#obligation made me do it

[pixlerelish]

💘 Rahul Mehra moodboard for @laughableillusions 💘

[secriden]

There's something so wondrously momentous about Style only saying his "I love you" now, when he realises that all the secrets he was keeping from Fadel are already laid bare.

He says this a significant time after Fadel has said his (and, in the context of the wider narrative, after Kant and Bison) and for the character we have seen as prone to glibness, exaggeration and flippancy with his words, that feels incredibly intentional.

Because this confession was the only truth Style had left to give.

Fadel is finally done playing his (poorly thought out) game, done with his (already cracking at the seams) charade, done with giving Style more opportunities to pull at his heartstrings with his earnestness lies.

Fadel is demanding the truth, and tells Style exactly what truth he wants to hear.

And the thing is, there is truth in this: Style's motivations at the start were wrapped up in a deception specifically targeting Fadel.

I know we, as a fandom, harp on about Style "doing all that for a car", but something I would like us all to revisit is what Kant actually says to Style when he first asks Style to "hit on" Fadel:

Kant: You need to help me. You know I don't usually feel this way about someone. And then shortly later, after Style refuses: Kant: Hey, hold on. (Kant grabs Style's hand.) What do I have to do to for you to help me out? Should I pay you?

(Please forgive my inability to gif and watch Style's reaction to this.) Style is visibly surprised and intrigued. Kant seems to be serious about this request, and I think Style decides to test just how important it is to Kant by asking for the one thing he knows Kant will not give up.

Just look the expressions on Style's face. We didn't have the context of knowing Style back then as well as we do now, but this is the look Style gets when he's throwing out a challenge (to Fadel), when he's trying to ferret out some new insight (from Fadel), when he wants to see how someone (Fadel) will react to whatever outlandish (provocative) thing he's said or done.

And when Kant agrees, Style even checks again if Kant is serious about going through with it -- and it's this that convinces Style of the sincerity of Kant's request.

Yes, the car was a factor, and yes Style also wanted revenge and to humble Fadel, but at the centre of Style's motivation has always been a plea for help from a friend.

In episode 1: Kant: Under one condition. You have to make him head over heels in love with you. Style: I'll do it. Not just for the car, but someone like him needs to be humbled by someone like me.

But in agreeing to help Kant, Style really was damning Fadel to play the fool because Fadel's feelings (his heart) was a commodity that Style was fully willing to play with back then.

And there are aspects of truth here too. When Kant tells Style about Fadel (and Bison) being hitmen, Style decides he's done and wants out. Kant reasons that it's more dangerous for Style to break up with Fadel now, because it would look suspicious, but crucially this isn't enough to convince Style.

So Kant, once again, makes the plea to friendship and to his need for Style specifically, and it is this that causes Style to finally cave.

But in doing so, the things that Style agrees to are:

Kant: Work with me. Help me get more information about them. Once we get that, it's done. Captain puts them in jail, and we walk free.

So while Style may not be directly working with the police, he is working with Kant who he knows is working with the police. By proxy, Style is involved with the police, but in front of the empty pool, he makes it clear to Fadel just what that involvement actually entailed:

Style: Kant asked me to take you out so you could leave him alone and he could freely investigate. Fadel: What did he get out of it? Style: I don't know! That ain't my business! All I was asked of is to take you out.

And this, too, actually is true! Since finding out, Style has literally not discovered a single thing that could be remotely useful to the police investigation:

He's found out that Fadel likes to gym at night. He's found out that Fadel uses tenderloin in his burgers. That he runs in the morning before going to the market. That he attends a grief support group.

But these were all things Kant also already knew and could have given the police if it were in any way useful for the investigation.

Even his attempts to get Fadel to confess to his "other job" (something the police also already know) were clearly in service of wanting to save Fadel and/or convince him to give up the life of crime in the hopes that Fadel wouldn't have to be sent away from Style to prison.

But the truths are tangled up in misunderstandings and Fadel's own assumptions now; and also further tainted again by Bison's own hurt over Kant's betrayal. And Fadel literally cannot see -- because his eyes are filled with tears [see: @thisautistic's gifset + my tags] (good grief, Joong, the actor you are) -- the honesty Style is bleeding from the marrow of his bones.

