#this isnt how things work

[yharnamsnewslug]

“You're doing the work for the far right when you call on all pedophiles to be executed on sight. Not even twenty years ago, gay people were mostly thought of as PEDOPHILES.” You do realize there’s a difference between actual child abusers and gay people being called pedos? Like yeah govt authorities should be held to a higher standard but stop telling individuals to repress violence against those who abuse and defraud and mutilate those weaker than themselves. This cowardly “guillotines are too uncivilized” mentality of many in the left is part of why we can’t get shit done, the cops and right extremists and billionaires aren’t facing nearly enough consequences as is for me to be cherry picking methods based on the treatment of the 5% or less of humanity who actively choose to take away innocent peoples rights, sorry if that is too ‘extreme’ leftist but I mean that pedo line was so fuckin out of nowhere

What makes YOUR violence different than anyone else's? What makes YOUR destruction more righteous than anyone's who thinks they're righteous as well?

I'm very sorry to like, say this and break your pretty little view of this neat little world where the good guys kill the bad guys and we all rise as the revolution happens, but evil people are people too and deserve a chance at redemption. Your thirst for blood may be as justified as the people around you see fit, but praxis is necessary for a world that is actually fair. If you can't see that, then idk, don't come to a post made by an anarchist who is more interested in actually asking about how to help the world as a whole instead of thinking of a guillotine.

I'd love to kill a pedophile with my own bare fucking hand, what I don't think is that I should get the right to do so, or that killing anyone is actually any fucking good on society, you know. Time and time again it's been shown that people do evil things (as beheld by a western, white, general audience) due to the environment that they grow up in. Evil behavior is learned behavior, and time and time again we've been shown that people are capable - and in fact, WANT TO - get better and reintegrate into society.

If you can't picture that? And the thirst for blood of a hypothetical person gets you all high and mighty? Then you're not a leftist advocating for a better world, you're just another person with a fantasy in mind.

I like praxis. I like helping others, including terrible people, so that the root of the fucking cause is severed. The world is made of terrible systems and I seek to end those systems, not the monsters that the machine churns out due to them.

Suit yourself, with your hands at the bottom of the chain instead of the top. Just don't call yourself brave and me a coward.

I don't think killing is brave. I think killing is just easier for you to digest.

[kagoutiss]

pelican town, ‘72

[puppyeared]

littlest furth shop

@laikascomet

[kaurwreck]

I think it's cute that Chuuya only chokes Dazai by digging his fingers into Dazai's carotid arteries, since that's generally considered "safer" (insofar as any strangulation can be safe) than applying pressure to the trachea, which risks crushing it.

(In 55 Minutes, Atsushi similarly chokes someone via their carotid arteries to knock them unconscious without damaging their throat— so we can assume it's intentional here too. Asagiri clearly knows the difference.)

[heartorbit]

the star you've longed for

[equill]

Reuniting with a distorted past.

Extra:(New personality tested gone wrong)

wanted to play with rin living in the aftermath aus aswell and had these drawings laying around to share so yay

Panel 1: Was buried alive.

Comic 1: Who are you supposed to be?

new friends

Comic 2: Misguided protection.

obito still sensing the warning signs of rin losing her temper. anyways they proceeded to be dragged into the ocean by rin like some sea monster

Comic 3: Finding out (Now what will you do?)

obito is harshly brought back from his delusions because now its not just kushina but rin too who he needs to ripped out the tail beast from

[elftwink]

to preface this post i am anti-advertising i think we should explode the entire industry but it's sooo funny when you people make posts like "and they don't even work!!" like. sorry to be the bearer of bad news but yes they do. that's why we have to put up with so many despite everyone hating them and thinking its annoying. because they actually work really well and make a shit load of money

[irisfixation]

stage hypnosis, but with the tone of a snuff show. none of that "woooow look at the Mastery of the Mind" type bullshit put on in carnivals and theaters; no, a performance with the vibe of something illicit hidden in an abandoned warehouse, behind closed curtains. for people that already know exactly what they are getting into.

a private showing to watch someone's sense of reality be completely broken down, their agency robbed away, their very self-worth inexorably tied to servitude. all while others watch on, peering on with barely-constrained hunger.

