#automatic catbox

[4pixels]

When machine interference turns into poop jokes.

Audio Transcript:

Coco: Kick em all kick em all kick em all kick em kickkekfdsj- [devolves into unintelligible pointy sounds]

Lefuulei: Ohhh but I like snakes D:

[distant screeching from an automatic catbox cleaning itself after Lefuulei’s cat has used it]

Lefuulei: ...ARE YOU POOPIN??

Coco: I’m poopin :)

[both players devolve into laughter]

Lefuulei: Thanks Button! (speaking aside to chat)

Lefuulei: ALSO thanks Coco god damn.

Coco: [continued laughter]

Lefuulei: THE QUESTION IS ARE YOU POOPIN IN A BOX??

Coco: [giggling] I figured!!

Clipped by shadez95

Catch streams live daily over on our twitch @ 4pixelsgaming!

[residentevildash-moved]

this is interesting bc in the post editor its accepting a catbox link as an audio source but i think when i post this itll just be a link. when did they implement automatic music copyright checks :|

[chirpbudgie]

cyber city is the internet right? and queen is a computer or something? that makes me wonder if her reach extends much farther than what we see.

i imagine it much bigger than its name. “city” doesn’t cut it; it’s much closer to an entire country now that the internet is so vast.

for example, entire miles of city for youtube. darkners that do the automatic song copyright checkup. there’s a building labeled “homepage algorithm” and when you put your ear to the door you can hear chaos and maice. maybe if you go a little farther you can find smaller video sites on the outskirts like vimeo or catbox.

an area for spotify? absolutely covered in addisons, and billboards to “make your own ad with spotify’s easy ad-making service” reflect neons off of city windows (at least, if you don’t have a premium pin equipped). it’s a relatively small area, but you have to crane your neck to see the top of the skyscrapers.

maybe, if you look hard enough, you can find communities of darkners based on screenreaders, text to speech, etc. stuff for people who need it. deaf darkners? mute darkners? darkners who know sign language? if you know where to look, you can find them. some people pay the districts good money to provide things like video/image captions.

don’t forget the other languages! i imagine maybe there’s an area dedicated to translator add-ons, businesses, etc. “sign this contract and we’ll give your readers access to spanish, french, chinese, and more!”

don’t even get me started on google. fuckin capitalists probably have an enormous section of the city in its grip

when we enter cyber city in deltarune, the internet is down. but maybe there are lightners usually running around? maybe not in person, but little profile pictures and “about me” descriptions. they can’t really interact with things, per-se, but have free roam. maybe there are little teleport waypoints around that only lightners can use; suddenly they’re in a shopping district! they hop on a waypoint and disappear; now they’re investigating a building for a social media chatroom.

just worldbuilding thoughts that accumulated in my head for a while :)

[happyhealthycats]

Why would a healthy cat use the catbox to pee but not to poop?

Honestly there’s a hundred and five different reasons for this.

Litter box is too smelly. Cat has to be in the litter box longer to poop than pee.

Litter is too coarse and burying their poop doesn’t feel great on their beans.

Litter just isn’t right for the cat. See above bean reasoning.

The cat is declawed and the litter hurts them when they try to bury, so they associate burying their poop with pain.

Litter box is the wrong type for the job. Covered (keeps the smell in), only one exit (in an area with multiple vantage points for other cats to ambush), automatic (”WHAT IS THAT NOISE”).

Litter box is in the wrong space.

Litter box is too close to their food source.

Litter box is too close to their water source.

Litter box is too close to where they like to play.

Litter box isn’t close enough to where they’d rather be pooping.

The cat is constipated.

The cat has diarrhea.

The cat was constipated for a few days and remembers the pain and discomfort of constipation but finally they pooped on the rug and they associate the rug with that awesome relief and honestly ALL poops should feel that good.

Easiest way to solve this issue is figure this - the cat’s okay with being in the litter box for the short amount of time it takes to pee, but they AREN’T okay with staying longer for the twosie. Whether it’s the type of litter or outside stimuli that’s just not okay with the cat. It’s a case-by-case basis, but this would be my main list to go over first. There are, of course, just a LITANY of other reasons that a healthy cat would avoid the litter box, but that goes into an individual reasoning. Like…a new dog who likes to stick their head in the litter box during private time. Or something else that could be causing some anxiety. But these are just a few general reasons for an otherwise healthy cat.

That being said, don’t always just assume that the cat is healthy (not saying you specifically, just you in general for anyone reading). If a cat’s not pooping in the litter box, you have to be absolutely sure it’s not an unseen health concern.

[kalki-maitreya]

"A feature that allows you to automatically retroactively replace firery posts with mundane posts without leaving a digital trace saying a post was edited?" #CatBox https://www.instagram.com/p/CUVqLh3r_fw/?utm_medium=tumblr

[oumakokichi]

Aren't you at all frustrated with the ending? You seem to really like the reality show/everyone's memories and talents are fake twist and take Shirogane at her word for the truth. Doesn't it annoy you that everyone else except the survivors, Tsumugi and Amami are basically rendered irrelevant in future installments or worldbuilding because they were literal nobodies outside the game? It sure as hell still frustrates me that my favorite characters (especially ouma) will not be important at all.

