially post-para apotheosis, but most of the time he hates their fucking asses. he wholeheartedly believes he is the only normal person in a sea of freaks. a caged bird watching as the other birds fling themselves against a glass window. yes, he is a pitiful little sheltered pet who let's out a sad whine every few minutes but please he still has his teeth!!

phew. okay this got too long. uhm! i don't really know how to end this ♡♡♡ i will say i did like your fic! i've been starved for non-wholesome smitbroken look at those boys enabling eachother. if anyone else is reading this, please go forth and create your own broken fic; i will read and i will enjoy it. this is a threat.

[skitskatdacat63]

I've decided to do myself what the cowards at Aston won't. Behold.

[bbutterflies]

If I hold you too close - read all 21 chapters on ao3

It's finally done!! This is my longest fic to date and absolutely one of my favorites. You can even listen to the official playlist on Spotify too.

A million thank yous and gold stars to @isabugs. This fic wouldn't be what it was without you being there to help me problem solve and bounce ideas off of and beta almost every single chapter 💗💘💓💖💞💓💕💘

This is also a redraw of my original cover! Nearly 8 months later the fic is finally complete 💖