#we're here for fun only

[tourettesdog]

I am begging people to be normal about completed fics, and in particular one shots.

I am begging people to stop demanding more from authors, and insisting that one shots need to be longer or have sequels.

I don't think yall understand how many fanfic authors are one more "where's the rest of it?" comment away from throwing out any plans they might have had to continue an idea.

Unless an author like specifically says they might write more for an idea, just-- assume something marked as completed is complete, and respect it as it stands, please.

[bigfatbreak]

In canon, a kwami's power must be used through a human wielding a miraculous, otherwise it'll have unforeseen consequences. So, in your AU, does Imago stealing Marinette's agonies cause any sort of trouble?

honestly the biggest unforeseen consequence is that this dude is around and being himself

no but for real, there should be a hypermassive consequence for a kwami unfettered peeking their head in, but there's not because of shit we'll get into later.

just consider it like this for the time being: now that Marinette is a sage and is capable of communing with the gods, she as a living being can be used as that intermediate conduit for power instead of the miraculous gems. If it was Tikki, for example, using her power raw with sage!Marinette, Mari would be able to access the power of creation or be swayed by it - however, it would put a massive strain on her, as she's not a miraculous but still capable of acting as that pipeline.

The reason Marinette has no ill effects from Imago, however, is because Imago is playing with a catch 22. Their purpose was to take agony away from Marinette, so even the exhaustion of accessing the unfettered power of a god was something he stole from her, so it seems like zero consequences have been had. In truth Imago is now SO tired holy moly and they DO NOT LIKE IT LMAO

[kirby-the-gorb]

[ricky-mortis]

Hatchetfield @femslashfortnight Day 1: Make It Sapphic AU

[arolegos]

im way too scared to say this on main but icl i love lloyrumi n' i love ur lloyrumi art ... can u draw them more for me ... maybe dr harumi meeting sora and jordana like 'damn lloyd they js like us fr fr ???'

i love when the relationship dynamic is "kiss marry kill? all of the above"

[fluentisonus]

[vaguely-concerned]

lucanis truly has a near terminal case of burned out golden child syndrome. caterina fucked both of these kids over so incredibly bad with the dynamic she enforced there, with illario being labled the perpetual fuckup kid where lucanis 'could do no (would never be allowed to do) wrong'. the way he admits in the first coffee date scene that the only thing that happened when he showed he could carry the weight of expectation was that more weight was added makes me so sad. you can hear it in caterina's voice in his intro mission that she's incredibly proud of him, but this is clearly a leandra and hawke situation where that pride never translates into relief or resolution or unconditional warmth or understanding or anything that really helps.

[austenpoppy]

Dick and Bette Kane - part 1

I started writing this as an answer to the people who claim they love Dick's "petty" side/him not being welcoming to specific people he supposedly has a grudge against. The problem is, those same people tend to mention Helena Bertinelli or Jean-Paul Valley as examples of that happening, when it doesn't reflect at all the relationship he had with either of them in the New Earth continuity (which is generally the one being referred to).

I will do a breakdown of Dick's relationship with those two in separate posts, but it got me thinking about a "heroic" character Dick's been consistently uncomfortable around in that same continuity, and one he openly doesn't appreciate much : Bette Kane, a.k.a Flamebird. Yet people do not seem to ever list her among the characters Dick's not very fond (for very good reasons).

Bette Kane's an interesting concept as a character, because she's not a very good super-heroin, but she's extremely competent in other areas of her life. As a teenager, she began playing tennis in competitions, and she was so good at it she quickly became "a pro", and was considered something of a celebrity.

Yet Bette dreamed of something very different. She openly admired Robin (Dick) and wanted to imitate him by becoming a super-heroin of her own. She even designed her costume as a tribute to him, and chose the code name Flamebird. That's somewhat ironic considering Flamebird was originally Nightwing's partner back when Nightwing was an identity Superman had used.

Bette as Flamebird's New Earth origins are recounted in Secret Origins, vol. 2 annual 3, which is focused on a mental attack Dick suffers at the hands of the Gargoyle. Here Gargoyle narrates one of the first acts Bette did as Flamebird, which was saving Navy men hanging to lifelines attached to an air-craft carrier that was being lifted into the air. Other super-heroes helped resolve the situation, and that teamwork is what prompted the creation of Titans West.

