#we all know the deal by now

[sniffle-bird]

“eurylochus said ‘i’m so sorryyy’ to odysseus in scylla as if that would make him opening the wind bag okay” oooo we’re so close!!! he’s actually apologising to his friend and taking accountability for his actions 💞 which he tried to do right after the wind bag incident but was shut down.

[poorly-drawn-mdzs]

Out of sight, out of - wait.

[First] Prev <–-> Next

[theelmoarchive]

An extreme cringe Jam post because ‼️‼️‼️ i am free

Id like to remind everyone that they are cringefail losers 🎉🎉🎉

Also please Ignore that I mispelled mischievous

[joejhang]

fanon neil vs canon neil

god i am so FUCKING done with the aftg fandom mischaracterising neil i'm literally writing fucking ESSAYS about it and pacing circles muttering about it under my breath it's driving me up the goddamn wall so i am going to word vomit brain dump yap about all of it in an incoherent tumblr text post. spoilers ahead continue at ur own risk

i've said it before and i'll say it again I HATE FANON NEIL. istg this fandom LOVES to mischaracterise neil and ykw i think i know why. they take the smallest most unnoticeable parts of his personality and then exaggerate them to disproportionate and unrealistic levels in order for him to fit their idea of a conventional, stereotypical and desirable main character. they smooth out his jagged edges and prick at his "insecurities" to make him more likeable, more acceptable and more conventional of a narrator/main character and in doing so erase so fucking much of his personality and draw as a character that he loses just about all of the flavour that made me love him in canon. and also especially within the andreil dynamic this fucking fandom just loves to tweak neil's character until he's basically unrecognisable just so they can cram andreil into some preconceived socially acceptable clichéd ship dynamic. because andrew is perceived as the typical mysterious, moody and grumpy love interest therefore neil just has to be the sunshiney smiley blushing cute softboy in exchange. yeah because all gay ships have to be grumpy-sunshine and black cat-golden retriever dynamic. i raise you: andreil's dynamic doesn't work because of their differences it works because of their similarities. if u think about it andrew and neil are honestly very similar people in the way they think and process emotions and events and that's what allows them to connect and understand each other. andreil would not work if neil was super sunshiney and a blushy soft mess and andrew was the stoic, never smiling, unemotional stone of a guy the fandom loves to make them. just accept they do not fit into the conventional boxes laid out by booktok for what gay ships look like. i fucking digress.

neil is also just insanely mischaracterised on his own. people love making him very jittery and insanely oblivious and easily flustered with a generous serving of self-esteem issues. i hate to break it to you guys: neil josten is not insecure. i don't think there's a single instant in the series where neil is actually insecure about anything. as a narrator, person and character, neil is very realistic, pragmatic and logical. ruthlessly so. i'd say on this, neil is even more cerebral and unemotional than andrew is. neil is very straightforward and realistic abt himself in his narration and i'd honestly say his opinion and views about himself are one of the only things in the story that isn't affected by his narrator bias. if neil is anything, it's self-aware. i'm now going to present all my fucking evidence.

neil doesn't have a sexuality crisis. literally in the entire series never once does he even question his fucking sexuality. it's implied he's already figured out he's aspec/demisexual from the moment nicky questions him about his sexuality. neil says "i don't swing" and follows up in his narration: it wasn't quite the truth, but it was close enough. and later when he starts his relationship with andrew he doesn't ever question the nature of his feelings towards andrew or even anyone else and is pretty clear about it when andrew breaches the topic: "kissing you doesn't make me look at them any differently" so yeah neil is pretty certain and aware of his sexuality.

