#god she does NOT know what she is doing

[gotta-bail-my-quails]

3 weeks in and i already cant wait to write a scathing course review for this professor

[hinamie]

10 years later

[tofixtheshadows]

Hello, op! While I do find your reading of Kabru’s self sacrifice and how little he eats really good, im curious why you consider him the deuteragonist? He is a foil to the protagonist yes, but still a supporting character.

I think its pretty clear Marcille is the second most important character in DM, and her story has much more weight than Kabru’s.

Hello! I've mentioned this on my blog before, but I actually consider Marcille and Kabru to both be deuteragonists to Laios's protagonist. I just wasn't talking about Marcille in that post.

Technically this term is meant to be used in playwriting, and the Greek tradition at that, so I'm playing a little loosey goosey with semantics and my argument would sound different if I were writing an academic paper. But this is tumblr dot edu and I'm trying to get a point across on my little blog, and part of the idea of a deuteragonist is that they support the protagonist. "Secondary main character who has their own importance in the narrative while bolstering the protagonist" works well enough for my purposes.

I think Marcille and Kabru are both playing specific and complementary roles to Laios. Marcille is at his side, facilitating the A plot: namely, "save Falin", which requires Marcille's magic, and then Marcille's method of resurrection ropes Thistle in, so the continuation of "save Falin" necessitates confronting the Dungeon Lord and conquering the dungeon (the B plot).

Kabru only intersects with Laios, but he is tied from the beginning to the B plot- and with dragging basically everyone else into it. Actually, the fact that he brings in this extremely loaded B plot despite only having brief face time with the protagonist should be seen as significant. In a sense, Kabru represents the surface world and all its concerns.

Before I talk about that more, I want to continue with the complementary line of thinking and point out that Kabru and Marcille have very similar background motivations.

Laios wants to save his sister first and foremost, and it's only along the way that he starts to consider what he'd do with the responsibility of Dungeon Lord. Coming to the conclusion that he wants to create a home for disparate peoples to live in harmony has connective tissue to both Kabru and Marcille's desires.

Marcille is the only one in their party who starts out with a greater motivation other than saving Falin (Izutsumi is a special case, but she's ultimately along for the ride), one that she keeps hidden for a long time. Because she is a mage, and because she is driven by a very personal tragedy (my dad died; I am terrified of outliving everyone), she is looking for a miracle to bring the different races closer together.

Kabru comes from a background of personal tragedy as well, but it's also a far greater, more political tragedy than just the death of a parent. It is not a coincidence that Kabru is a brown boy from an exploited region that suffered despite and because of military intervention from a first-world power, nor that he was adopted by a white woman whose coddling/dehumanization of him represents the paternalistic oversight of these world powers.

Thus, Kabru's motivations are both personal and political: if they, the short-lived races, can finally access the secrets of the dungeons, then not only can they have agency in stopping tragedies like Utaya's, but it will also give them a greater power of self-determination.

Marcille and Kabru have both correctly identified and set themselves against a problem that is greater than saving the life of one girl, greater even than sealing this one dungeon.

Despite Marcille's hopes, there is no grand magic solution to this. Only small, slow, backbreaking, ordinary solutions, the kind you labor over in kitchens and bedrooms and throne rooms and meeting houses and hearths and negotiation tables. The kind you run a kingdom with.

There is a reason why Dungeon Meshi ends with Marcille and Kabru on either side of Laios's throne.

Okay: back to Kabru (under the cut).

I've talked about this a little before, but I'll reiterate here: I consider Kabru to be the counterweight to the back half of the story. In a very literal sense too, as he pulls the focus up from the depths to the surface not once, but twice. Dungeon Meshi builds itself on the premise that the traditional "dungeon" must function as an actual ecosystem, and the monsters in it are biological actors in that ecosystem and not merely magical obstacles independent of their environment. The first couple dozen chapters are focused on this. Like regular animals, monsters have needs and instincts and unique behaviors, and they can be killed and consumed as part of a food chain.

And then Kabru comes along and he reminds us that humans are also part of their own special ecosystem, with their own needs and instincts and unique behaviors, and that beyond the biological drive of the literal food chain there are also complex social issues influencing these behaviors (like capitalism). Tansu's visit with the governor introduced us to these ideas, but Kabru is the one who carries them.

The way he and his party break down Laios's party also serves an important function. I think most readers are so busy being shocked that Kabru is "so wrong" about our goofy boy Laios that they don't realize that he isn't actually wrong about anything (he's only missing the context of what drives Laios, which he admits to and is part of the reason why he pursues him). We've gotten only Laios's view of things so far, and Laios is pretty tunnel-visioned. The narrative, through Kabru, is telling the reader this is how our protagonist actually comes across to his community.