Secret Origins, Vol. 2 Annual 3

Interestingly, you can see that Dick wasn't really aware of how much he'd inspired Bette, and this mental fight with the Gargoyle happened several years after his first meeting with Bette as leader of the Titans, and years after his first meeting with Bette at all.

At first glance, this may seem surprising, given that Bette was obsessed with Robin and wasn't remotely subtle about it. After becoming Flamebird and rescuing the Navy men, she was part of the unofficial first meeting of Titans West along with Gar, Hank, Dove, Charley, and Lilith. And her first reaction was to be delighted at the idea of seeing "Robin" again, calling him "a cute hunk". When Lilith asked her to tone it down and be serious, she instead went further by commenting on Dick's legs.

Secret Origins, Vol. 2 Annual 3

Then when it became clear the newly formed Titans West would have to seek help and go see the official Titans in New York, all Bette cared about was that she was going to work with Robin.

Secret Origins, Vol. 2 Annual 3

When the two teams finally met, it wasn't love at first sight. Once they finally started discussing the case they were working on, Dick suggested a plan of action that involved the two teams splitting up. Bette cut him off as soon as he said it to contradict him and affirm that she was going with him, which she ended up doing.

Her behaviour was honestly creepy. She cut off Dick just because she'd decided that she was going with him. She didn't refer to him by his code name, but only by the part of his body she'd commented on before, calling him "legs". She took his face between her fingers. And the sentence "I've waited too long for this", coupled with the nickname, would've made my skin crawl. It sounds like she'd fantasized about Dick for a while, was going to have what she wanted no matter what, and had no problem announcing it out loud.

Secret Origins, Vol. 2 Annual 3

After the case was over, the two teams had a fight over what team had done more to solve it, and over the legitimacy of Titans West. Wally criticized the way they'd come into the headquarters like they belonged, Bette said they did because they were Titans too, and appealed to Dick to validate her opinion - calling him "legs" again, which implies that this was the nickname she gave him the entire time they worked together.

Dick said he wasn't sure whether it was a good idea for the others to be Titans, because he wasn't sure he would be able to lead two teams, one of them long-distance. Members of Titans West were affronted by Dick's speech, including Bette. She went with the others, talking to Dick again to tell him that "[he'd] never know what [he'd] missed", making her departure partly about a romantic/sexual golden opportunity Dick didn't take. Appreciate the fact that she called him "Robin" again now that she was irritated by him.

Secret Origins, Vol. 2 Annual 3

Titans and Titans West had a couple other team-ups before Titans West disbanded, during which Bette learned Dick's secret identity. From the way Bette acted during the one team-up recounted in details in New Titans #56, we can deduce that every time she met Dick she kept trying to seduce him, persistently, relentlessly, in obnoxious ways that sometimes border on sexual harassment.

It was well-known that Bette was obsessed with Dick - not like Bette was trying to be subtle about it, she had no problem making her intentions clear and that publicly. There's a panel I couldn't include in which Hank scoffs at the idea that Lilith "trusts" Dick and tells Charley that "she's got the hots for him. Just like Bette."

I'm sad I couldn't include it because there's this hilarious exchange after in which Hank bemoans "Man. That burns me. What's he got that I haven't ?" and Charley answers "Look in the mirror and weep" (lmao).

But as I was saying, Bette kept trying to hit on Dick. In the panel below she asked him whether he needed help (the "sure" implying it's not the first time she asked the question), only to say that it was "[his] loss" when he said no. Dick was very polite in his answer, thanking her for her offer, but was turning her down all the same.

New Titans #56

Not long after, Dick told off Hank and Charley who'd gone in an argument over leadership and about their association with the Titans, before having the conversation about Dick I mentioned above. Bette immediately cheered him on, calling him "handsome" as she got close to him. Dick ignored her.

New Titans #56

During a fight she called out to Dick to warn him about an assailant, and had to sneak in a comment about his butt (whoever said this kind of things was recent was lying). Dick was clearly uncomfortable, answering with an embarrassed "Uhh, thanks, Flamebird" - the "uhh" plus the two commas in a three-word sentence indicate he didn't know what to make of her comment. He also corrected her to make sure she knew he'd seen the assailant she was talking about. It was a way for him to reaffirm his skills as a crimefighter (she's not the first one he said those things to), but also a way for him to reject her attention.