[ganondoodle]

it may not look like it but this took a long time to make

heres a rough ability breakdown for the totk rewrite project (i know its hard to read in the pic so let me clear it up and add some extra info)

theres two ability wheels now, sages are not frame rate killing glitch ghosts around you but their abilities are selected through the wheel on the right (pic is rough concept, it is clearer what is selected and what isnt + it has names in final version, symbols are placeholders as well) and bound to the player, when you acitvate it an aura appears similar to the arm abilities and their ghostly form appears besides you, charging or firing when you hit A while the ability is active

SHIEKAH ARM WHEEL

ANALYZE: zelda tells you info about targeted enemy/NPC, it gives you info about it and informs you more dynamically about important things than the foto-entries do

FOTO its fotos :) zelda joins selfies tho and does silly poses with you

REWIND: functions like the time recall in canon, but this time it is a more developed version of stasis instead

AMIIBO: its ... amiibo

HOOKSHOT: grab onto anything (perhaps restricted but not yet decided), you pull yourself+zelda to heavy stuff, light weight objects are pulled to you (including light enemies like bats or small slimes) grab onto something and hold onto it, usable like a vine (think, ww grappling hook) but with limited duration (battery power?)

AUTOBUILD: like in canon but it uses luminous stones if material isnt all there (or other material you put out to so its more versatile and you are more aware of what you have, no accidental spending then)

BUILD: similar to canon, but no glue (it kinda just fuses with no extra graphic unless pehaps like a bolt or sth), you put stuff together anyway you want; build is also used for weapons (no extra ability needed), you just build a weapon on the ground and pick it up afterwards (it has to be a weapon handle part and then sth else to it, otherwise it wont turn into a weapon)

INFUSE: infuse somethign with ancient energy, useless on normal objects usually(?) but reactivates broken or deactivated tech like elevators and doors; used to dynamically access caves and especially labs (labs serve a similar function as shrines, they are old shiekah labs that broke over time, puzzles are diverse things like traversal and little quests in which you help the researcher ghosts of the people that died in these labs (by the calamity, earthquakes, accidents, or killed by the royal army when their tech was banned and they refused to give it up)

SAGE WHEEL:

WIND GUST: same as in canon

LIGHT SHIELD/LIGHT LASER: zelda uses a shield of light to protect herself in combat, it does not affect the player (or perhaps only when you happen to be within range, which is small, this is more a character thing for her than useful for you) for the player through the selection wheel; aim and tell her to shoot a light laser like rauru did in the moldora cutscene in canon totk (a bit more dynamic) it deals very high damage to anything hit but has the highest cooldown of all abilities; deals extra damage to miasma enemies

THUNDERSTRIKE: similar as in canon, it charges through you however (so the charging only gets stopped if YOU shoot an arrow or get hit)

FIRE .. BOOM THING: similar as in canon but yuno has a little animation of daruks shield around him again :)

YIGA TELEPORT/KOGA CLONES (undecided yet): A: target a location in range and koga grabs you like a naughty kitten and teleports you both to the targetted location, you spawn in a little above ground giving you time to either perform a bullet time move or a sword attack from above B: summons a bunch of koga clones that serve as a distraction for enemies and combat support, they die in one hit (reference to kogas and monk moz kyoshias similar moveset; since there are no sage ghosts around you all the time and a max of two companions (zelda always, sage in sage dungeon) it serves as a replacment for that)

WATER ...WELL(?): sidon gives you a shield of water, elemental effect is applied to weapon and lasts as long as the shield does no matter how many times you attack; if it is hit by an enemy it breaks but you dont take damage; if the shield lasts it entire duration without getting hit it it grants you a percentage of your missing health back upon dissolving (ref to mipha healing powers anyone??)