We like Laios because we are following his story from his inner circle. We know he's naive and struggles with people but that he has a good heart and is ultimately just a big silly guy who won't harm anybody if he can help it. But we only know that because we're seeing him with his inner circle, in his environment. Outside of the dungeon, Laios is anti-social to the point of rudeness; he misreads situations and misjudges people, he acts in ways that cause friction, and he accidentally aligns himself with people who make his whole enterprise look suspicious: a prominent half-foot community leader, a mysterious foreigner literally surrounded by spies, the disgraced daughter of a criminal who now has to shoulder the burden of her father's reputation, and an elf in a land where there are no elves. And they seem to be very good at what they're doing. Yet this whole time, Laios acts as if he doesn't care about profit or taking the kingdom, the only logical reasons why anyone on the Island would gather up such a party and throw themselves into this death pit day after day.

Yeah of course Kabru finds this suspicious and interesting. Of course people don't know what to make of Laios. This all reiterates the question that Zon the orc already raised: What will you do, Laios, if you defeat the Mad Mage? If you gain control of all of this? Can you be a leader? Laios himself doesn't know yet.

This is all necessary context for our protagonist and the journey he has to go on, and it's fittingly brought up by the most socially adept character, who is so concerned with human ecosystems and the bigger picture of the dungeon. There is a reason why Kabru, as a character, is connected to large webs of people as he moves throughout the narrative: his own party, Toshiro's party, the Canaries, the denizens of the first floor of the dungeon.

Kabru is responsible for bringing Toshiro down to Laios's party. Toshiro is not a big mover and shaker in the story itself, but his confrontation with Laios is a huge part of Laios's character arc. His detour down to the lower levels also allows Izutsumi to escape and join Laios's party later.

We also have this very important moment:

It shows the first inkling- to the audience, to Kabru, and to Laios himself- that Laios is willing to do a painful, necessary thing to protect other people, that he won't just allow them to become collateral for his sister/monsters. That he can listen, and that he can assess a situation beyond his personal feelings. Again, fittingly, big-picture-thinker Kabru is the catalyst for this.

And then, not content to leave him as merely a device for Laios's character growth, the focus slingshots back up to the surface, and we follow Kabru.

The Canaries were going to go into the dungeon soon anyway, and they were always going to stir up the crowd in order to lure Thistle to them. Unless Thistle had given up right then and managed to slip away, the story could have very easily ended here:

Falin, immobilized and surrounded by Canaries, would have certainly been killed, and there would have been no way to ever resurrect her. Thistle would have been neutralized. The dungeon would have been taken by the elves, and anyone they could get their hands on would have been imprisoned at best. And maybe the dungeon would have been managed safely ... or maybe something would have gone wrong, and more lives would have been lost. Remember: the Canaries arrived in Utaya one year before the tragedy.

This is a huge moment that changes Laios's life forever, and he doesn't even know it. Kabru single-handedly keeps the story on course by sabotaging the Canaries, and he does it not just for Laios's sake, but for everyone's sake. For his friends and companions in the dungeon and everyone else outside it. Laios is a part of his motivation, a key player in Kabru's hopes, but Kabru has his own desires, his own agenda. He's trying to change the world. In a way, he succeeds. And while the Canaries might wish it were otherwise, as an entity in the narrative they are always anchored to Kabru's character. The two forces collide because of Kabru. The unsealing of the Winged Lion and Marcille's emergency ascension to Dungeon Lord happen indirectly because of Kabru.

While I have talked so much already that I don't want to give a detailed breakdown of it, I do want to mention Kabru's unique interiority as a character. That is to say: we see the inside of Kabru's head more than anyone else. Every character in the main ensemble gets their own moments of inner monologues or fifteen minutes in the limelight, but for Kabru, it's constant. He's always thinking, talking, narrating. His POV chapters always stand out for how first-person they feel compared to most others.

Notably, the only other character I could compare that to is Marcille, specifically during the dungeon rabbit debacle and her ascension afterward, which is when she really takes center stage as a character.

I hope I've explained my reasoning without becoming too insufferable.

To cap off my thoughts with a nod to my original post, I cannot stress enough how significant it is, thematically, that Kabru's relationship with food is the inverse of Laios's. It isn't just that Laios is the main character in a story about cooking monsters and Kabru happens to be his monster-hating foil. The artistic choice to deny the reader the visual of this character ever enjoying food, and only ever putting it in his mouth in situations where it hurts him, in a manga that gives so much attention to eating and the pleasures of meals, cannot be understated.

