#not explicitly. but in my heart

[fossilizedhysterics]

hiiiiii sanders sides fandom. is this anything original by @punkitt-is-here !!

[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.

[socvincjpeg]

No bc if i fumbled ford as badly as bill did i'd be on the news

Edit for clarity: The text says ‘I Grow Maddened’!!

(No bg+ close-up— click for better quality)

[eveningdawn222]

people who act like batman isn't "judge jury and executioner" because he doesn't kill people are like. genuinely so funny to me because. they're very obviously thinking of "executioner" as like. the stereotypical guy with axe who chops people heads off, and not, yknow, the literal definition of the idiom itself, which is about someone who has the ability to judge and then subsequently punish someone unilaterally. which is quite literally what batman does.

he has the ability to decide what is a "crime" to him, he is the one who decides whether people are guilty of those crimes, and he is the one who executes their punishment. the severity of the punishment doesn't matter - he is unaccountable to anyone else, and indeed is allowed to commit as many crimes as needed to reach his arbitrary ideal of "justice."

the ideal of batman is this: a man who is so fundamentally changed by an act of senseless violence that he takes it upon himself to fight back against the rot and corruption in the world. he does this not through political activism, not through ridding himself of his wealth in favor of a greater good, not through community outreach, but through an individualistic fantasy of being a hero.

and you'll say: charlie, but he does do that !!! he donates his money all the time, he funds social programs, hospitals, orphanages, gets people jobs -

and i will say this: so why don't things get better?

because here's the base of it. gotham, at its core, can't get better. no matter what bruce wayne does, there will always be more crime, more villains, more death, more people for batman to beat up in back alleys. because that's what sells.

reoffending rates don't matter in gotham, prison reform doesn't matter in gotham, what actually causes crime doesn't matter in gotham because that doesn't sell books.

and so here it is; dc has unintentionally created a world where batman can't win, but can't be wrong, and where thousands of nameless, faceless, only-created-to-die civilians must be pushed into the meat grinder that is gotham, to fuel bruce wayne's angst and vindicate his constant, tireless, noble fight against the forces of evil.

and then: a new robin, who is poor and who's parents are dead or gone because of this cycle; who is happy go-lucky and hated by editors and fans for being robin, for not being dick grayson, for being poor.

and this robin is written, unintentionally or not, to be angry at the ways in which batman's (the narrative's) idea of justice is detached from its victims. bruce seems perfectly fine to allow countless unnamed women to be at risk from garzonas in his home country, yet robin is the one who is portrayed as irrational and violent.

this robin is not detached from gotham in the way bruce wayne is: this robin is a product of gotham.

(and here's the thing. you can't punch aids. you can't fight a disease with colorful fights and nifty gadgets. and how would robin dying from aids add to batman's story; it would call into question the systemic changes that haven't been made in gotham. how does a child get aids, in batman's city?)

so robin dies, and then bruce (the narrative) spends the next couple of decades blaming it on him. it is jason's fault; he was reckless, he just ran in, he thought it was all a game. if only bruce had seen what was coming, if only he could have known that jason wasn't rich enough or smart enough or liked enough to be robin.

batman gets a little more violent, a little more self destructive. he hurts people more and almost (!!) kills a couple guys. this is bad because it's self destructive and "not who he is." it is not bad because batman should not be able to just beat people up when he's angry.

and then he gets a shiny new robin - who is all the things jason "wasn't": rich and smart and rational and he doesn't put who batman is into question. batman and robin are partners, and jason is a grave and a cautionary tale, and (crucially here) never right.

the joker kills thousands and it doesn't matter because they were written to be killed.

batman beats up thousands and it doesn't matter because they were written to be criminals.

and then jason comes back, and nothing has changed. there is a batman and a (shiny! rich!) robin and the joker kills thousands. (because it sells)

and jason is angry - he has been left unavenged - his death has meant nothing, just as willis' had, just as catherine's had, just as gloria's had, just as -

thousands. ten of thousands. hundreds of thousands. written to be killed.

but one of them gets to come back.

and he is angry - not only at the joker, but at bruce (the narrative) - because why is the joker still alive (when thousands-)

here is the thing - jason todd is right. not because the death penalty is good, not because criminals deserve to die, not because of everything he says -

but because of what he calls into question. why is the joker alive?

because he sells books.

and dc has written a masterful character, through no fault of their own, because jason knows what is wrong, and he knows who is at fault - batman. (the narrative)

so the argument that bruce can't kill because he's not judge jury and executioner; the argument that jason is a cop or that jason is insane or that jason is in the wrong here; they hold no weight.

batman can't kill the joker because the joker sells comic books.

and jason can't kill the joker because the joker sells comic books.

so he will beg and plead and grovel - he will betray everything that is himself, he will forsake his family and his city and kill himself - just so that bruce (the narrative) will let the joker die.

he was condemned to death by an audience, and after he came back he has spent his whole life looking us in the eyes and screaming, asking, pleading; why is the joker still alive?

why are thousands, tens of thousands, hundreds of thousands (the number doesn't matter, see, because they're just a number. not people. not real.) why are we expendable for his story? why did i have to die just for nothing to change?

and the answer is money. and the answer is the batman can never be wrong. and the answer is shitty writing. and the answer is -

nothing jason can ever change.

which is the worst of it all. he is a victim with no power, and no one else in the world can see it. he is raging and crying and screaming at his father and his writers and you - and it doesn't matter. jason doesn't matter. and he knows it.