New Titans #56

She was also very physical around Dick. I can't include all panels of her, but she seemed to be near Dick most of the time, would touch his shoulder for no reason when they came in a lab, or, like in the panel below, latch onto his arm. Dick wasn't shown shaking her off, but he wasn't seen reciprocating either.

New Titans #56

So in the end, it's not a surprise Dick had no idea Bette'd wanted to become a super-heroin because she'd been inspired by him. Not when most of their interactions revolved around her attraction for him, not when she kept making comments about his looks.

As an aside, this is one of the reasons I can't take seriously anyone who says it's Devin Grayson's fault if Dick's been sexualized. Hard to do that when you have an entire character who could've been one of the best tennis players in the world but decided to become a crimefighter because she was obsessed with Dick, and kept gushing over his legs and butt. Dick's been dealing with that kind of things since the 80's, guys.

Part 2

Part 3

[swordsonnet]

two things about lena kelley:

1. she says "i'm afraid i won't be able to join you at the [pub]". what if she literally can't leave the OIAR building?

2. she says gwen doesn't "have what it takes" to do lena's job. that could just be a jibe at gwen's work ethic, sure, but what if there's a deeper meaning to it? what if there's another, less mundane requirement to be a manager at the OIAR?

[oceans-beloved]

Meme dump yayyy🥳✨️

(off to make more now muhahaha >:3)

[luck-of-the-drawings]

HAVNT ANIMATED IN A HHHOOOOTT MINUTE AND I WANNA GET BACK INTO IT. this here is super scuffed n cheap but it EXISTS NONETHELESS and i like it and wanna share. i love making these silly lil guys move.. jrwi is such a cartoon in my beautiful brain and mind

[howtodisappearcompletelyand]

20/10 stars little guy

[applestorms]

where is the justice full lyrical analysis GO GO GO

TL;DR i'm of the opinion that many people give light a Lot more credit for being a Paragon of The People than he really deserves in this song, so i'd like to take a closer look at the (english) lyrics here-- not only to understand some of the deeper (highly questionable) ideas light is establishing/implying, but also why it may be especially easy to skip over those more dubious implications, unlike in other DN adaptations. see full analysis below the cut, this is Long.

[Light] Where is the justice When the guilty all go free? Why don’t we lock them up And throw away the key?

direct meaning: light begins this song questioning the effectiveness of the justice system. from these lines, it is clear he is questioning the fact that "the guilty" have the ability to "all go free," though it is unclear if he is criticizing the fact that some guilty parties are able to get away with their crimes or the simple fact that prisoners are free to return to society after serving their sentence.

while the first meaning seems potentially easier to assume, the next two lines perhaps point towards the second, implying that "the guilty," should be locked up forever-- typically, you don't throw away a key just to get it back later.

questionable implications: a couple things here. first, light has an underlying claim here that the meaning of "justice" is purely to punish the guilty, to quarantine them away from the rest of Good society. note that he is making this assumption without any clarification about who these "guilty" parties are, what crimes they have committed or otherwise. second, he is also setting up a kind of false dichotomy, saying that the guilty currently are free but the correct course of action is that they are instead locked away. again, no rehabilitation is possible under this view, and no nuance either.

[Light's Teacher] I see a young man’s anger Burning in your eyes;

direct meaning: light's teacher is pointing out light's naïveté ("young man"), though this criticism is softened somewhat by the fact that he also points out his passion for the subject. note that the light in light's eyes here is "anger," and the connotations associated with that emotion-- action, violence, a lack of clear logical thinking. light burns, quick and powerful, but with little discretion for the details.

implications: by describing light in this way, he is establishing light as a very emotionally-driven character, but also as one who has perhaps not had the time nor experience to fully think through his ideals. light's justice is a naïve retribution.

[Light] What you see is my impatience With your noble compromise;

direct meaning: light pushes back against his teacher's criticism, clarifying that his "anger" is more like "impatience," an annoyance with "your noble compromise." light is not stupid, according to himself, he understands the ways in which the legal system (which he sees his teacher as fully ascribing to) is supposed to work, but questions its effectiveness regardless.

to light, this legal system as it currents stands is a "noble compromise," something that people feel they Must stick to for the sake of upholding their noble character, but ends up leading to a questionable execution of justice, which compromises final judgements. i'm assuming this connects back to this page:

questionable implications: light's primary push in this song is towards a fully black and white justice system, wherein The Guilty are Punished and The Good receive Justice (the ability to see the guilty get punished). he is not willing to concede any gray morality here, no "compromise" ever. he is also very quick to write off the idea that he might be getting too caught up in his own emotions about injustice, ironically a bit of an emotional move.