Because the truth is that along the way Style has also found out that Fadel is a good older brother. That Fadel is still hurting and bleeding inside because his parents were murdered. That Fadel wears his favourite bands' make up in secret because he cannot bear the thought of other's judgement. He's found out that Fadel misses Style, wants Style, and hates himself for it. That Fadel is afraid to love. That Fadel is acutely aware of his own darkness and cannot comprehend an existence that would not involve someone (Style) rejecting it. That Fadel does not believe that 100% trust is possible, but that he will get himself drunk so that he can offer Style as much vulnerability as he can physically make himself give.

Because the things that Style did find out were all the ways Fadel's heart is soft and tender and precious and worthy worthy worthy of all the love Style has to give.

And Style will stand firm on this truth because this is the only thing he has left to give Fadel.

Because Fadel knows, now, all the ways Style was unworthy of his trust, but crucially has not figured out the most important truth:

Because in all the ways that Fadel has ever known he should want, Style actually IS worthy of his trust. Style knows the truth Fadel is hiding, knows what this man is capable of, knows the danger of being in his arms, knows the likely nonexistent future Fadel has to offer him -- and wants him anyway. -- Quoted from my meta post on the "One day, I'll be your 100%" line.

And as I alluded to in the tags on @yinwaring's insightful post: Style fully embodies the belief he espouses; because even in the face of a gun to his head and Fadel threatening to kill him if he will not admit that this, too, is a lie, Style refuses to give Fadel anymore dishonesty.

And this is because Style knows that the truth matters; now more than ever.

Because Style has had days to grapple with his worry after Fadel's disappearance. Style has had a week's worth of checking the diner only to face the regret he feels about not handling things differently. Style has had to recognise the terror of thinking he had lost something he never even knew he wanted in the first place.

And while Fadel had his realisation back in episode 4, Style never had to face this until Fadel vanished from his life and left a gaping hole in the shape of the absence of Fadel's smile.

So if this is what it takes, if this is the penance that Fadel demands of him, then it is a price Style is most happy to pay.

Because Fadel does not realise is that Style, too, now knows what it means to lose a love worth fighting for.

And in the war Fadel now feels compelled to wage against Style (because, yes, that's definitely still going on), the one damning thing Fadel has failed to recognised is that his only true weapon was leaving Style behind.

Which is why Style has already won. Not because Fadel's walls have crumpled again or because they don't still have a ton of things to talk through and work out (they really, really do), but because Style has already been stripped bare (and I mean this literally, like we all recognise THAT was the reason why Dunk is only in boxer shorts in that scene, right?? Like, I know we were joking about it, but seriously, that was so very intentional and a visual representation of Style being both stripped and, most importantly, freed from the lies he felt compelled to tell Fadel) and this means he has nothing holding him back.

And Fadel can wield his gun and his words and his anger and his hurt, but Style will die on the hill of the truth that he knew and understood and chose to love Fadel anyway, and saved this last confession for when he knew he could tell Fadel the truth without any lingering deception; and when the time is right, when Fadel is finally ready, Style will be there to welcome him back with open arms and, without any hesitation, an open heart.

[transmechanicus]

The transgender contrast of loving your parents but also for Trust Reasons longing for an additional external authority figure you can count on more unconditionally to support or protect you that totally doesn’t risk becoming a kink

[drawingcrows]

Thank you, Kikiyama

[demigod-of-the-agni]

they all get called pullingo and are kicked out of the city

Pavitr and Bhim Rajeshkumar and Karna Prabhakar.. the spider bros...

[akkivee]

still kinda not over ichiro taking a bite out of his hamburger in the leaders bonus hypster track and going 'it's so good!! it tastes really meaty!!' lmao

[hplonesomeart]

I can’t think of any funny quips to put as description for this one so uh- suppose this time around I’ll just let the art speak for itself lol

Enjoy the daily dose of fanart while it lasts because I can’t quite guarantee I’ll be able to keep up this speed throughout the upcoming month. But I’ll sure try to! Thank you all for the support <3

[carnagesaw]

i really enjoyed kirimi hot dog (og twt from axez)

bonus

[transannabeth]

like. do you ever think about how weird the mcu was to their actors around infinity war and endgame. like that was weird. what do you mean some of them only got sections of scripts and filmed scenes in parts and didn’t always know what character they were talking to. that’s weird.

[silverskye13]

In which there is a gift.

