#or: the 'we' being destroyed by the 'me'

[wavesoutbeingtossed]

Can't not think of all the cost and the things that will be lost / Oh, can we just get a pause to be certain we'll be tall again? // Do I throw out everything we built or keep it? I'm getting tired even for a phoenix always rising from the ashes // Sometimes walking out is the one thing that will find you the right thing // I'm queen of sandcastles he destroys // You say that I abandoned the ship but I was going down with it // Our field of dreams engulfed in fire // The tragic fabric of our dreaming // Didn't you hear? They called it all off

[sciderman]

well - webtoons is over, gang

[thebrainrotsreal]

Drew this real quick because I fucking love these two so much ???? Especially Bee. I wish they interacted more so badly. PLEASE.

Also learning how to draw these guys.. slowly.

[trauma-bot]

sin eater

[nocek]

A little continuation in my Gabriella lives au that already happened here and here.

So my another little headcanon, besides that Miguel is awkwardly attempting here to sorta adopt Gwen and is trying to figure out how to convince her to go back to school, is the night routine.

So Miguel (who read too many parenting guides* to catch up quickly and not fuck up this precious child) strongly believes in leading by example. So since he wants Gabriella to have good sleeping habits after her nightly routine he also goes to sleep at sensible hour. But he can't sleep through whole night so when he wakes up at ungodly hour he does some light work not to wake up her.

Then he prepares breakfast and bento (he totally had to learn to cook, you can't convince me otherwise) and with time he started having a little fun with it and then it became kinda hobby. It helps him wind down so that after he sends Gabriella to school he is actually able to take an extra 1-2 hour nap.

(* as in parenting guides for child of Gabriella age, totally clueless what to do with a traumatized teenager but after the denial he probably will do the homework)

[ladystoneboobs]

such a shame that edmure hasn't yet gotten to meet the only member of his family truly proud of his great victory of the stone mill. so proud she even believed he could destroy tywin on an open battlefield too! ofc if she knew robb/catelyn/brynden blackfish's opinion on all that, she'd no doubt be influenced by her mother's and big brother's thoughts of the uncle she hadn't met before, but it's not like either is in any position to tell her now. maybe that's the one silver lining of the rw, if/when edmure and arya there's nothing to stop her congratulating him on his defeat of tywin lannister.

[creekfiend]

deeply underrated type of song for a band to write, imo, is "I hate touring, I miss my wife"

many good examples of this genre out there

[iamhereinthebg]

Gift

[charlesemersonwinchesteriii]

if Crozier had a nickel for every time someone close to him kept a mortal wound secret from him he'd have two nickels which isn't a lot but it's definitely enough to give him some very specific trauma for the rest of his life

[wyrmwright]

a day with the seraphim + ex-warlords

[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.

[huginsmemory]

Reading journal 3 again is a reminder that... Well Ford is kinda an asshole towards Fiddleford. It's not just Stan. Like he's so focused on himself and his project and his ambition that anyone/thing else blurs out (him disregarding Fiddleford's nervousness around the gremloblin because he wants to sketch it, and when it goes sideways, him talking about the safety of the project parts BEFORE how Fiddleford was doing in his journal, multiple times. Priorities much?) and he's demeaning towards Fiddleford's own project (which ends up being wayyyy more important then Ford's discoveries)... Like damn Fiddleford, u left ur wife and young son for this guy?

[stephicness]

An Eikon. A legend.

[rexonalapis]

it is very telling that average genshin players cannot comprehend seeing an actual mature, qualified leader that is actually good at taking her job seriously after meeting archons who either is still childish, clowning whimsically, or straight up incompetent.

[avocado62524]

[dykedvonte]

Ulysses obsession with the Courier is a special type of sad to me cause the Courier’s part was so important but so unwitting. They had no idea what was in the package they delivered and neither did he. Neither had an idea of what it could’ve done and the Courier was only caring out their job (mind you the Courier could be killed via notes in the express contract if they don’t). To them it was just another regular delivery to the divide and one that they likely thought would help, just like all the ones before.

It’s so tragic for Ulysses to hold so much ire to the Courier when it really was the case of it could’ve been anyone. Anyone could have delivered that package but they did and so he focused the blame on them and it destroys what he is trying to instill in the courier on a fundamental level.