[macksartblock]

i won't lie i liked when they were a problem

[the-meme-monarch]

i like to think post-game they’d all be friends and watch movies sometimes. scc have that big screen in their shop i choose to believe it’s a tv

based kinda on these screenshots a couple years ago :] people included are @maddestmewmew and @tenpixelsusie

if you ship scc go away please 👍

[burnthatbridge]

8x03 coda

buck being melodramatic about gerrard 'taking him under his wing' also on ao3 if you prefer

Buck spends an age in the shower at the end of their shift. He’s sooty, yes, sweaty, definitely, but no worse than usual, a lot cleaner than he has been on certain occasions — like after trying to dig Eddie out of forty feet of mud, for example. But, even when the water has long run clear, he can’t shake the sensation of being covered with dirt. 

In fact, when he finally shuts off the water, wraps a towel about his hips, his skin scrubbed pink, he almost feels worse, dirtier than when he got in. The surface layer of grime gone, uncovering the muck at the core of him. 

The locker room is almost empty, A-shift long departed: Chim home to Jee and Mara, Maddie heading out for her own shift; Hen meeting Karen for dinner, Denny at a friend’s. And Buck’s been trying to wash himself clean for long enough that B-shift have passed through, all changed from their civvies to their uniforms and headed out into the station, some away on a call. 

The locker room is almost empty. It would be completely so if it weren’t for Eddie. He’s seated on the bench, fully dressed in his street clothes and shoes, hair almost completely dry from his own — significantly shorter — shower, scrolling through his phone. But he looks up as Buck shuffles into the room, eyes on him as Buck opens their locker, hefts out his bundle of clothes and dumps them on the bench, a couple of feet along from where Eddie is sitting. 

“You okay?” he asks, locking his phone, tucking it away in his pocket, entire focus shifted now that Buck’s there. 

Buck nods, reflexively. “’M fine,” he states, aiming to sound it. As he tugs on his boxers, he tries to change the subject, “Thought you’d be out of here by now.”

He and Eddie don’t have plans this evening, and Buck had mentioned at the start of their shift — back in the inverse of this moment, when he’d been sitting on the bench, ready, but chatting to Eddie while he got changed — that he was probably going to see Tommy tonight, so Eddie can’t be expecting them to make any impromptu ones. But there’s no denying that Eddie’s been waiting for him, all the way through his endless, hopeless shower. 

“Hmm,” Eddie hums, but doesn’t say anything further. 

Buck towels his hair furiously, then rubs his shoulders, his chest, his arms down, hard. He feels itchy, like there’s a film over his skin, a coating of filth. He tugs his t-shirt over his head, slides his sweatpants up his thighs. Collapses down on the bench and reaches for his socks, pulls on one, then the other. 

The clothes are clean: the tee, socks, and underwear fresh, and the sweats only donned for an hour that morning, for his trip to work. And yet, he still feels unclean, tainted. 

Buck looks over at Eddie, finds him slouched on the bench, arms braced behind himself, already looking back. 

Buck looks away. Plucks at the fabric of his pant leg, scuffs one socked foot against the other, shrugs his shoulders against the scratch of his shirt tag at the back of his neck. Sighs. Glances over at Eddie again. Finds warm brown eyes still watching him, waiting for him, soft and open. 

“I hate him,” Buck says, low, even though Gerrard has absolutely already left for the day, isn’t around to hear his words, and turns his eyes to the concrete of the floor. 

“I know you do.” Eddie’s voice is as gentle as his gaze. “You’re not alone in that.”

And that’s true, but it’s also not, because– Because Buck has been singled out. And he knows what that means. Has heard all the stories of Gerrard’s first reign of terror, from Hen, from Chim, from Tommy. Knows about the people Gerrard had it out for back then, and the people he had on his side. 

“No,” Buck says, hears how frustrated it comes out, but also how plaintive, “I really, really hate him.”

Eddie doesn’t reply, waits Buck out, while he tries to work the tangle of his thoughts into something resembling a coherent statement that he can say out loud. 

Because he does, he hates Gerrard, who has been so awful to them all, Buck included, but especially the people Buck loves most. Hates him for holding nothing but contempt for them being the thing Buck loves most about them: themselves. 

“He’s– he’s so fucking horrible to everyone.” Buck says, needlessly, because of course Eddie knows this, has been both the subject of Gerrard’s disdain and witness to him turning it on the rest of them. 

Only now, since Buck attempted to murder him and inadvertently ended up saving his life, Buck isn’t included with the rest of them, isn’t subject to Gerrard’s terrible treatment anymore. 