neil isn't insecure about his appearance. i feel like this is gonna require a bit of work to explain but hear me out. it is mentioned several times that neil has a complicated relationship with his appearance because he looks so much like his father/abuser. this is obviously understandable; you wouldn't want to look into the mirror and see the man who gave u all ur scars. that being said, neil doesn't have a lot of strong emotions regarding his appearance. most of his feelings of panic tied to when r*ko dyed back his hair is because of how it would be a lot easier for his father to discover him now that he has his original colouring back. i'm also pretty sure neil knows that he's cute. like it's never explicitly stated but i've reread aftg maybe fifty times and trust me i can read between the lines. neil explicitly says that he has a "love-hate relationship with his reflection out of necessity" and while the "hate" part of that statement is obvious: he doesn't like that he resembles his father, i've sort of just accepted that the "love" part of it is that he knows he's kinda fine. it's not brought up by him at all bc neil as a person is not one to linger on people's appearances almost at all. i think the only people to get a decent amount of lines dedicated to their appearance in the narration are allison and andrew. but yeah i genuinely don't think neil thinks he's ugly or unattractive and he's probably definitely been told how cute he is by others enough that he doesn't harbour any delusions about how he looks. regarding his scars, he never expresses any insecurity towards them and how they look, he just doesn't like them on display understandably bc of how acutely they point to his past and childhood that he's trying to hide.

neil is actually very very confident in his own and other people's abilties. this is esp regarding exy. he knows he's good at the game. like he knows. the most distinct example i can think of for this point is when kevin tells neil that he was at castle evermore to try out for the perfect court when they were younger. neil doesn't even doubt for a fucking second that he would've made it onto the perfect court. never does. he skips over the second-guessing and doubt part and just straight up starts daydreaming about the future he could've had playing with kevin and r*ko. like that really got me bc it's easy to assume neil would be super unassuming and have low self-esteem but no like neil doesn't doubt for a fucking second that he deserves to be perfect court. it's just that he doesn't believe in r*ko's delusions enough to play along with it by the time he gets the tattoo. he's also insanely confident about the foxes and their abilities and also kevin by the end of the series. at the beginning he takes a pretty realistic vantage point and says that with the way things are, the foxes will never beat the ravens. but even with that pov he still has the gall to challenge r*ko on LIVE TV and i doubt he's lying when he declares so boldly to everyone that if the foxes were united they'd be an unstoppable force (and guess what he was fucking RIGHT). and by the end, when the foxes are united, he has no more room left for doubt at all. some guy tells neil to kick the ravens' asses and neil just replies with zero hesitation "that's the plan". like he's so fucking on board with it. and he never once doubts that kevin is the best striker in the game. like literally never. at first he considers r*ko and kevin on par with each other (possibly, it's never stated outright) but by the end he literally has no doubts when he says "kevin is the best striker" like goddamn the amount of confidence neil has is so underrated.

neil is a very unemotional narrator. it actually gets me all the time how logical and ruthlessly pragmatic neil's narration and inner monologue is. some of the only strong emotions portrayed in neil's narration are anger, irritation and occasionally grief, which is only ever triggered by major trauma-inducing events (e.g. dr*ke). almost all of his inner monologue is analytical and observing others and dissecting either other people or the situation he's in. and almost all of his decisions and actions are made based on impulse and instinct. neil is a very instinctive person. this is outright stated in the way he plays exy; in theory, he can't give u a lot, but in the heat of the moment he's at his best. this applies to practically all facets of neil's life. he never plans his moves or what he's gonna say (except like that one time when he planned out what half-truth he was gonna tell andrew post-columbia). he's super quick and on the ball and literally does whatever the fuck he wants at any given moment. he's also insanely good at compartmentalising. like it's difficult to explain but while his priorities are obv hilariously skewed, they're also very clear in his mind. things he considers unimportant he simply just doesn't think about. what others look like and what they think of him don't factor into his internal monologue or his thoughts at all he literally just files them away in the back of his mind until they do end up becoming useful or important to him. he barely comments on andrew's appearance at all until andrew becomes someone worth staring at and admiring for him. the only reason he describes allison and renee in the detail that he does is because it's important in understanding how and why he reacts to them the way he does. this man was literally about to lose his goddamn mind at the fall banquet but he specifically reserved his mental breakdown for after the banquet so he could spend his time roasting the fuck out of r*ko. bro fully locked in and was like "clock riko now break down later" and i respect it.

