#thank you for the mention!

[clownboybebop]

if you’re ever in the position to choose between giving up and accepting defeat, and actually trying to fight the ancient unkillable god that is about to peel apart reality like a string cheese, remember this: scientifically speaking, you might as well give it a shot!

1.there were trees at the beginning of the world! there were trees so long ago that they predate bacteria that causes wood to decay. when a tree fell, it would lie there in stasis and there wasn’t any way of breaking down wood xylem on a molecular level in that way.

2. it seems obvious to say, but wood eating bacteria are literally incapable of comprehending what they’re breaking down. It’s just not information conciously available to a microorganism. they don’t know what they’re deconstructing, where it came from, bacteria have no way to even fathom the existence of a tree as a concept.

3. Regardless of the facts above, the world we live in today is a world where wood inevitably decomposes

it is worth fighting the unkillable god no matter how pointless it seems. it is worth taking the risk even though youre trying to accomplish something impossible. the reality in which you live was also once reality in which trees didn’t rot. You live in a reality that allows for existence before the possibility of destruction. you live in a reality where uncomprehending microbes break down matter that is so far beyond the scope of their comprehension that it feels comical to specify something so obvious. you live in a reality that occasionally allows unshakeable physical truths to be altered with no warning.

It is worth fighting the unkillable god because trees are so old they predate the source of their destruction, and it still did not spare them. It is worth fighting the unkillable god because bacteria rots unthinkingly, because there is room in our cosmos for destruction without comprehension on the part of the destroyer. It is worth fighting the unkillable god because now and then reality retracts the promise of immortality without fanfare, and when that happens there is no mercy for the ancient. the unmaking is not softer for the desecrators ignorance. for all things, existence is endless until the exact point where it ends.

so you might as well try to kill the unkillable god. it doesn’t seem likely, but at the beginning of the world, trees didn’t rot. so you never know! you never know

[poorly-drawn-mdzs]

Happy one year anniversary to In Stars and Time!

[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.

[chloesimaginationthings]

Vanny finally meets FNAF tape girl in person...

[kjscottwrites]

HI 👋

Here's the tumblr post for it also!

To all my writers who have a tough time with smut terms and not knowing which ones to use, I have found the holy grail for us.

This reddit user took a poll of 3,500 people and went really in depth with asking their favorite terminology, along with actual pie charts on what the readers preferred to see in their smut.

Here's the direct link to the Google doc with all the info!

[ghostb0o]

On how they still think curly tried to commit with the crash:

[chilfucked]

is this anything

[inkskinned]

at some point it's just like. do they even fucking like the thing they're asking AI to make? "oh we'll just use AI for all the scripts" "we'll just use AI for art" "no worries AI can write this book" "oh, AI could easily design this"

like... it's so clear they've never stood in the middle of an art museum and felt like crying, looking at a piece that somehow cuts into your marrow even though the artist and you are separated by space and time. they've never looked at a poem - once, twice, three times - just because the words feel like a fired gun, something too-close, clanging behind your eyes. they've never gotten to the end of the movie and had to arrive, blinking, back into their body, laughing a little because they were holding their breath without realizing.

"oh AI can mimic style" "AI can mimic emotion" "AI can mimic you and your job is almost gone, kid."

... how do i explain to you - you can make AI that does a perfect job of imitating me. you could disseminate it through the entire world and make so much money, using my works and my ideas and my everything.

and i'd still keep writing.

i don't know there's a word for it. in high school, we become aware that the way we feel about our artform is a cliche - it's like breathing. over and over, artists all feel the same thing. "i write because i need to" and "my music is how i speak" and "i make art because it's either that or i stop existing." it is such a common experience, the violence and immediacy we mean behind it is like breathing to me - comes out like a useless understatement. it's a cliche because we all feel it, not because the experience isn't actually persistent. so many of us have this ... fluttering urgency behind our ribs.

i'm not doing it for the money. for a star on the ground in some city i've never visited. i am doing it because when i was seven i started taking notebooks with me on walks. i am doing it because in second grade i wrote a poem and stood up in front of my whole class to read it out while i shook with nerves. i am doing it because i spent high school scribbling all my feelings down. i am doing it for the 16 year old me and the 18 year old me and the today-me, how we can never put the pen down. you can take me down to a subatomic layer, eviscerate me - and never find the source of it; it is of me. when i was 19 i named this blog inkskinned because i was dramatic and lonely and it felt like the only thing that was actually permanently-true about me was that this is what is inside of me, that the words come up over everything, coat everything, bloom their little twilight arias into every nook and corner and alley

"we're gonna replace you". that is okay. you think that i am writing to fill a space. that someone said JOB OPENING: Writer Needed, and i wrote to answer. you think one raindrop replaces another, and i think they're both just falling. you think art has a place, that is simply arrives on walls when it is needed, that is only ever on demand, perfect, easily requested. you see "audience spending" and "marketability" and "multi-line merch opportunity"

and i see a kid drowning. i am writing to make her a boat. i am writing because what used to be a river raft has long become a fully-rigged ship. i am writing because you can fucking rip this out of my cold dead clammy hands and i will still come back as a ghost and i will still be penning poems about it.

it isn't even love. the word we use the most i think is "passion". devotion, obsession, necessity. my favorite little fact about the magic of artists - "abracadabra" means i create as i speak. we make because it sluices out of us. because we look down and our hands are somehow already busy. because it was the first thing we knew and it is our backbone and heartbreak and everything. because we have given up well-paying jobs and a "real life" and the approval of our parents. we create because - the cliche again. it's like breathing. we create because we must.

you create because you're greedy.

[rainbowfartblaster]

JAYCES HAND CUPPING VIKTORS NECK OH MY GOD I NEED TO DIE

[milkywayes]

interspecies awkwardness for breakfast a.k.a. 'I can't believe I made a comic'

[astearisms]

but it ain’t called love without a little tragedy 🍁

[throesofincreasingwonder]

You know what? I want a whole post for this:

Sex Repulsion is not the same thing as, or an excuse for, Sex Negativity

non-negotiable!

I am a sex-repulsed asexual. This means that I am uncomfortable and repulsed by the idea of engaging in sexual acts. This does not mean that I have an excuse to be repulsed by other people's sexual attraction or the right to police how other people engage in or express sexual acts or attraction.

Young queer people need to learn the difference between sex repulsion and sex negativity, and actively work to unlearn sex-negative attitudes. Asexuality, even sex-repulsed asexuality, is and should be fully compatible with sex positivity.

If you are uncomfortable with the idea of other people feeling sexual attraction or engaging in sexual acts that do not involve you in any way, that is not sex repulsion it is the cultural Christianity and you need to seriously work on that.

[poorly-drawn-mdzs]

Ooh, you want to know what happens at the gay bar run by ex-pirates, ooh...You'll just have to read Tiger Tiger to find out...

(Inspired by this Disco Elysium comic)

[21stcenturyschizoidfag]

[cardo-de-comer]

[boringwomanwithabook]

Your smile is so pretty! I wish we got to see it more often! 🥺

it's silly but you're sweet