[trappedinafantasy37]

There are multiple gods in the game that you can directly interact with and they all have ties to the narrative. You can interact with Shar via Shadowheart. You can interact with Mystra via Gale. You can interact with Myrkul via Ketheric when he takes on the avatar form. You can interact with Bhaal via Durge and in the fight with Orin. You can interact with Bane after killing Gortash and using "Speak with Dead" in which the soul you speak to is not Gortash, but Bane himself. I would include Vlaakith in this list but Vlaakith is not a god, she is a lich presenting herself as a god. And, of course, there is the Absolute which doesn't really become a god until it ascends into the Netherbrain (although that is debatable).

But, did you know that Lolth will also interact with you? As far as I am aware, Lolth is the only non-story related god in which you do have interactions with. One of them is only available if you are a Lolth-sworn drow, and the other is only available if you are a Cleric of Lolth (you do not need to be Lolth-sworn for it).

The first instance is in the goblin camp with the spiders in the pit. This does require that you are a Lolth-sworn drow and that you have the ability to speak with animals. When talking to the spiders, you will have the option to present yourself to the spiders as Lolth herself. If you fail the persuasion check, Lolth gets pissed off as she was listening to you and is not happy that you tried to present yourself as her. And she tells the spiders you are an imposter and they attack you. But if you succeed the check, Lolth doesn't do anything and the spiders will think you are Lolth. So, Lolth doesn't really have a problem with you pretending to be her. But if you are going to pretend to be her, you better do it right. If the spiders think you are Lolth, you can ask them about what's going on in the goblin camp and the spiders only talk about one thing. They immediately tell you that there is another drow in the camp who has forgotten her way and that she is forsaken. And, as I said, Lolth is here. She heard the spiders admit this. Lolth does nothing about it.

The second instance is in the Underdark with the Phalar Aluve. When you interact with the sword, you have two different checks, a Strength check and a Religion check. If you do the Strength check, you can just pull it out of the stone and be on your merry way. If you perform the Religion check, the narrator will tell you different things depending on certain conditions. If you are a Lolth-sworn drow and/or a Cleric of Lolth, the narrator will tell you that the religious rite to pull the blade from the stone is blasphemous as it pays honor to the weak. If you are of any other race and/or cleric of any other god, the narrator will tell you that the sword is of Eilistraee and the rite pays honor to the fallen. The religious rite is that you spill a little bit of your blood and the sword will rise out of the stone on its own. If you do this as a Cleric of Lolth (you don't need to be Lolth-sworn) you will feel hundreds of spiders crawl all over you as Lolth is warning you not to do shit like that ever again. Not only did you perform the religious rite of another god, you performed the religious rite of a god she hates. And she is letting you know how much she hated that.

These are the only two instances in the game that I have found in which Lolth interacts with the player but there are plenty of other moments in which Lolth could interact with you, but doesn't (such as with the Phase Spider, the baby spiders in Grymforge, Kar'niss, or the dead spider in the Gauntlet of Shar). Of these two moments where Lolth does interact with you, one of these instances is in the goblin camp, and the other is in the Underdark not too far away from the goblin camp. I don't think it is much of a coincidence that these two interactions occur in close proximity to Minthara. Almost as if Lolth has a reason to be in that area specifically to watch and monitor things, and you just so happened to be there. And the only things that compel her to interact with you is because you pissed her off. But, as long you don't piss her off, she will do nothing and she will say nothing.

When Minthara was being tortured by the Absolute, she prayed to Lolth and begged Lolth to give her the strength to fight her enemies. But Lolth does nothing and Lolth says nothing. In fact, that was the full extent of Lolth's "punishment" for Minthara, nothing. All Lolth did was not answer Minthara's prayers and not show up when Minthara needed her the most. Lolth did not torture Minthara like the Absolute did, Lolth did not turn her into a drider, nor did Lolth eat her. All she did, was nothing. And yes, Lolth is known for abandoning drow and no longer interacting with them. A drow has to do something incredibly awful in order for Lolth to just back away from them entirely. But you cannot convince me that Lolth is going to let one of her Baenre's go so easily. It's not as if Minthara has done anything truly awful either to make Lolth that mad.

According to Minthara, she herself has sinned against the Spider Queen, but it's not as if she chose to abandon Lolth, she was forced away and mind controlled into being devoted to another god. But would this make a difference to Lolth? Does it really matter if Minthara was compelled to have faith in another god besides Lolth? It isn't until Minthara is freed and feels the absence of Lolth that she chooses to no longer follow Lolth. Minthara even mentions how turning against Lolth is a big no-no in Menzoberranzan. Minthara herself at one point has hunted down and killed those who turn their backs from Lolth so she knows the same will be done to her if she were to ever return home. In fact, if you are a Lolth-sworn drow or a Cleric of Lolth, you are given unique dialogue options with Minthara to kill her because she is a traitor to Lolth and these options continue to show up until you recruit her into your party and she joins your roster. Despite all of this, Lolth does nothing. Minthara spews anti-Lolth rhetoric left and right, and Lolth does nothing. If you take Minthara to the tabernacle, she will spit on a shrine to Lolth, and Lolth does nothing.