No, I quite like the ending. And while I think Tsumugi wascertainly telling the truth about some things in the Chapter 6 trial, I’mrelatively certain she was lying about others. In fact, there’s plenty of proofto suggest that she was absolutelylying about having “scripted” Momota’s illness, as well as that she couldinfluence emotions and feelings for the characters. Tsumugi may have been ableto set certain “scenarios” in mind or had something of an idea of what shewanted each character to perform or embody on the show, but she certainly couldn’tcontrol them or bring them to mind.

I simply don’t believe that the reality show twist being trueor that everyone’s memories and talents are fake immediately makes them “irrelevant”or “unimportant.” If anything, the ndrv3 ending and epilogue stresses thenecessity of lies and their importance. The ending is very straightforwardabout the fact that “even if everything is a lie, even if everything isfiction, that doesn’t negate the very real impact that it can have on the worldaround us or on our personal feelings and growth as people.”

That’s a wonderful message that I felt very personallytouched by. From a realistic perspective, not just a meta perspective, fiction is,after all, a lie. Regardless of how much we enjoy Danganronpa and itscharacters, it is absolutely true that every single part of the DR franchisewas just a fictional, made-up story written by someone else, and that itscharacters consist of nothing more than a bunch of colored pixels and words ona screen. Does that automatically negate the enjoyment that we have by watchingor playing DR? Does that mean that its characters aren’t genuinely fun, good,or well-written? Not at all.

Fiction is a lie. Fiction is made-up. But fiction, lies, andmade-up stories aren’t necessarily any less important than the truth. “Truth”is, after all, very rarely objective, and much more often simply an agreed-upon“fact” acknowledged by most people. To say that something being fictional orfake automatically negates its importance would be like saying that we cannever be truly impacted by that fiction. It’d be like saying we’ve never criedor laughed or gotten genuinely emotional over a fictional story.

Even if everyone’s talents, memories, and backstories arefake, that doesn’t mean that they’ve automatically become irrelevant to futureinstallments or worldbuilding. If anything, there’s even more room forworldbuilding and growth than there was in previous DR games, in my opinion. Weknow about the characters’ in-game, “wacky Danganronpa backstories,” but weknow relatively little about them, as people. If there were ever a spin-offnovel or side materials delving into the characters’ pre-game backstories,their motivations, their personalities, etc., I guarantee that tons of peoplewould read it. The Japanese fanartists I follow on Pixiv and Twitter who drawtheir own interpretations of what the pre-game characters were like could easilyattest to that.

There’s also tons of proof that those pre-game personalitiesaren’t necessarily “the opposite of” their in-game personalities, either. Tonsof evidence, including the characters’ likes and dislikes, as well as theprologue, suggests that Tsumugi’s “in-game personas” for each of the characterssimply took what was already there and… expanded upon it. The in-game versionsof the characters feel like caricaturized versions of their real selves, ratherthan “entirely different people.”

After all, Miu and Tenko, for example, act very similarly inthe prologue to how we see them in-game. Tsumugi can claim all she wants inChapter 6 that “the people they were before don’t exist anymore,” but that’spretty clearly a lie. There’s certainly no way for them to check for themselves what they were like before orwhat kinds of memories they used to have, but we, the players, can reread theprologue for ourselves, and compare the characters’ likes and dislikes and allthe information we’ve compiled on them enough to know that their pre-game andin-game personas are similar, not drastically different.

I’m not really sure why you think Ouma “won’t be importantat all” in future spin-offs, either. Kodaka and his staff have clearly alreadycaught onto the fact that Ouma is wildly popular—with his birthday coming up,the ndrv3 crepe café has already announced a plan to launch a 5-day specialcrepe and birthday drink for him. Anything about Ouma, be it merchandise or additionalinformation, becomes a trending topic almost immediately nowadays.

As the character who best represents ndrv3’s themes of “liesvs. truth,” it makes sense that Ouma would still be the biggest enigma even atthe end of the game, and therefore the one who people want to know the mostabout. I can understand Kodaka’s desire to keep Ouma in a catbox of sorts,refusing to give too much explicit information about him for now. But Kodakaalmost always clarifies is characters and provides answers on things he left asa deliberate cliffhanger beforehand. I don’t doubt that we’ll definitely seesome kind of Ouma-related side materials or spin-off in the future, becausepeople are definitely curious about him.

There are so many mysteries as to what Ouma was truly likepre-game, what his motivations were for entering the killing game in the firstplace (for example, did he enter specifically to stop the killing game evenfrom the start?), whether DICE actually existed or not in the real world,whether he’s an orphan or not, etc. These mysteries make for infinitely more opportunities for futureinstallments, not less.

I can’t make everyone like ndrv3’s ending, nor do I want to—everyonehas the right to experience the game for themselves and decide what it means tothem. But I personally found the ending’s message and themes very uplifting, ina sense. That message of what fiction is, what it means to us on a personal andindividual level, and how lies can themselves be just as relevant and importantas the truth, is something I can understand due to personal experiences. Theworld is a tough place to live in, sometimes, and the truth can be harsh andpainful—fiction are “lies” that we use to help us cope with that harsh andpainful world. And while it’s important that we cope and lessen the blow fromthose truths, it’s just as important that we don’t completely immerse ourselvesin fiction or lose sight of reality around us. Both truth and lies arenecessary, in the end.