im open to constructive feedback but overall im quite happy of makign it work out like that, although there are quite a few things that need polish i think this is both realistic and works well with what else i have been writing; remember tho, this is my rewrite so im undoing the things i dont like, like riju never being there when you need her bc she runs right up to the enemy and her losing her charge bc she keeps getting knocked over + overall uselessness of minerus robot (to me)

(totk rewritten project)

[jemmo]

Making sense of love for love's sake: the game

Despite all the things i absolutely adore about how the plot unravels and expands in love by love's sake, upon first watch, there's some things i couldn't piece together, which @lurkingshan echoes in their post:

'The way the author was messing with Myungha and forcing cruel choices on him really does not track with a desire to help him find happiness.'

And to preface, this is not something i fully get yet either. I think i'll need a good month and a sizeable reading list of relevant resources to understand just what/who this author/sunbae is and what his role is and how he is associated with myungha. But as always with the best shows for meta (aka bad buddy), as a plot unfolds, you can always find a better understanding by looking backwards and re-contextualising what you've already seen. so i watched ep 1, specifically the scene between myungha and his sunbae at the bar. And i will talk about how everything said in this scene has a whole new meaning now we know the full story, but for now i wanna focus on that question that they keep coming back to; "Then... will you change it for him?".

When you watch the show for the first time, your brain follows the simplest, most obvious version of the story you're being told, one where myungha has been pulled into the world of his sunbae's novel that's being turned into a game and given the opportunity to fix the thing he didn't like about it; making yeowoon happy, and thus you just think the rules of the game are imposed by the author, and so when these cruel choices first come up, you see them as the difficult roadblocks that are nevertheless necessary to any kind of game, forcing the player to make an impossible choice so that the game can continue in a certain direction and its only after that you learn whether it was the right choice or not, or there is no right choice, it simply changes the game you are playing.

And when its revealed what this game actually is, at first i tried to interpret these cruel choices, namely the choice between yeonwoon and myungha's grandma, and at best i could come up with the concept of this being a choice between staying stuck to the past aka choosing his grandma, even though he knows that choice doesn't mean she's safe bc he knows the future where he loses here, its an inevitability, but thats the small happiness he knew before it was taken away and thus that happiness is known and safe, theres no risk, versus choosing to pursue a new happiness, a love of yeowoon and thus himself, which he doesn't know, he hasn't experienced yet, and could be risky. Its a happiness that isn't guaranteed like his grandma, but its a happiness that looks to the future and has hope in it that he can find a new happiness to pursue despite what has happened in his past.

And that fits nice, okayish. But then i watched ep 1 and heard that question "Then... will you change it for him?" And watching through the rest of the eps, we come back to this scene at the bar and each time we get a new run up to the author asking this question, either new dialogue is added or we hear a different piece of the conversation entirely. It starts at the beginning of ep 1 as:

"Because Cha Yeowoon is the only one who's miserable." "It can't be helped that some people's lives are like that" "The fact that some people are destined to live that kind of life is what's vile."

Then a bit later in ep 1 we go back and its expanded.

"It can't be helped that some people's lives are like that" "The fact that some people are destined to live that kind of life is what's vile." "Why? Do you think you'd write it differently?" "Yes, definately. Someone like Cha Yeowoon, or someone like me with an awful life, can also be happy."

And then all the way on in ep 6, we get this new dialogue.

"I don't like talking about destiny." "Why?" "Because it means everything is predestined." "Then do you not believe in fate?" "Fate and destiny are the same. My grandma likes to say that. She said life is like a written book, and how you'll live and die are written in it. (...)I don't like things like this. Even if fate is already destined, I think it can still be changed. Otherwise, there's no point in trying." "Really? Then Myungha..."