“But, now, he’s being nice to me. Taking me ‘under his wing’.” Just quoting Gerrard’s horrifying pronouncement from that morning makes Buck feel sick, nausea turning his stomach, climbing his throat. He can still feel the ghost touch of Gerrard’s arms around him, poison leaching into him at all the points Gerrard’s body touched his own. “It’s like he wants to mold me into someone just like him.”

Gerrard has seen something in him, recognized the same rot in Buck that resides in his own core. Like calling to like. 

“It’s like I already am.” Buck shivers, scrubbing his hands up and down his own arms, trying, fruitlessly to slough off this feeling, to shed his own skin. The first shower didn’t work, and he could hold out a futile hope that if he takes a second once he gets home it will finally work, but he fears no amount of water can wash him clean of this. The stain on him Gerrard has spotted and identified as kin permeated too deep, sunk too far, into his soul to ever be cleansed. 

“Hey.” Eddie grabs for one of his wrists, squeezes and pulls Buck’s arm down, holds on as he says, “You are nothing like him. And you never could be.”

“But,” Buck argues, clenching his free hand into a fist, taking the pain of his fingernails piercing his palm as penance, “If he wants to– to mentor me, he has to think he can turn me into the sort of man he is. He– he must think I’m like him.”

Eddie snatches Buck’s other wrist, puts pressure into his grip until Buck relaxes his fist, fingers no longer biting into his flesh. “Even if he thinks that, he’s wrong.” Eddie’s tone is vehement, but turns to a scoff as he goes on, “And if that’s his idea of mentorship, he’s as bad at it as he is at being captain. You’re not supposed to coach someone into a version of yourself, you’re supposed to help them become the best they can be.”

“He definitely wants to coach me in his evil ways.” Of that Buck is sure. And it feels like certain doom. 

But Eddie snorts, amused at Buck’s phrasing, not seeming to believe that Buck is standing on the edge, about to fall into an irredeemable version of himself. “I’m sure. But he’s not going to have any success in that, Buck.”

“He’s not?”

“Definitely not. Sure, he’s going to give you terrible advice and you might have to go play golf with him, and do whatever other horrific bonding activities he wants, but that doesn’t mean he’s going to turn you into him. That’s impossible.”

“Really?”

Eddie nods. “He’d have more luck getting Chimney to agree you should always be allowed the clipboard during stock checks, and we all know how likely that is to happen.”

“Chim would never,” Buck says because, really, Chim would never.

“Exactly.” Eddie releases Buck’s wrists, lifts one hand to grip his shoulder instead. “I know it sucks right now but we will be rid of him eventually. And we’ll get Bobby back, your real mentor.” Eddie smiles at Buck then, a tilted, lopsided curling of one half of his mouth. “Not that I think you need mentorship. You’re pretty excellent just the way you are.”

Buck nods, hoping so hard that eventually will come quickly, that they get Bobby back sooner rather than later, and trying to believe in himself. He kind of has to when Eddie believes in him, because he will always believe in Eddie, trust in what he says. But he still feels the cling of Gerrard to him. He scrubs at his bare arms once more. 

“You’re cold,” Eddie says, misinterpreting the motion, perhaps purposefully so. “Here.” He tugs the hoodie he’s wearing up and off, holds it out to Buck. “Take this, you’ll feel better.”

“You don’t need to give me that,” Buck protests.

“Well, I am,” Eddie says, shaking the garment slightly, coaxing Buck to take it. He grins. “Besides, it’s yours anyway.”

It is, Buck realizes as he lets Eddie hand it over, the fabric familiar to the touch, soft and comforting. 

Eddie stands from the bench, shoulders his bag, smiles at him. “Have a nice time tonight. Tell Tommy I said ‘hi’.”

Buck nods as Eddie crosses to the door and leaves, calling a see you tomorrow back over his shoulder. Buck watches his progress out of the station through the glass wall. 

Once Eddie passes out the bay doors, out of sight, Buck pulls the hoodie on. And in it, still warm from the heat of Eddie’s body and smelling like a mix of both of them and the laundry detergent they use at the Diaz house, he finally feels clean. 

[chernychnyi]

reposting some PH favorites

[beescake]

two aliens in collabs w the mi6

[larrylimericks]

12Jul24

Three hundred and fifty-six days Since last we saw Harry on stage, But tonight a duet! For Ms. Nicks’ Hyde Park set, And a Songbird who’s now flown away.

[flumpermergen]

Boothill and Argenti are just the two different final evolutions of horse girls.

[polichinelle]

sum south park redraws 😋🧠🦠👍 (originals under the cut)

[hercarisntyours]

my heart is shattering into a million tiny pieces (i just want happy oplita)

[getvalentined]

A handful of work created for the Chaos Theory charity fanthology, because even if I can't draw I can repost work I'm still proud of.

[lesbiantriphosphate]

5 ghostbat breakup scenes + 1 where they un-breakup.

[jukeboxuranium]

bmc au where Michaels mom starts seriously dating another woman enough to introduce Michael to her and her daughter. and Michael goes because he’s super happy for his mom but hes a little nervous because his mom mentioned his potential stepsister being his age

and that’s the beginning of the au where Michael and Christine are step siblings