That’s what I took from the ending, anyway. I’m not sayingthat ndrv3 is a perfect game, because it definitely isn’t. It certainly has itsflaws, and there are things I would change about it if I could. But I honestlyliked the ending, and all the questions and mysteries it posed. Thanks forasking, anon!

[foxesandferrets]

Daisuga Week Day 5

Prompt: Secrets

Summary: Suga makes a new friend on his way home and learns that keeping things from Daichi is harder than he thought. 

Rocky Road

The automatic doors of the grocery store slide open, and Suga braces himself for the wave of cold air that waits for him outside. The wind hits his face and he immediately starts shivering, which he refuses to believe has anything to do with the quart of ice cream in the paper bag held against his side. Daichi is definitely going to give him a hard time about the ice cream; he’s never understood why Suga insists on eating it in winter, but that never stopped him from buying it before. Right now, though, he just wants to get home so he can shove it in the freezer instead of letting it slowly push him closer to hypothermia.

The sky flashes ominously as Suga makes his way to his scooter, quickly followed by a low rumble of thunder, the promise of a storm on the horizon. The rain must not be too far behind, Suga thinks, hoping to make it home before it starts to pour too hard. He tucks the bags of groceries into the scooter’s basket and takes his helmet from the handlebars, slipping it easily over his head and clipping it into place under his chin. As he swings a leg over the seat and pushes the key into the ignition, there’s another flash of lightning, followed by another clap of thunder, considerably louder than the last, and a high pitched squeaking sound.

The last part is what makes Suga jump, looking around the pavement and under his tires for the source. He’s ready to shrug and get back on the scooter, his search coming up empty, when he hears it again. The sound comes from a bush in the planter next to Suga’s parking space, and when he bends down beside it to part the leaves the sound changes to a hiss.

“Woah, hey there little guy, don’t worry I’m not gonna hurt you,” Suga says, heart melting as he locks eyes with a filthy little kitten. The kitten blinks up with wide terrified eyes and attempts to hiss again, the sound much smaller than before. “Where’s your momma at?”

Suga looks around, scanning the parking lot for signs of another cat but seeing nothing obvious. The mother probably left him here on purpose, but Suga can’t quite bring himself to turn and leave. What if he was abandoned? He can’t possibly go home with a clear conscience knowing this kitten might be stuck in this bush for hours or even days all alone. Or what if someone else came along, someone not so nice, and scooped him up? That would all be Suga’s fault.

His mind is racing, weighing the pros and cons of taking the kitten, when thunder claps again. The kitten lets out another frightened meow, trying to back farther into the leaves, and Suga’s mind is made up. “C’mon. Let’s get you out of here before the rain starts.”

Surprisingly, the kitten doesn’t fight Suga too much as he picks him up. He tries to noodle himself out of his hand, but once Suga presses him close to his chest the kitten sits still, resorting to meowing his protests instead of struggling. Suga considers putting him in the basket of his scooter with the grocery bags, but figures that would just be more stress on the poor thing that’s probably already terrified. Instead he zips down his hoodie and sets the kitten inside, zipping back up just far enough that he can stick his little head out.

“There, is that cozy? I’ll drive slow so you can’t slip out, alright buddy?” Suga tells the kitten, starting the engine and keeping one arm around the kitten so the noise won’t startle him too much. “Ready to go?” The kitten looks up, face sticking out of his sweater cubby, and gives a short mew. Suga smiles, he can already tell they’re going to be best friends.

The rain starts about five minutes after pulling out of the parking lot, and Suga leans forward on his seat to shield the kitten, hoping he won’t get wet and start to struggle in his lap. Instead he just shivers, curling up closer to Suga’s stomach.

Suga stops quickly at the convenience store across the street from he and Daichi’s apartment, figuring his groceries are already soaking wet and he might as well make the trip now instead of coming back out into the storm.  He’s careful to keep one arm curled against his waist under the kitten to keep him from slipping out, and he can feel the eyes of the clerk on his back, probably watching the kid with the hood tracking water through his store and waiting for him to shove something in his shirt and run.

The pet care aisle is extremely limited, but it’ll have to do until he can go out for some proper shopping. Suga grabs a couple of cans of wet cat food along with a bottle of cat shampoo, a small bag of cat litter, and a short plastic bin that will have to serve as a catbox for now. He shoves everything in the bin, along with a few candy bars he can use later to bribe Daichi into keeping the kitten, and does his best to carry it one handed to the register.

The clerk eyes him suspiciously as he scans the items, glaring pointedly at the bulge in Suga’s sweater. As if on cue the kitten pokes his head out and meows straight at the clerk. He seems almost embarrassed as he bags the items for Suga, probably feeling guilty for assuming he had shoplifted.

“Have a good day,” he says, pushing the bag across the counter.

“You too,” Suga smiles, and the kitten meows again as if joining the conversation.

The rain has picked up by the time they get back outside, soaking Suga to the bone as he starts the scooter back up and leaves the parking lot. The kitten is crying and shivering against him as they make it back home, and Suga practically sprints up the stairs to his apartment, carrying all of the bags in one hand and apologizing to the kitten the whole way.

He drops the groceries by the refrigerator and carries the cat supplies to the bathroom, shutting the door behind him.

“Alright, little guy. Let’s get you cleaned up.” Suga takes off his hoodie and throws it in the corner, still cradling the freezing kitten to his wet shirt as he runs warm water in the sink and plugs the drain.