[schnaf]

23 days until gaon's 23nd birthday

day 23 aka THE COUNTDOWN IS OVER - gaon's past birthday brrrr ppoppos

[bacchuschucklefuck]

as an artist who just wants to get to drawing the pretty clothes and is terrible at posing i am forever enamoured by your poses..... they have so much energy and movement!!!

was this via art study, a general knack for anatomy or do you just enjoy posing specifically? and do you have any tips?

(i was just wondering bc your pose work is always so dynamic :D (your lighting also slaps /pos))

this is one case where it's a secret fourth thing lol. I have never successfully studied a single thing in my life, I am not at all a naturally "gifted" artist (and as well I reject the idea altogether), and posing has never jumped out to me as its own task in drawing at all! the way I do anything art-related, and posing specifically, is a lot more mechanistic than how it's perceived I think; I've just assumed this came as a function of how narrative-forward I see art, and how much I focus on comic work.

what folks talk about as "posing" I usually think of in two terms: composition and character acting. composition is how the figures fit into the intended frame, and character acting is the actual motion that'll be portrayed. you can see how that logically works itself out! there are more words than stars in the sky written about composition already, I honestly don't think there's anything I can say that'd be more useful than words from artists like thomas romain. character acting is itself more a matter of writing than visual art to me; you've got a guy and they probably do things, you draw them do those things, that's really it. the rest of it is just, figuring out weights and accenting in a scene, shape language, line flow, discipline-specific stuff like that; since no matter what I'm drawing I always mentally think of it as a comic thing, I usually try to insist on the strong points of that medium, one of which is colloquializing shapes to imply the entirety of a movement through a single panel. I don't always succeed at this! I hope to do better in the future. but it's how I approach this matter.

I think sitting down with your art to think about like, how you're approaching it and what you're in it for would help with troubleshooting a lot of the times. it's helped me before! I'm a completely hedonistic artist, I don't draw what I don't want to draw. what is it exactly about posing that's giving you a hard time? is it something you can do without? usually it is. if it's the thinking up a pose part, you can copy poses from high fashion magazines and sewing pattern models and just photos you find. if it's the fitting a pose into a nice looking complete picture part, don't make it a nice looking complete picture, do it sketchbook style, collage a buncha stuff together. if you never want to think about posing ever again, that's what stock bases are for! make urself some or get some from an artist and just draw the nice clothes.

if ur committed to figuring out posing and wanna ease urself into it, I find prompt lists are pretty good for giving ur brain a ground to build on top of and start asking questions. it's also a good exercise to sit down before drawing a thing to ask urself what u want it to be like, genre-wise: is it gonna be a comic cover, or a family photo, or a professional photoshoot, etc. these things have their own visual languages, and keeping that in mind will direct u on how to frame and choose the movements for ur piece. or, if that's overwhelming, drawing characters running is always good! there's plenty of character acting involved in there, it shows off the physicality of the clothes nicely, and it's decently easy to frame.

(I am similarly mechanistic about pretty much every other aspect of drawing lol, lighting/shading included. fully a case of "if it looks alright I put it in, if it doesn't I don't do it". I still struggle with it every time I do colors, but what can ya do. if the piece asks for it that's what it'll get. thank you very much for the nice ask!)

[youareinlove]

.

[cringefailfagcat]

gonna crawl into a hole why does no-one want to go to my birthday

[mars-ipan]

Hi, it's me again. I decided to follow your advice and try to seek out your 'actually serious' analysis, which led me to your komahina bible, the most easy to find compilation of this supposed analysis. Here are my thoughts-

1) Overview

- Most of this 'analysis' isn't analysis but a summary/overview of the game. It's not so much a 'bible' as a children's book summary of the bible, which at that point it would be better to play the actual game itself. It's clear it was made for a presentation on the 'uninitiated' if you will, but if that's the case, you shouldn't be advertising it as the literal bible on the subject.

- When you are not regurgitating points from the game beat by beat, the screen is halfway filled with either manga panels or fanart. My gripes with manga panels are, that even though they do depict the events of the game, the way they can be depicted by the artist can be pretty subjective due to the freedom of the medium in comparison to sprites, and that the role of one character can differ depending on whose pov manga it is (chiaki vs nagito). Fan art therefore should be scrutinized even more since it fully depicts abstracted and even the fandomified version of events, leading to situations where it's either unclear what is actually happening or betrays your more shallow view of the characters (i talk abt this later.)