And while we don't hear the author ask the same question, I feel like him getting cut off like that insinuates that the conversation leads to that same ending point. All that is to say, every time we hear this question being asked, its like we learn more and more about what this whole thing is, what the game is, what myungha is saying he will do by agreeing to do what the author asks. And every time, we see myungha being more defiant against the idea of yeowoon being resigned to his miserable ending. He starts off thinking that kind of life is destined, and while it's miserable, its not something he can fight. Then he says he'd want to write the story differently, bc yeowoon, or even him, could be happy. He challenges the idea that yeowoon, and thus himself, is fated to be miserable, and opens up the possibility for happiness for them both, but doesn't yet have the means or resolve to do it, its like he knows its possible on a fundamental level, but doesn't see it as something he can actually achieve. But then we circle back to the idea of destiny and books, both of which came up in the previous quote, and seems incredibly pertinent seen as this whole thing is about a novel this author has written. Myungha talks about how he hates the idea that life is a book where everything written is predestined to happen, from the moment you live to the moment you die. He says "Even if fate is already destined, I think it can still be changed. Otherwise, there's no point in trying." That vile way of life he described before that he said was destined, he is now saying it can be changed, and that possibility is now something he's holding onto, its what he sees hope in so that he can keep trying, bc now he finally is trying, he has the resolve, he's trying to realise this thing, this impossibility of rewriting the life he thought was destined through the way he loves yeowoon.

And coming back to those cruel choices, given this fresh context, it made me think. bc this isn't actually a game that myungha has been put into where the rules are dictated by an author completely separate from him. He said himself, he'd rewrite it, he'd change things for yeowoon. And when you start to think of it less as him fighting against a rigid, removed system and more like him being a character in a story he is trying to rewrite himself, that has both the author and his own limitations, or just his own if you're in the school of thought that the author is some figment or part of myungha himself or his conciousness, then you can start to see where these cruel choices might come from. They could be myungha, the author making edits to this new story, imposing his own doubts and limitations on himself. When he says he has to pick between Yeowoon and his grandma, what if that's the new author myungha seeing this story unfold and thinking no this isn't right, he can't have it all, i'm not deserving of this much happiness.

And what makes me like this idea even more is that when we get that second choice between ending after 14 days or getting 100 days back at the cost of resetting Yeowoon's affection to 0, that whole conversation happens in what I think the bar actually is which is this frozen moment in time where myungha is in the water with this extension of a voice in his head that is talking through these things. That conversation in itself needs its own post, but when you look at it both as a decision to break up or not or a decision to hold onto life or not, you can see how the author is just this soundboard relaying the decisions myungha is going through in his head. The author's voice is his own, weighing up his decisions. And if he is the author here, it only reinforces that the person making the rules of this game is him. You can even extend it further to the idea of the debuffs, where he puts in place this thing that makes it so he causes harm to yeowoon when he's around, and its only by garnering affection that he can prevent it. He gives himself a reason from the get go to stay away from yeowoon and reason it as him doing it for yeowoon's safety, when in fact the only way to make yeowoon safe is to increase his affection, which he can only do by being near him. Its a system that at first gives myungha a reason to stay away aka not like himself, but ultimately says the only way you're going to make yeowoon like you, or the only way you can like yourself, is if you accept risk. And that in itself screams to me of a myungha writing in these game systems that are trying to encourage his own-self love while falling at the hurdle of his own lack of self-worth.

The idea is still messy in my head even for me, but i just really like the idea that myungha could be trying to fix this thing both as a character and game master, and that both these versions of him have these flaws that manifest in their different ways to cause the events we see. It kinda is the definition of being your own worst enemy, the idea that in order to work towards loving yourself, the biggest obstacle you have to encounter is yourself, bc we are the ones holding ourselves back, making all these rules that make it harder to like ourselves and pursue our own happiness. The voices in our head telling us that we aren't good enough and aren't deserving are our own, and while the things that happen to us can inform what they say, we're the one's reinforcing those words. And what this show teaches us is that, if we're the one holding that pen all along, we can choose to change what those words are. If we make the rules, you don't have to create a game with concrete ultimatums, you can create a game where rules don't control you. Instead, you make the decisions, and you can make the ones that make you happy.