The kitten eyes the water nervously, twisting frantically in Suga’s hands as he lowers him into it and crying loudly. “I know, I know. It sucks but you’ve gotta get clean. And doesn’t it feel nice? So warm.”

Suga pops open the soap bottle and pour some in his hand, rubbing it into the kitten’s fur and watching the dirt and grime from his fur dissipate into the water. He talks to him the whole time, the kitten’s cries getting shorter and quieter as he gets used to the water, closing his eyes and relaxing as Suga rubs beneath his chin. “Ah yeah, isn’t that nice? No more itchy dirt and sticky fur. This next part is going to suck though, okay? So don’t hate me.”

Before he can meow in protest Suga pours a cup of water gently over his head, rinsing out the soap and careful not to wet the insides of his ears. He repeats it a few times, making sure all of the soap is gone before letting the water out and wrapping the kitten in a towel.

“Look at you! Such a handsome clean boy,” Suga coos as he dries the kitten off. His fur is a soft stormy gray, the same as the clouds outside, and so much different that the oily brown black he was before his bath. The kitten continues to meow indignantly, still upset with Suga for betraying him with the bath. “Oh hush, you know you feel better so don’t yell at me like that.”

The front door opens, and Suga hears the jingle of Daichi’s keys as he closes it behind him. “Koushi?”

“Ah, crap,” Suga whispers, throwing the end of the towel over the kitten to muffle his mewling. He looks around frantically, spotting the cat food on the counter and grabbing it. This’ll definitely keep him quiet.

He grabs the plate from beneath the plant in the window and dumps some of the cat food onto it, setting it in front of the kitten just as he wiggles his way out of the towel and starts meowing again. “Shhh, eat this buddy. Look how yummy, it’s,” he pauses, lifting the can to read the label, “tuna and gravy. Delicious.”

The kitten obliges, walking towards the plate and practically gulping the food down. It really must be delicious since he starts purring as he’s chewing, making a weird squishing humming sound. It’s not silent, but at least he isn’t crying anymore.

“Koushi, why is there melted ice cream by the refrigerator? And why is the floor soaking wet?” Daichi calls from the other room, his voice getting louder as he heads up the hallway. “Koushi? Where are you?”

Suga holds his breath, heart hammering in his chest. He’d been begging Daichi for a pet ever since they moved in together, but he kept refusing since it’s against the rules in their apartment complex. Always a rule follower, that one.

There’s a knock at the bathroom door and Suga flinches. “Koushi? Are you in there? Is everything okay?”

“Uh, yeah!” He replies, voice much too high pitched to pass as normal. Daichi is going to see through him in a second. “I’m just...pooping!”

“Oh, sorry,” Daichi mumbles, and Suga can imagine the cute embarrassed look on his face. “I was worried since the kitchen was such a mess and you weren’t answering. Wait...what’s that noise?”

The kitten starts purr gulping louder as he reaches the end of the food, a few short meows working their way into the mix.

“That’s just my stomach!” Suga calls, reaching behind him to flush the toilet and drown out the noise. “I think I had some bad sushi for lunch. I don’t feel very well.”

“Do you need to go to the doctor?” Daichi asks in his signature concerned voice.

“Nope! Everything’s fine!”

“Alright. But call me if you need me, okay?”

“You got it. Thanks, babe.” Suga replies, letting out a breath of relief.

Daichi’s footsteps start to move away from the door just as the kitten starts pushing the plate across the floor, licked completely clean. “Woah there, little guy,” Suga says, reaching for the plate but not before the kitten pushes it hard against the side of the bathtub, echoing loudly in his ears.

Daichi’s footsteps return almost immediately. “What was that?”

“Nothing!” Suga calls, trying to make up a cover story. “I just dropped the shampoo in the tub.”

“I thought you were pooping,” Daichi says, his tone suspicious.

“I was! But then I decided to take a bath,” Suga lies, carefully lifting the plate and setting it on the counter. The kitten starts mewling loudly as the plate disappears from his sight, and Suga panics, throwing the towel back over him.

“Koushi? Is that a cat?”

“What? Of course not! There’s no cats allowed here.”

“Then what was that noise?”

“That was...the wind. Outside the window,” Suga mutters, knowing Daichi won’t buy it. He’s not as good at this lying thing as he thought he was.

“Babe,” Daichi sighs, leaning against the door. “C’mon. Let me in.”

“Fine. But promise you won’t be mad,” Suga says, standing up and gripping the doorknob.

“Just open the door.”

He does, revealing Daichi with arms crossed over his chest and foot tapping in the hallway. “Where is it?”

“Where’s what?”

“The kitten, Koushi,” Daichi sighs, rolling his eyes. “You’re a terrible liar.”

With another indignant meow the kitten makes his appearance, escaping the towel prison and bounding up to Suga before looking up at Daichi and hiding behind his ankle. “It’s alright, little guy. He’s not as scary as he’s trying to look.”

Suga reaches down and scoops the kitten up, holding him out to Daichi. “I found him in a bush at the store. He was afraid of the thunder and covered in filth. I couldn’t leave him there. Not when it was about to start storming.”

Daichi doesn’t say a word, just reaches out to take the kitten, lifting him up to eye level and looking him over.