neil doesn't actually have a martyr complex. it's funny because almost all of aftg is him being the absolute fucking opposite of a martyr. he wilfully sticks around the foxes knowing he's putting himself and them in danger. he doesn't "sacrifice" himself until he's absolutely forced to by his father's people. by then, he's already told himself he can't and won't run and he's smart enough to know he'll never get away anyway. and going to evermore wasn't about self-sacrifice or martyrdom it was about protecting andrew and those two are pretty fucking different. he knew he was coming back from evermore and he knew that he wouldn't die there, despite all the shit he went through, so i don't think that can be counted as "self-sacrifice". he was doing what he had to do to protect andrew, the same as andrew would've done for neil or aaron or kevin or anyone else he'd sworn to protect. the kidnapping in baltimore was the culmination of neil's character arc, which isn't really about learning to be selfless and self-sacrificing, it's about learning to stand his ground and stop running. those things r crucially different: neil not running in baltimore wasn't about selflessness, it was about courage. yes, part of it was obviously inspired by the foxes and motivated by not wanting them to be hurt but i truly believe it ultimately was about neil learning to stand his own ground and make his own home and have it be something he's willing to die for. call it whatever u want honestly i just don't think neil is as much of a martyr/sacrificial lamb as the fandom makes him out to be.

[mollysunder]

I think it was a mistake for s2 of Arcane to gloss over the implications of Amara and the Black Rose's deception in Mel's story because it fundamentally unmoors her perspective. Mel believed that violence like war could be avoided through diplomacy, and she applies that philosophy by maintaining the complex political environment in Piltover where every house is in some way content.

In the face of the nobility's discontent with Jayce's anti-corruption measures, Mel sought to appease them to stave off retaliation. Through her lesson to Jayce, Mell didn't just help potentially enrich her colleagues but also the woman and by extension the organization that KILLED HER BROTHER AND STOLE HER FAMILY'S ASSETS.

Can you imagine the horror and disgust she would feel at having trusted Piltover to be different? Mel thought she understood the game but she wildly underestimated the machinations of the nobility in Piltover. Mel accepted Piltover's corruption as a means to avoid violent conflict, only to indirectly enable the recent violence harped upon her own family. And the worst irony is that even though politics and corruption have largely been viewed as a cynicism game, for Mel this was an avenue she genuinely believed conflict could be avoided but in fact it was just more insidious.

The opera scene was a lesson for Jayce in politics, but the effects should be the real education for Mel as she heads to Noxus. From what I can tell Noxus is in its pre-Trifarix but post-First Invasion of Ionia, which means Swain has his demon powers but he hasn't overthrown the emperor yet. She will probably ally with him as they're both opporpsed to the Black Rose's existence, however once he's in power he will alienate a large portion of the nobility as they root out the Black Rose's influence.

The challenge for Mel (possibly as Guile) is to deal with these disgruntled nobles because as Piltover proved, you can appease them through corruption all you want, but once their ideology is truly set against you, diplomacy becomes a far more complicated balancing act.

[oldbutchdanielcraig]

have you ever seen two people more married in your entire life. please

[its-cosmerely-an-obsesh-wound]

[shaissa]

[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.

[sainz100]

Carlos Sainz | F1 London Live in 2017 | x x x x x

[chiropteracupola]

granby + iskierka + keynes

[bosspigeon]

once again the muppet is causing me Medical Anxiety! just had to drop over $300 on an emergency vet visit because of worrisome poops, and I'd like to take her in to her regular vet for some proper bloodwork/urinalysis, since i couldn't afford to do those at the emergency vet 🙃

so, if anybody has a bit of cash to spare so we can get her seen ASAP, that'd be rad! 😩

Ko-Fi | Cashapp | Venmo

[guardian-angle22]

Colson Baker (aka Machine Gun Kelly) | December 2021

[dunmeshiminimumwage]

back when i worked at [large chain coffee store], i tried to unionize my workplace. my manager sat me down and gave me a very guilt trip-y talk. lots of "but i thought we were a family :(" and "you don't *really* know what unionization does, do you?" i played dumb and managed to avoid being fired, but. chilchuck momence.

[vaguely-concerned]

walking through lucanis' mind prison. the tam lin of it all

[pianokantzart]

I get the Toads raised Peach and she doesn't want to put her adoptive family in danger, but those little dudes still gotta take a page from the main Toad's book

I think there was a reason why Toad saw Mario wandering around in the wilderness looking for his brother and his immediate reaction was "You. Me. Best buds. Right now. We're going on an adventure!!!"

He clearly has a lot of love for his kingdom and a fair amount of friends, but it must be lonely being the only toad with an ounce of bravery.