[Light] Show me what’s right about the wrongs that we allow Real people need to feel protected here and now; This whole damn system’s broken way beyond repair It’s just law Not law and order; Not much good and seldom fair;

direct meaning: light continues to question why the legal system allows for what he sees to be compromises in the execution of justice, arguing that "real people," The Good, have the right to feel protected by such a system. he states his points overtly here: the legal system is broken, it is unordered, it is unfair. nothing good comes of it.

questionable implications: a few points. first, light is once again Very vague about what exactly these "wrongs," are that the legal system is allowing, which guilty are actually going free under which circumstances. second, light is assuming that "real people," which is itself quite frankly an incredibly loaded term when it comes to how dehumanized his view of The Guilty is, do not feel protected by the legal system, that The Good live in fear under a system that fails to guard them against evil.

i think people often get stuck on the line, "This whole damn system's broken way beyond repair," since it has the potential to greatly emotionally resonate, what with its underlying pessimism and cynical view about the world. even in my own views, there are plenty of systems that i think are plenty broken. where this line becomes questionable is again in how vague it is, allowing for many interpretations of exactly how the (legal) system is broken. take note of this not only in the context of how people interpret this song, but also for the next few lines in-context.

[Light's Classmate #1] Laws were made for everyone We’re treated all the same;

direct meaning: a classmate enters the conversation, stating a somewhat basic fact-- that the laws were created for everybody, and that everybody is all treated the same.

EDIT: actually, listening to this again, i genuinely can't tell if this is a classmate or light's teacher again?? regardless, i think my points still stand, just push the part about the other students being convinced by light to a bit later in the song.

(questionable) implications: a third party is now introduced with light's classmate here. this conversation between light and his teacher is not one-to-one-- there are other parties listening in the room who may be convinced one way or another depending on how the arguments go. thus, while this is a somewhat obvious statement on the surface, it is being stated in response to light to get him to expand on his claims.

i'd also like to bring up one point that i think may be relevant moving forward: the difference between normative and descriptive claims. in ethics, we typically use this to describe the difference between claims about how things should be versus how things already are.

light makes a lot of claims in this song that are presented as descriptive, implying that this is simply How The World/Legal System Already Is, that we are approaching a system that is already broken. he also makes a lot of claims about how the world should be, that justice should be this kind of starkly black and white Passing of Judgement-- these are the ones that he is less direct about, and that should be more closely questioned imo. don't mix em' up. anyways,

[Light] Till a lawyer’s tricks can fix the blame; What about the victims Waiting for some justice? How can we turn away And say that's just the way things are? What about the families Hiding in their houses All of them afraid to walk the street at night With all their doors locked tight Tell me where is the justice If there's any justice

direct meaning: light responds to his classmate's previous comment, arguing that the system is equal, but that stops once a lawyer can trick the system into allowing their client to go free. he continues, asking-- "What about the victims / Waiting for some justice?" once again painting The Good as pure, innocent victims, afraid to even walk along at night or leave their houses, living in Fear of evil that the legal system has so cruelly allowed to go free.

a very good couple lines in this section: "How can we turn away / And say that's just the way things are?" light wants change. he sees the system as "broken beyond repair," something that must be fully taken down and rebuilt into something better, to help people.

questionable implications: again, light is making the assumption that people already live in fear of Evil that lurks the streets, Good Families that need to be protected by the justice system. there is a non-zero number of universes where light fails to get the death note and ends up being a vigilante superhero, istg. he is also making the (descriptive) claim that victims do not receive the justice they deserve, presumably since The Guilty are Freed.

an interesting point there, actually-- justice for light is about the victims of crimes, not the perpetrators of them (who, as we already established, he doesn't actually see as "real people," not the "families" that need to be protected).

the one sympathetic point in all this that i find myself drifting back to is that big about actually wanting to change. he makes quite a good point about not assuming that this is how the world Must be-- i just find it unfortunate that his Ideal World is so horrendously flat.