“He’s really sweet,” Suga continues, watching as Daichi lays the kitten in his arms and pokes gently at his belly. The kitten bats playfully at Daichi’s fingers, and Suga waits for him to smile, but he doesn’t. “He let me carry him home in my sweater and he even meowed at that scary clerk across the street when he thought I was stealing.”

“He’s a girl,” is all Daichi says, holding the kitten back out to Suga, who takes her.

“Oh,” Suga mutters, looking the kitten in the eyes. “Sorry I’ve been calling you a boy, baby girl.” The kitten meows in answer, and Suga takes it as accepting his apology.

“You’d better teach her how to meow quieter if you don’t want the landlord hearing her,” Daichi tells him, and Suga’s head whips up, chest soaring.

“Do you mean it?”

“Well we can’t abandon her in the middle of a storm, now can we?” A smile finally breaks through Daichi’s faked stoicism, and Suga launches himself forward, careful not to squish the kitten as he peppers kisses all over Daichi’s face.

“You’re the best, babe, I love you, I love you, I love you,” Suga says between kisses, smiling so hard his cheeks ache. “We’re going to be the cutest little family. You’re going to be such a good daddy.”

“The cat is not going to call me daddy,” Daichi sighs, rubbing his temples and probably regretting his decision.

“Well of course not, silly,” Suga smiles, stepping back and holding the kitten up. “She can’t talk.’

“She better not poop on anything,” Daichi warns, trying to sound stern but failing miserably as he reaches out to gently poke the kitten’s nose.

“Of course not, right Rocky?” She meows as if to answer, and Suga beams. “See?”

“Rocky?” Daichi asks, narrowing his eyebrows.

“I was buying rocky road ice cream when I found her,” Suga explains. “It’s cute, don’t you think?”

“Ah, so that’s what’s melted all over the kitchen floor,” Daichi says, reaching out to lift the kitten from Suga’s arms and nuzzle her up to his nose. “Do you want to watch daddy scrub the kitchen floor, Rocky?”

She meows, and Suga gasps. “Betrayed by my own child. After I saved your life.”

“The mop is next to the washer,” Daichi tells him with a smile, lifting one of Rocky’s paws to wave at him. “Make sure to get under the cabinets.”

“Yeah, yeah,” he waves, setting off down the hallway. His heart soars at the image of tiny Rocky being swallowed up in Daichi’s arms. He’d mop the floor every day for the rest of his life just to see that again.

As Suga cleans up his melted ice cream mess, listening to the sounds of Daichi and Rocky playing together in the living room, he can’t stop smiling. He isn’t sure whether Rocky is lucky to have been found or if he and Daichi are the the lucky ones to have her in their life, but he knows that the future holds nothing but happiness for their little family.

[queenofnohr]

What would Madora's Noble Phantasms be? How would they differ between classes?

This became so fucking long im so sorry @everyone

In a regular Holy Grail War, Madora would definitely be in possession of at least two Noble Phantasms - her Holy/Demonic Sword, Jörmungandr, and her dragon form.

However, something like Grand Order makes it easier to conceptualize her as she is a being who exists - no, whose existence is defined - by repeating timelines. Her Noble Phantasms for each class are as such:

Saber: Vanilla Madora - a Madora in the process of becoming a hero. Far be she from being inexperienced, and while she is aware of the many paths and ends (and even dead ends) she may face, this Madora represents a piece on the cusp of fate, whose path is mutable, and infinite possibility lies ahead. Her Noble Phantasm is her Holy Blade, Jormungandr: God Eater. It was forged from the pieces of the Demon Sword, Ganglari, and the pieces of her old training armor, with her own hands, and baptized in her own blood. Though in this sense it is “man made” the power of the Invisible Kingdom lingers on through it, commanded by her own force of will, and it was recognized as a true Holy Weapon and Yatogami’s equal, by the Rainbow Sage himself. The sword was made as a direct conceptual counter to Yatogami, whose legend originates from kami who would end a family line, and is one half of the puzzle used to slay Anankos - thus the sword has god-slaying properties.

Lancer: A Madora who has chosen to walk with Hoshido. Make no mistake - she did this to provide an escape for her Nohrian siblings. Alas, this is a Madora who understood half the heart of her Nohrian siblings, who understood their desire for a better life, but overlooked their chains of duty. This is a Madora who only knows tragedy - who has cornered herself, and forces herself to trudge down a path she does not believe in through delusion. A poor girl that even Ophelia would take pity on. Her Noble Phantasm is the culmination of the delusion imparted upon herself, her desire to go back into the past, and the climax of this existence - a reenactment of killing her beloved elder brother. La Divina Tragedia: Remember the Past, and Plunge into the Depths of Hell. An extremely strong anti-unit Noble Phantasm that ignores all buffs through the creation of a minor reality marble that strongly denies the reality of the world. Alas, all dreams end, the curtain closes on all plays, both comedy and tragedy. Awaken, child, and know your sin. The user sustains damage and is stunned through the next turn.