- When you do use pictures directly from the game it's either a possible screenshot from a memorable moment or dialog from the wiki, limited almost exclusively to the freetime events. This leads me to believe that you haven't actually played the game(there are other factors hinting towards this) or watched a Let's Play of it, but going off of merely information that's already widely known and circulating within the fandom, and easy to search on the wiki.

2) Incorrect/Questionable information

Here I'll compile a lot of information that's either plainly wrong or baffling to having come to that conclusion , leading more credence to the theory that you either haven't actually played the game or your memory of it isnt as good as you think.

-"if Nagito's plan went off of without a hitch, he would have killed anyone that was closes to him at the time" plainly wrong. Komaeda's goal from the start was to make himself the victim, so by dying this way his death could have meaning and help the others. For somebody that keeps talking about Komaeda's "Martyr complex" this is truly a weird take to have.

-"Nagito...got the nurse for sure sick" is there any proof that specifically points to Komaeda for this? I believe the takeaway should've been that Mikan got sick because she was around all of them AND she overworked herself trying to take care of them. Is this just an awkwardly phrased attempt to make more of a connection between Tsumiki and Komaeda? I don't think you needed more than the ones that already existed.

- "he helps Junko brainwash a bunch of students" Kamukura at neither point in the anime or Danganronpa 0 was ever specifically implicated in the brainwashing. He never 'helps' Junko, especially in that way. If you meant, participates in the student council killing game, you should've said that, but even then his agency and influence is limited.

-"they found the Remnants and captured them!"...no, they didn't. The Remnants presented themselves as survivors and the Foundation took them in. They handed themselves over willingly. It was a pretty big piece of the final part of the game...

3) Komaeda and Komahina

- "Nagito's habit of putting people on pedestals" Where. Sure, he certainly parrots the belief that the "Ultimates" as a unit are at the top of the food chain and should be prioritised, but its clear that doesn't exactly carry over to his classmates like teruteru, Kuzuryu and even Souda sometimes. Just because of a few positive comments refering to them as Ultimates and the trial which he literally breaks down in, this is a hard position to support.

-"Nagito manipulates Hajime into playing the game" How. He literally just told him to play it. How is that manipulation. Also, isn't it a bit unfair to put the blame on Koizumi's death to him as well? I think they were multiple factors playing into this, but sure, how else are you gonna convince people that Komaeda is a twisted fucking cyclepath that loves leading people to their deaths.

-The way that you say the Kuzuryu/Pekoyama relationship mirrors Komahina as 'I will give up my agency for you/ I just want you' is also confusing. Unless of course you mirror Peko's struggle with her agency and harmful beliefs the clan enforced on her with Komaeda's own belief system, in which case, idk man, i feel like you are giving a bit too much credit to the supposed severity of Komaeda's views and trying too hard to make Hinata the 'rational' and 'grounding' one in the relationship.

- Again, the amount of times you refer to Komaeda as a freak for doing something 'weird' or even being drawn weirdly doing it , mostly in the manga, makes me belief this isn't just an affectionate tongue in cheek joke as you claim, but an actual way in which your interpretation of Komaeda is colored.

-"it doesn't excuse his nonchalance towards tragedy and murder but explains it" what needs to be excused here exactly? Komaeda doesn't need to immediately bawl his eyes out when someone gets killed or else he's suspicious and...bad? I am confused with what you mean by this. If you mean that Komeada shouldn't be so nonchalant about murder because he's constantly trying to kill someone else, that is plainly incorrect and i explained above why.

-Posturing about Komaeda's 'black and white thinking' while in the next exact slide you show fanart of him smugly explaining he has Borderline. First, i want you to explain to me the black and white thinking in a way that isn't "oh, the friends and classmates i previously liked turned out to be fucking terrorists". I think that's a pretty justifiable situation for your thinking to go from white to black. Also, if that is enough credence to assign Komaeda BPD, you really don't know how BPD works, especially since you assigned it to the one character you constantly talk about being a freak (and also lust...pseudo lust? after).