[Light's Teacher] Your simple arguments have all been made before The world's not black and white The choice not either, or

direct meaning: light's teacher once again criticizes light's arguments for being surface level and overly black and white. i also think his point about light's arguments having, "all been made before," can connect to his previous point about light being naïve, that he simply hasn't had the experience to recognize that his supposedly New, Improved ideas for how the system can be fixed have already been presented and argued against.

[Light] Perhaps it's time we drain the color from within Till we're back to seeing black and white And wrong and right again

direct meaning: light argues back, saying that his teacher's push to see the nuance is pushing the compromise too far, that we are losing sight of some kind of true morality, "wrong and right," by taking such an approach.

questionable implications: not just questionable tbh, these lines are the most terrifying thing light says in the entire song. it's not even an implication either, really, he just says it outright here-- light wants a black and white justice system. he thinks the only way in which true law and order can be established is by giving up on nuance entirely.

i'm reminded a bit of han feizi's approach to crafting ideal legal systems a bit here, like the extremes of Two Options: Punishment (Death) or Reward (Everything You Could Possibly Dream Of/Desire). wonder if light's a fan...

[Light's Teacher] Overwrought pronouncements won't improve the paradigm [Light] Till lawyers cutting deals becomes a crime;

direct meaning: another back and forth between light and his teacher, with light's teacher once again calling light out on his "overwrought pronouncements," his strong, but overly emotionally-driven claims while light points again back to his strawman of the Corrupt Lawyer cutting deals to let The Evil Guilty go free.

implications: it interests me that light's teacher doesn't really argue against light's claims here by saying this image of this Lawyer doesn't exist, but instead keeps pointing to light's emotional state, how he's pushing for this so passionately but not really thinking through any of the greater implications of his claims. you could maybe see this as what makes the teacher's rebuttals less strong, that he doesn't seem to be matching light's passion with the same Excitement to meaningfully combat any of his underlying points, but i actually think this is quite a measured and good response. light isn't thinking very deeply about this, he's pushing from anger and trying to get the class on his side. it's a bit reminiscent of far right strategies-- hitting emotional buttons, getting the Crowd on your side, giving people hard hitting lines with little substance but no time to think it through. light really would benefit from trying to understand his emotions but but, i mean. what else is new LOL

[Light and Ensemble] Let the corporations make the regulations And all go unaccountable when everything goes wrong; Let the rich and famous get away with murder; Every time a high-priced mouth piece starts to talk His client gets to walk; Tell me where is the justice? If there’s any justice;

direct meaning: the ensemble is officially on light's side now, singing behind him as he throws out his criticisms of "the corporations," of, "the rich and famous," who can apparently get away with murder. notably, light is making a Money point here-- it's the rich, the corporate, who are able to get away with crimes.

questionable implications: uhh source?? is light trying to say that O.J. getting away with it means that the legal system has to kill all criminals for justice to be served? (#joke, i know, i know, he's japanese.)

this is where the normative vs. descriptive claims thing becomes really relevant to me. light, on the surface, is making descriptive claims about how the world Is-- that corporations decide what is and isn't justice, that anybody rich enough can do whatever they want, so long as they have enough to pay off a lawyer. and he may not be entirely off about all of these claims!! the problem here is instead to be found in his underlying normative claims, that the way to fix this is through a purely black and white legal system.

light presents this argument like he only has to sell you on the first part, on the fact that the System Is Broken and people can get away with horrible acts if they have enough money. at least in this section, he does not clarify What his justice is, or any of the horrible implications his ideal system to "fix" all of this might have, though he bounds those two points up in such a way that it feels natural to accept both.

this is where i think some people get the idea that light is a Comrade fighting Capitalism or some shit. it's quite easy to see and get on board with his descriptive claims about how broken the world is (feels), but lose sight of his underlying normative claims about how this Should be fixed. light doesn't think the problem is capitalism here, that's something You have to bring to the table-- but he keeps his arguments vague enough here that it's really easy to do so.

[Light] Where is the justice [Students] Tell me where? [Light] For all the victims? [Students] Tell me where? [Light] Where is the justice? What good is law that can’t punish those who break it?

direct meaning: similar points from before. again, light describes justice as something that must be found and given to "the victims" (of what?), calling the law useless for its inability to enact (his view) of justice (or what light thinks justice should be).