Archer: Not a true “Madora”. Rather, the conceptualization of “Victory” given Madora’s form through the belief of the Nohrian people after her death. In other words, the deification of a human being; a composite existence between the person, Madora, and the concept of “Victory.” In this way, she can be regarded as a divine spirit by Fate standards, although her existence is probably something closer to a Witch, whose territory is her beloved hometown. In this sense, this Madora is something a guardian deity of Nohr. This position is not something special, and any “special” human can reach this point through commendable deeds for the country, though it is a position typically gained by rulers. Her husband has been similarly deified posthumously. Her Noble Phantasm is the blessing of an absolute victory. Well, that’s what it is simplified to it’s base, and what she believes it to be. In reality it is a Reality Marble; so long as she stands with you, the whole of Nohr, past, present, and future, stands with you too. Because they stand with you, because they lend their strength to you, you will certainly be victorious. A support Noble Phantasm that buffs herself and allies with all card type damage up, an attack up, and giving all enemies 1.5% damage taken modifier.

Rider: Madora Lily. A earnest and spirited young woman who wants nothing more than to follow in her elder brother’s footsteps and bring glory to her homeland. In reality, such a Madora isn’t a single Madora from before a certain point in her life…….. She is made from two parts - Firstly, the hindsight acknowledgement from the true Madora as an entity separate from herself. Another person that she is no longer and can no longer return to, a “her” that was cast away in return for the power to change her own fate. And secondly, the sincere wishes of those who knew that cast away girl to save her. This contradiction of the person herself saying “this person cannot exist within me any longer” and others wishing to bring back that beloved girl’s smile created a paradox Madora….. Because the real thing fought earnestly to ensure a happy future. Because the real thing sacrificed herself to challenge fate. Because the magic she received opened countless possibilities, she can exist, in theory. Because the others cannot see this contradiction, because they cannot see inside the catbox, that the pure-hearted girl is no longer there, the truth that she could still exist remains in their hearts.

Madora’s corruption from this individual started as soon as she etched those markings onto her face. But, she could only decide that retroactively, and the period recognized as the point of no return, where that acknowledgement was felt by those around her, only happened after she was taken to Hoshido. Thus, while if that person could exist, she could be no more than 10, she exists as a concept as a girl of unidentifiable age, from 15-18, and embodies traits spanning all across that of her younger self. Her noble Phantasm, as such, is something that “could not exist” yet also something that did, against all odds, but once in her youth. La Primavera: Come, O Wind, Let Spring Bloom Once More. Despite it’s name, Madora was always Madora. This is not a gentle spring that comes on mild weather, but a spring brought about by rain spilt like tears by heavens sliced open by determination. Flowers as fruits of one’s labor. A command of nature itself through the powers of the Dragon’s Vein. An anti-army Noble Phantasm that lowers attack and defense, and gives a minor full-party heal. As a multi-hit full-party quick NP, it also produces many stars.

Caster: While Madora could originally use magic, this Madora is not simply that. This is a Witch Madora, the Madora sacrificed for the sake of a chance of a happy future. Or, should I say Madoras. She is the summation of every failed Madora, of every timeline where she could not achieve her absolute victory. She is the Witch of Fate, able to see into any and all fragmented universes of “her” existence. She was created, not from something like “I want to live,” or even “I want to save everyone,” in the void after her death, but simply the small wish of “I don’t want to lose.” Thus, that singular world was smashed into bits, and each fragment of that existence struggles to gain victory - the victory of everyone being saved, the victory of a happy future. However, because those Madoras are allowed to persist on in those timelines, the witch is someone who can “never win” and who has “never experienced victory.” The direct anti-thesis to Archer Madora. She holds immense power, but both the laws of whatever universe she participates in and her own self imposed status as an “observer” limits her power. ……….Like any witches born as she is, she is exceptionally cruel. Her NP is “O Fortuna: Vae Invictus”. She takes the beings of her opponents into the birth of a new universe and forces them to witness the cruellest fate she could seek for them, and their eventual deaths - not just physically, as that wouldn’t be enough to impact a Heroic Spirit, but the collapse of timespace itself, until the Throne of Heroes itself is wiped from existence. Thus, she forces them to live through the cruelest fate possible for them, and experience their very consciousness being obliterated, before taking them back to their own timeline. Of course, if she wanted to, she could just leave them there, and their physical forms would turn to dust in the timeline she stepped from, as a more practical attack, but that wouldn’t be as fun, now would it? :)

Assassin: Assassin Madora is perhaps the simplest Madora, but important nonetheless. She symbolizes, perhaps not the most important aspect, but an aspect that sets her apart from other “Kamui” existences. The will to commit herself fully to Nohr, body and soul, enough to become a servant to the country, though her existence as a “Kamui” defines her as nobility. As a person, however, perhaps even moreso than Madora Lily, this is a woman who can clearly see her situation, yet chooses to exist like this in a vain attempt for acceptance. Indeed, perhaps this feeling is the apex of girlhood. In any case, this Madora is both eager to please, and ruthlessly efficient, like the best kind of guard dog. Her specialty is slaying anyone who would threaten the Nohrian Royal Family - an assassin to slay assassins. Her NP is Semper Fidelis: My Blood is My Bond, an anti-unit NP good against assassins. Since it represents her protection of Castle Krakenburg, she imparts invincibility and instadeath resistance up upon her comrades. 

Berserker: A Madora who has, due to some circumstance, embraced her draconic blood and urges. Madora forsakes her draconic blood as something unnecessary, and perilous. So what, I wonder, would mark this change…….? Her NP is a complete return to her draconic form, and the havoc it can wrought. “Beast of the Ruined Throne: The Gods Whisper Through Blood”. A trump card that lets her face off against an enemy NP to NP. It automatically triggers an enemy’s NP, but only against herself. If she survives, she unleashes her own beat form upon them.