- The insistence with Hinata not really understanding Komaeda and running away, even if he wants to understands him is pretty suspect, especially when compared to the game. Hinata is confused and overwhelmed yes, but it's not just that he wants to understand Komaeda but that he still feels fondness for him, he still follows his advice and puts his faith in him and the way he mourns him in Chapter 5 is also pretty indicative of this. It's just another part in the pattern in you making Hinata the confused, rational, 'morally pure' man that's 'tempted' by 'corrupted' manic pixie mentally ill demon Komaeda. Something tells me your priest AU isn't so much playing with dolls as much as...what you actually believe these characters dynamic is.

- The whole page where Servant is basically made into a joke about how hot and sexy and freaky he is doesn't help your point either.

-The most damning evidence of course is a drawing in the second to last slide, wherein Komaeda is supposed to be analogous to 'guy who has something wrong with him' (distorted, freak, mentally ill) and Hinata is analogous to the guy that 'is the only one that understands them' (the rational one, the relationship of understanding doesn't go both ways).

- Your slide with sources is pretty vague and unclear. Also the way that you credit "Your superior mind" before the game itself when all you've been doing is repeating and misinterpreting the plot of the game is ...ironic

So yeah, that's all I got. Feel free to 'debunk' my observations as much as you please, I just want to know if there's actual basis behind everything you just said or I should go digging for 'the actual serious analysis' yet again.

i think you forgot that fandom is meant to be fun

[serpentface]

HOSPITALITY AND GIFT ECONOMY IN THE HIGHLANDS: A POST.

Rites of hospitality are of key importance and taken very seriously in this cultural context, especially given the frequency at which individuals will be traveling (as herders, or along intra-Highlands trade routes). These rites exist as the concept of 'Shiab's peace', a divinely mandated contract of hospitality under the watch of Shiab, goddess of the hearth and of travelers. This is invoked with a standardized verbal exchange with a member of the household- the prospective guest will greet with “I would ask Shiab’s peace of you”, the host, if accepting, will respond with “You will have Shiab’s peace here.” While not explicitly an oath, it is understood as such and ascribed the same profound significance (both social and spiritual consequences for violation).

A potential host can refuse (though usually doesn't, hosting is an honor and can be a power play), but the mere request for Shiab's peace imbues temporary spiritual protection on the asker- one’s most loathed enemy must at least be allowed to leave unharmed, even if denied guest rite. (This isn’t a get out of jail free card, a request for Shiab’s peace is a request for hospitality, not mercy, the goddess will not be protecting you if you attempt to use it in the midst of combat or etc).

Once mutually invoked, the expectations of Shiab’s peace are as follows:

The host should provide for the guest’s basic needs generously within their means, and allow them to stay for a night and provide them a place to sleep.

The guest and host much each provide their names and titles, though the guest is under no obligation to explain the reasons for their presence and cannot be asked.

The guest must accept all food offered (and gifts, though this is not specific to Shiab's peace and rather part of a wider practice in the gift-economy).

The guest must ask for nothing, and take nothing that is not offered.

The guest is under full protection of the host, and vice versa. Theft, assault, or murder committed under Shiab's peace is a grave broken oath and one should expect very severe consequences (both supernatural and mundane, should others find out).

The guest (unless offered continued hospitality) must see themselves out after sunrise the following morning. They cannot be made to leave early.

If a guest is offered continued hospitality, they should offer to participate in any needed chores (the host can accept or decline at their discretion).

The protection of Shiab's peace continues until the following sunrise after the guest leaves (ie a host cannot pursue their leaving guest to steal from them)

Shiab's peace is universal and transcends conflicts, and once invoked cannot be violated under any circumstances. Members of a rival clan or of a tribe yours is at war with, a foreigner you're suspicious of, etc, are all fully under protection (and under their full expectations as a guest).

A guest that violates their expectations can be made to leave, as they have broken the oath and are no longer protected. (in practice, many hosts will let MINOR violations slide unless the guest is like, really annoying or godawful)

The host, in practice, will usually be the wife of the household (if present), as the wife is considered the owner of a family’s home, land, and property, and has final say on how resources are used and given. The host is expected to provide the guest food and drink and a place to stay for one night, and supply any other obvious basic needs (ie: if the guest’s clothing is worn or wet, they should be given fresh clothes). These gifts should be generous within one’s means, and in practice will usually be a square meal, mead/wine/murre, multiple rounds of tea, and a breakfast the following morning. A host that does not provide expected basic needs within their means is in violation of Shiab’s peace and has broken their oath, and should expect consequences.