[ohgreat-moretapes]

Tim I noticed a lot of indigenous patches on your jacket, are you Native?

Idk what my dad was 'cause I never knew him, but yeah my mom is (or... Was.. I guess..) Muscogee, the tribe native to the part of Alabama I'm in.

If I remember correctly she came to Alabama from Oklahoma (where a lot of Natives were displaced to in the 1800s) to "get back to her roots."

But yknow, I was separated from her in childhood (which tbh is upsettingly common for Native families) and I was raised in a very white very Catholic asylum so I'm not as connected to the culture as I'd like to be.

-Tim

[deoidesign]

I've been told my comic feels like it was written by AI.

I suppose I'm not trying to be groundbreaking. I'm not interested in pioneering genres. I'm not writing for the purpose of literary analysis.

But written by AI...?

I'm already someone who has my humanity questioned. My identity erased. My existence disrespected. It could be worse. Anything could be worse.

But AI?

I spend weeks writing single scenes, toiling over the implications of single lines. I have goals. My writing has intent.

If you cared to read deeper, perhaps you'd see the themes. Maybe then you'd see the value. If you tried to analyze it maybe you'd see something there.

Maybe you'd see me.

Someone told me my comic seemed like it was written by AI.

And my humanity was denied one step further in that my voice was not seen in the work I've poured years of my life into.

[corntired]

Fanfiction is so goated actually

No monetary incentive, just writing in one's free time. Some incentive for like kudos and comments, because who doesn't want to hear that someone else enjoyed what they wrote. Just writing a story that is good and/or enjoyable, no real-life pressure to keep it going because god forbid you and other people are depending on it financially.

Writing a story because you want to write a good story, so you can write what they want the way you want, at a pace that is realistic for you, with exactly the plot pacing you want there to be.

[puppyeared]

Alex and my farmer Cosmo (he/him)

[kaeyachi]

Kaeya had always been an efficient and hard-working individual (he had to be to support Diluc in the background as his brother rose thru the ranks after all).

He has so much free time because he completes all his work way ahead of schedule. And if he still has enough time, he adds more to the workload in secret.

And once all of that was done and over with, he makes time for everyone. He has to. He feels as if every moment has to be given to someone else.

No one knows how he does it. No one has to know.

Every mission has a dozen strategies in line, and every battle plan is made with efficiency in mind. His perfect record will not be tarnished. He can't risk it (even if it baffles others that he would willingly activate a ruin guard just to prevent a failed mission. Jean disagrees with his methods, but Kaeya can say that the results say otherwise)

He needs to be quick.

Efficient.

Perfect.

And so he comes and goes like the wind.

Kaeya values time because he knew every second counted. He can't just stand there as if he were frozen. Time could run out in an instant.

Kaeya had only been late once his entire life.

He'd rather he never be late ever again.

It took one day of being of being imperfect for everything to fall apart. On that tragic day...had he gotten there on time... then maybe...

.

.

.

" Come on, let's get moving, traveler. We're not frozen in place after all. " Kaeya teasingly says. He stiffles a giggle at the traveler's exhasperated sigh.

"Yeah yeah, we've heard enough of you calling us a slacker. Can't you be a bit more patient?" Paimon whines at him.

Kaeya snorts, but acquiesces, hiding the shaking of his hands at the thought of being idle.

He imagines hearing a clock ticking.

Kaeya knows that that is his own problem. He tries his hardest to relax as he waits for the traveler to finish whatever they're making on the alchemy table because, seriously, it is supposed to be a relaxing day. There's nothing major going on, and his schedule is once again empty as intended. What's the hurry?

Kaeya taps his foot on the ground as he waits. He wishes he could take his own damn advice when he tells others to relax.

[jazzzzzzhands]

His handwriting isn't pretty, but he isssssss ;w;<3