Ruler: This is the union between Madora, and her husband Marx. Madora fights as a queen to protect those she reigns over. Her husband joins her for their NP. This is a Madora who has succeeded in securing a future, at least for Nohr, and reigns as Queen. She wields Caduceus, a staff made from combining Jormungandr and Yatogami with her old training lance. It is both a staff of healing and a spear to harm. Her NP with her husband is the conceptual ushering in of Nohr’s Golden Age. While Archer Madora’s NP is “Nohr stands with you,” their’s is akin to “Nohr embraces you.” A combination of Marx’s Rider NP, Stella Polaris: The Light that Pierces the Endless Night, and Madora’s Twin Snake Paradox: Let the Past Revive to form The Embrace of the Dark Night: The Stars Shine for You. Marx lays down his Noble Phantasm to create a Nohr that will protect the player and power Madora up. Madora then deals party-wide damage with her Caduceus, with a chance to stun.

Avenger: A Madora whose repeated existences bear down upon her soul. In her instability, Anankos tried to posses her, only driving her further into her dark wishes. This is a Madora who has reached the extremes of her being. The echoes of Anankos resound through her blood, awakening the powers of an elder dragon within her. Her blood sings to Marx’s own draconic blood, and awakens it within him, turning him into a draconic monstrosity fused with his armor, and resulting in the sublimation of his core, hidden ideals to be followed, without anything obstructing them. This is a Madora who lashes out against the world who denies her happiness time and time again, and a Marx who she wants to lash out with her. Unfortunately for her, Marx’s inner wishes are simply “to protect her.” But as that is the only thing his draconic urge allows him to follow, things like “speech” are insignificant to him, making him seem nothing more than her lifeless puppet, though that is far from the truth. Marx fights while she commands. With no moral barrier, he can wield Siegfried to its full potential. Their Noble Phantasm is a result of Madora killing Anankos prematurely and devouring his flesh in the hopes of curing the madness he himself inflicted upon her. It is simply called Madora: God Eater, though in reality, it’s a double attack from her and Marx wherein he loans her Siegfried’s destructive power, and he powers him up through Beast of the Ruined Throne: The Gods Whisper Through Blood. 

[wat3rm370n]

Automatic catbox = NOT WORTH THE RISK.

It's also NOT cleaner.

There are some that are downright deadly and known to be problematic, but none of them are "safe" or really good, and anything with automatic moving parts can injure cats, or just frighten them. And relying on programmed motion sensors to not fail seems just dicey.

This vet is pretty cat-centric about what many cats would prefer, and doesn't think you should even have a lid on a catbox. Not all preferences apply to all cats, but this makes some really important points about the perspectives of the user of the catbox - the cat!

Clearly human needs are competing with cat needs. And shoving a cat into a too small litterbox with moving parts the cat can't control doesn't seem like a good idea for many reasons even before you get to the risk of injury. You do NOT want to do anything that might turn the cat against the catbox because, after all, the whole "willing to use a litter box" is the ONLY thing that makes this human cat cohabitation relationship doable!!

A converted large clear storage bin is my solution to an easier to scoop & clean covered litter box for even a cat that pisses up the side, for example.

We use clear bins that are larger, and a dremel drill to cut the holes. We need a lid for space & safety reasons because of being in a very small house. We make the opening as large as possible, so the cat can easily get in and out and can have a good view of surroundings.

I think the best bin size is about 28 long 18 high and 16 wide, and around 28 gallon capacity (112qt), clear, with a wide flat front that can be cut out with big doorway openings, and no narrow grooves in the bottom.

This is so completely superior to any other situation where the urine can splatter and collect in grooves where the bottom meets the lid halfway up, which is an utterly bad design for a catbox. In the bins, the cats can get in there and move around. I have seen a bin like catbox for sale commercially that's at least probably big enough, but it's opaque and has just one side opening.

[oumakokichi]

Do you think that Ouma's hatred of killing and deaths were genuine or fabricated? Why do you think he auditioned for the killing game?

Every single shred of evidence we have in canon says hishatred of killing and deaths was 100% genuine. That’s a fact about hischaracter that can’t be denied. Whether people love or hate Ouma, or anywherein between, he’s still undeniably one of the characters in all of Danganronpawho was the most morally againstkilling another human being.

This fact, of course, makes Chapter 4 that much moreinteresting, and also that much more tragic. A character with such a strongmoral code against killing being literally cornered into a situation wherekilling was unavoidable is both an interesting development, and a sad one. Hewas still willing to do what it took to stay alive in the end, of course—even thoughhe didn’t resort to killing Miu directly, he definitely manipulated her andGonta into dying. But that usage of underhanded tactics took a huge toll on himand is a large part of the reason why he decided not to do the same thing allover again in Chapter 5, even when he had a perfect opportunity to stay aliveby throwing Momota and Maki under the bus.

I’ll discuss all the reasons why Ouma absolutely, undeniablyhated killing and deaths, but it’ll probably get pretty long. It’ll involvespoilers for the entire game, too, so please only read at your own risk!