A guest is not literally oathbound to practice ideal social etiquette, but it's a cultural expectation (ie, the guest should finish all their food and save some bread for last to scoop up anything left in the bowl, not a hard requirement but good manners). They are fully expected to accept any and all gifts offered. A guest should neither take nor ask for anything not freely given (all basic needs should have been met by the host to begin with). It IS acceptable for a guest to imply further needs in conversation, so long as they do not directly request them: ie mentioning in conversation that their leg is hurt and they can only hope their travels do not make it worse, as it would take days of rest for it to heal (“I need to stay multiple nights, can we work that out?”), or mentioning that their pack khait has gone lame and cannot carry their supplies, they fear they will have to leave both animal and supplies behind (“Will you lend me a pack ox/khait?”). These roundabout requests are still at least expected to be Truthful in nature (and all of this is happening under the watch of a deity, there may be consequences for lying).

Hosts may give extra gifts at their discretion- these can either be charitable, or indebting. A charitable gift will be given with further verbal declaration of Shiab’s peace, which establishes it as an act of goodwill and that the guest is not in the host’s debt. An indebting gift will be given with no declaration of Shiab's peace. The guest is obligated to accept either.

Indebting gifts are a part of the wider political and economic structure of the Highlands, a separate (though linked) practice to guest hospitality. The vast majority of the economy relies on trade of goods, with an additional dimension of this gift economy. Being able to give gifts is a display of wealth and power, establishing one’s family or clan above another in a social hierarchy. The most powerful are able to give the most extravagant gifts, and will have many other clans/families considered perpetually in their debt if the gift cannot be met with one of equal or greater value. This debt is immaterial- it is not actually Expected to be paid (it’s better for the gift-giver if it ISN'T), rather it establishes/reinforces one's place in a power structure and regulates the conduct of the gift receiver (it can be evoked to call in favors or settle disputes). A debt held by a single person translates to their immediate family, while a debt held by a clan matriarch/patriarch translates to their entire clan.

Cattle raiding is both a practical means of resource acquisition and a part of this wider political schema, and often figures into the gift structure. Stealing cattle and then giving them back as a gift is a power play, it declares ‘our men are better than yours (they’ve stolen the cattle successfully) and we are wealthier than you (we don’t even need them)’, while also settling the score and dissuading retaliation. Stealing cattle and then giving MORE (or different, higher quality) cattle as a gift is a massive power play, declaring much the same things to a greater extent, dissuading retaliation, AND putting the theft victim/gift recipient into the debt of the thieves.

Power structures within tribes are passively enforced by this gift giving structure- the ruling clan of each (which in practice usually controls the best agricultural land and largest herds, and is most involved in trade) will provide gifts to all clans subservient to them (and particularly generous gifts to potential rivals), keeping them indebted and lower in the social structure. Ruling clans who lose the ability to afford to give gifts, or find themselves indebted, will often be usurped (not strictly as a result of their debt, rather that losing ability to stay on top of the gift system generally occurs in conjunction with a diminished material power/wealth).

These combined practices result in very complex, often aggravating political power structures, but reduce the frequency of open conflict between clans within a tribe (which are frequently at odds), providing other avenues for power/material acquisition and for the settling of scores. Most open conflicts occur between clans within separate tribes or entire tribes (less likely to have secure power structures enforced by gift/trade), though practices of raiding and combat-sport provide some levels of tension release via less-violent score settling.

Other dimensions of the gift economy are not directly indebting (in not establishing a power structure), and considered paid via mutual partnership. Alliances between clans of different tribes are usually established in continued gift-giving (declared explicitly as gifts of allegiance), with the implied payment being mutual material support (supplying warriors, sharing grazing land, open trade, etc), which is usually reinforced with binding oaths. Marriages also involve gifts. A bride price is fairly standard (which is a straightforward payment for property and assets the wife's mother will be passing into her son-in-law's care), and a husband who cannot supply one is considered in his mother in law's debt (and may not gain full integration into the family until this is paid). But as supplement to the bride price, members of each family will freely give gifts with no expectation of the value of their gifts being matched (declared as such by being specifically described as a gift of marriage), as a means of further allying both families and a show of goodwill.