Minthara is also able to walk through the Gauntlet of Shar, which is in the Underdark, and Lolth does nothing. Sure, you could argue that its connection to the Shadowfell and the fact that Shar is there via Shadowheart is enough to keep Lolth away. The lore of DnD does not make it quite clear what the relationship between these two goddesses are. But I am willing to bet that Lolth is smart enough not to step on Shar's toes because Shar would annihilate her. However, there is a small little section of the Gauntlet where it actually does spit you out directly into the Underdark and into Lolth's territory. Minthara can walk right out there just fine, and Lolth does nothing.

But most importantly, Minthara's default ending is her returning to the Underdark with the sole purpose of destroying House Baenre and then killing Lolth. Destroying House Baenre could lead to a chaotic and political disaster in Menzoberranzan, and Lolth does nothing. Minthara quite literally wants to kill Lolth and has intentions to do so after taking House Baenre, and Lolth. Does. Nothing!

If Minthara goes into the Underdark and destroys House Baenre, this will cause chaos and death. And the Baenre's won't be the only ones she has to destroy, but any and all allies of House Baenre in which they do have a lot. And Lolth will feed off of all the death and carnage and chaos that Minthara is about to bring to Menzoberranzan because Lolth loves chaos more than she hates traitors.

Maybe, Lolth has not abandoned her as Minthara thinks she has. Maybe, Lolth has done nothing and said nothing because Minthara has not actually upset her. Maybe, Lolth has done nothing and said nothing because Minthara is already doing everything Lolth wants her to do. And all it took, was making Minthara think that Lolth abandoned her. There was no need for Lolth to answer Minthara's prayers, because Minthara always had the strength to fight her enemies.

[shirecorn]

Tumblr keeps popping up to sell me ad free dashboard. But what it doesn't understand is that me and the ads have a sort of symbiosis at this point.

The guys from the fake gameplay trailers for a predatory mobile app are my blorbos

[pepperpixel]

SAID HE LIKES CRAZY GIRLS,

BUT HE HATES WHEN I ACT CRAZY,

IT TAKES TWO TO TOXIC!

FINALLY!!! Finished these pics of jinx I’ve been working on!!!!! HOLY SHIT, these took so long…. But finally… they’re done… pls enjoy this art of my beautiful princess w a disorder. Featuring alternate colors for the big pic and also a closeup! Cuz I rlly like how both the lines and coloring on her face turned out… like the pink gradients w her eye… her deer in headlights expression,, like uve just startled a raccoon digging thru ur trashcan and r two seconds away from getting mauled.. m proud of it!

[critter-wizard]

ep 43 had me tearing up in a fucking shopping centre ‼️‼️

b+w alt version that I truly couldn't decide if I liked it more . Also I included a lot of thoughts in the tags but they're somewhat incoherent<3

[luck-of-the-drawings]

EDYN TIDESTRIDER, CHALLENGER OF THE UNDERSEA, RIVAL OF THE DEEP. WHAT WOULD YOU DO IF YOUR BROTHER WAS CHOSEN TO BE A WEAPON OF THE GODS? HOW WILL YOU UNDO WHAT THEY HAVE DONE TO HIM?

[vaggieslefteye]

CHARLIE MAGNE from HAZBIN HOTEL (2019): Pilot - "That's Entertainment" ↳ "So, I've been thinking: Isn't there a more humane way to hinder overpopulation here in Hell? Perhaps we can create an alternative way to change souls through... redemption?"

[nightmarearian]

blood dripped from Poseidon's mouth, red.

red.

the day they overthrew Kronos, child-eater (stomach acid crawling around them, after maw of teeth grazing his small, child body), his golden ichor bled red.

god blood, degraded into a mortal's.

the day Typhon, father of monsters (as big as their father was, as big as the Titans with sharp claws and teeth) ripped out Zeus' tendons, his blood was red.

Poseidon, god of the tides, son of Kronos, looked up at the dark shape stood above him, his own golden trident in his hand, the teeth like prongs drenched in red.

Odysseus is a mortal. was a human.

sharp webbed ears spread out on the side of their head, scales grew around their neck and arms, shining like a coral reef, illuminated by their growing red eyes, that were shrunken to slits.