[Light's Classmate #2] Politicians make their speeches all day long; While judges pushing pencils mostly get it wrong; [Ensemble] Mostly get it wrong!

direct meaning: same thing, but he adds politicians to the list of those corrupt. the only thing i wanna add here is that the bit about "pushing pencils," is quite a nice bit of foreshadowing. anyway,

[Light's Classmate #3] Instead of loopholes for the laws to fall between; Let some good old fashioned payback Grease the wheels of the machine; [Ensemble] Grease the wheels of the machine

direct meaning: another classmate again arguing in favor of light's ideas, saying that we should drop the loopholes and morally gray areas to get some "good old fashioned payback," instead.

questionable implications: the class is really getting on board with light by this point in the song. note the shift also in the ideas they're presenting-- while classmates #1 and #2 were still mostly focusing on descriptive claims earlier, here classmate #3 points more towards light's normative claims about how the legal system should be. "good old fashioned payback," indeed.

also interesting that the claim they reiterate here is light's point about how the Only way a "victim" of [crime] could ever be fully satisfied or happy again is through this kind of state-mandated Revenge, that The Guilty must suffer/die/be locked away forever in order for The Good to live well. there's a lot of arguments against capital punishment to bring up against this point, but considering the length of this post as is, i don't think i really have the space for that =3=" regardless, i think this says a lot about light's worldview as is.

ANYWAYS. the rest of the song is basically just reiterations of the exact same lines light said before, notably including the lines about "families in their houses," and lots and lots of questioning about where that goddamn justice is. so, to end this off, i suppose i'll interrogate those more general points just a little-- both the title of the song itself, and its core themes in the context of the full story.

"Where Is The Justice?" is such a fascinating way of kicking off this musical, particularly in how it characterizes Justice itself as this lost thing that must be Found, setting up the idea that light himself playing the role of KIRA manages to Become Justice (or, his view of it, anyway). it is also interesting in how it show's light's relationship with the people around him, not only in terms of how he gets the rest of the class on his side by the end of the song, but also how his teacher critiques him earlier on. it's kind of a minor point, but i think that back-and-forth alone really does a lot to set up the space that L's character will inevitably fill later in the story, how he matches light's underlying Passion and Temperament (and lack of any care for deeper morals) in such a way that would lead to their mutual demise.

for all my frustrations with how this song is often interpreted, i actually think this is a pretty decent depiction of pre-KIRA light, at least within this format. my main critique is that i think it may perhaps be truer to believe that light never really comes to these kinds of conclusions until after he gets the notebook, but, hey. you can only have so many songs, and you've gotta start somewhere.

that being said... why do so many people so easily accept this song as a Real and Good critique of the justice system, even going so far as to say that musical light is somehow more morally good or righteous than any other depiction? (a point that i certainly Do Not agree with, if this post has somehow not already made that clear).

i suppose, to me, it all comes back to that normative vs. descriptive claims distinction. people emotionally resonate with the problems that light brings up, the evil that he sees in the world, and in particular his pessimism about the structures around us and questions about whether or not they actually do what they should.

what they fail to see, and what he somehow manages to get away through how carefully his arguments are crafted here, is the deeper implications of his solution-- the dehumanization of The Guilty, his dubious claims about the necessity of such a violent and stark Revenge to make the Good, Pure Victims feel truly safe or satiated, and all the many greater harms that come from such a complete lack of any nuance.

i believe it was @moonlarked who also brought up the fact that, unlike most other adaptations, we don't hear light's internal monologue here, meaning that we're not privy to the same kinds of snark or casual cruelty that light has the sense not to say out loud. in that sense, perhaps this song is actually one of the better depictions to show how light Can actually be quite a charismatic and convincing speaker, so long as you don't think too hard about what he's not saying out loud. (maybe that's why L got so insane about him? lol)

[infiniteseriesofhalfways]

also here's two terrible photos of what ive been knitting this week:

there's too many stitches so i cant stretch it out properly, and the construction makes it hard to really show it off. also im in bed so it's the best i can do right now.

anyhow this is clue 1 of Stephen West's Go Go Dynamo MKAL, which im two weeks behind on but it's fine. it's been fun so far, minus the 'bubbles', which are the bane of my existence.

[im-still-a-robot]

The biggest problem with listening to a british podcast as an american is that you end up saying british-isms for a week afterwards. The second biggest issue is having to stop in the middle of a car scene and mirror your mental image because you forgor

[silusvesuius]

this tree from my new drawing looking goated afffffff 👑👑