Odysseus' teeth glinted in the lightning, showing their unnaturally sharp point.

monster.

[autisticaradiamegido]

thoughts on dave and aradia (<>)?

day 356

BIG fan tbh. in this house we love and respect timerails

truly yall read this log and tell me theyre not cute

[lovesickeros]

☆ love; heretical and divine

{☆} characters tsaritsa {☆} notes cult au, yandere, drabble, gender neutral reader {☆} warnings blood {☆} word count 0.8k

To love a God is heretical. It is an act of blasphemy– it is to drag them down from their throne of hollow gold, to topple the pedestal the worshipers uphold on their shoulders like lambs at the herders heel. It is the act of forcing them to their knees and ripping that beating heart of glorious gold and beautiful, cruel divinity from their chest, so pure it burns.

To love a God is to make them sin. To make them painfully, horribly human.

To love a God is to sin.

The love of a worshiper is no love at all, brilliant in its raw purity, untainted by sin. It is fear and obedience masked by adoration so overpowering it corrupts. It makes the lamb so unquestioning in it's faith it will never question the knife that cuts, the teeth that rip, the claws that tear. If the Creator deemed them unworthy of the very life crafted by their hands, then they must have committed a sin so grave there lay no salvation for their horrid soul.

But she is no worshiper– her lips speak of heresy as easily as she breathes, her words nothing but lies, cold and cruel like the ice that crawls along her skin like webs.

She loves a God like a lover should.

A damned sinner reaching longingly for the heavens.

She loves a God in the subtle brush of their lips, their muffled voices behind closed doors as they indulge in curiosity untamed. She is a sinner through and through, but she feels herself fall further with every brush of her hand across their cheeks, every touch she bestows upon them like a lover. She memorizes the imperfections of their body like memorizing a map– every scar, every mark, every line drawn on their body like a canvas, her touch the brush that stains the pristine white.

No devoted lamb shall ever see the painting they create in these stolen moments– it is for the eyes of a heretic so vile it makes them shudder, their body dirtied by the love of a woman so vile even their divinity is obscured by the ice.

The lambs may be satisfied with fleeting glimpses of gold and empty words from lips that guide them to the jaws of the wolves, but she is not. Her hands crave them like a starving hound, aching to touch that imperfect skin hidden by the veil of gold that obscures the painfully human body beneath. She longs to free them from the golden cage that binds them– to see their wings blot out the sky, their divinity tainted by sin and making them all the more beautiful for it.

It is a longing that leaves a festering wound that cannot heal, will not heal. Even if it could, she would not let it.

For as much as she tries, deny it as she may, she is no better then the blind lambs following the herder who holds a blade in their hand, glittering like gold in the sun, stained by dull red.

She is a fool, and what a fool they make of her with the touch of their hands against her skin– so cold it leaves frost on their fingertips. Yet they do not fear the cold, mapping out every inch of her imperfections, carved into her body by her own hands.

She has always been a heretic, cursing the divine until she could speak no more, but if divinity can be found in them – in this love that consumes, that burns her hands and her lips – then she is a Saint, praying at the altar until her throat bled.

But in the end, she has and will always be a cold woman with hands stained with blood. Until it is all she can taste, until it is all she can smell, until it is all she can feel. These hands of hers, heretical and divine, will bleed the God from their veins– she will become the wolf to their lamb until the rivers of Teyvat run gold with their ichor, until the gold bleeds into red, the taste of their divinity on her tongue.

Until she drags a God from their lofty throne and makes of them a monster.

There is no greater triumph to the heretic then to love a God into sin. To make a God sin to love.

To love is to be human, and they are no God.

Even if she must tear the gold from their very being until all that's left is something human. Even if Teyvat crumbles and decays, even if it begins over and over again..

She will do it again and again, until the gold can bleed no longer. Until her sins grow too great for Teyvat to contain.

To love a God is to devour, and be devoured. An endless cycle of sin that dulls the glow of gold into something new– something horrifying and divine, in it's own right. Something just as horrid as her, just as divinely corrupted by the sins she carries on her shoulders like a trophy, as gold as the sun and as cold as ice.

Divinity, carved into something human by love all consuming, until it all bleeds away and they begin their dance anew, for as many cycles as it takes.

An eternity, if she must, of dooming this world of theirs to fire and decay for a glimpse of the being snared by their golden shackles.

[nylesart]

🍜🫤

[sea-jello]

hong kong miku,,,

[shirecorn]

Gay horse man looks like a princess

Gay horse man learns to respect trans butch lesbians and various other people who won't date him

[terrys-min-catl]

Idk

Mother Lauren