The first and most obvious reason is, of course, his motivevideo. We uncover this video in Chapter 6, after Ouma’s already died. At theend of Chapter 5, Ouma remains something of a mystery to us: even though wecertainly hear from Momota’s retelling of events that he hated the killing game,the chapter leaves it as a sort of catbox where you can choose whether you wantto believe him or not. Even the characters themselves are divided on whether hewas telling the truth. Momota and Himiko think he was lying; Kiibo, meanwhile,seems fairly certain Ouma had no reason to lie when he was about to kill himself.

But if the game had actually wanted to leave it a completelyambiguous mystery as to whether Ouma was telling the truth or not in thatflashback, then we wouldn’t receive such blatantly important information inChapter 6 about him. His motive video details his relationship with DICE a bit,describing the 10 of them as “the most important people in his life,” “friendswho were closer than family to him,” and stipulates without any room for argumentthat they had two mottos. One of these mottos was to go around committinglaughable crimes—the second was “don’t kill people.”

DICE and Ouma were a group of pranksters. It’s unspecifiedexactly what kinds of crimes they did, but there’s no room for doubt that theywere pretty harmless pranks where no one was supposed to get hurt. They neverkilled anyone, ever; probably the most they did was petty theft, consideringhow much of Ouma’s character is coded in phantom thief terms. He’s skilled atpicking locks, a talent completely unrelated to being a “Supreme Leader” (andwe know his Supreme Leader talent is fake, because his “secret organization” isliterally a group of 10 other people who run around in clown masks pullingpranks for fun). Not only that, but his love hotel lampshades the whole “phantomthief” trope that he embodies. We can assume from the fact that his motivevideo mentions he and DICE “took the world by storm” with their pranks to meanthey probably travelled, a lot, tricking people and setting up heists, all tohave a good time where nobody got hurt.

One of the most important rules associated with a phantomthief is, in fact, a personal moral code of conduct. This is something that Ifeel gets overlooked with Ouma’s character a lot, but it’s pretty common withalmost every famous phantom thief character in fiction. “Not killing” is themost well-known and important of these moral codes, and the most universal.Ouma absolutely hating killing and death isn’t really a surprise when you analyzehim the way you would any other phantom thief character. He loves games, he loves outsmarting people,pranking them, teasing them, not hurting or killing them. A phantom thief livesfor the challenge of a heist well done, and longs for an intellectual rival whocan chase them and keep up with them—and that’s Ouma to a T.

But even before he could’ve seen his motive video and “remembered”things about DICE or himself all the way back in Chapter 2, it’s clear that hehated killing even before that. The second reason we have to believe that hewas telling the truth is the fact that he’s pretty openly disapproving towardsthe other characters that kill, right from the start.

Even back in Chapter 1, when pretty much everyone is willingto give Kaede a free pass for “killing” Amami (even though she didn’t actually kill him, but she andeveryone in the cast thought that she did back then, since Tsumugi framed her),Ouma was the only one in the group who still told her outright that he couldn’tcondone her actions. He pretty much tells her “cool motive, still murder” whenshe says that she only wanted to kill the ringleader, and calls her out on havingtalked about “cooperating with everyone” and “everyone trusting in each other”even though she put a plan to murder another person into action behind everyone’sbacks without consulting anyone about it.

He’s still sad about her inevitable execution, of course.Right before she dies, he drops the act entirely and, completely blank-facedwithout any over-exaggerated emotions or crocodile tears, he looks her in theeye and tells her goodbye, and that she “wasn’t boring”—high praise, comingfrom Ouma. The only other characters he says “aren’t boring” are the ones hetruly respects, like Saihara throughout most of the game, and Momota in Chapter5 after he protected him from Maki’s second arrow. But just because he was sadthat she was going to die didn’t mean he could just automatically condone orforgive her for trying to take a person’s life.

Another example of this point is his hatred for Maki. Themoment he finds out about her talent as the SHSL Assassin in Chapter 2 bystealing her motive video, he begins treating her considerably more harshlythan he did in Chapter 1. Before, she was an enigmatic presence who clearly washiding something; once he knew whatshe was hiding, specifically, he considered her a threat whose identity had tobe exposed to the group at all costs in order to keep her from acting on herown in the shadows and killing any of them.

As early as Chapter 2, he exposes her in front of everyoneby provoking her into lunging for him so that he can show the whole group whatan actual, honest-to-god threat she is. He wanted to highlight her recklessimpulsivity, the fact that despite looking so cold, Maki is someone whoabsolutely acts before she thinks. She’s been trained to act, not to question,after all. It’s not an assassin’s job to sit there and think things through, it’stheir job to take orders and point and kill. The fact that she tries to killOuma on impulse by choking him on more than one occasion is pretty clear proofof this.

He brings up the fact that she’s killed people for moneyagain and again, whenever possible. Unlike Ryouma, who did kill people in thepast but was never actually trained to do so and had no interest in killinganymore after already having killed off all the mafia members who murdered hisloved ones, Maki is still a threat because her assassin training is somethingthat defines her as a person. He’s as harsh on her as he is on the actualculprits who kill, like Kirumi and Korekiyo, because he knows she’s a potentialthreat and he wants the group to take her seriously as one.

…Of course, sadly, no one actually does so. Chapter 5 prettyclearly shows that everyone’s blind optimism and unwavering faith in oneanother was actually every bit as dangerous as Ouma said it was. While his ownactions and provocations are a certainly responsible for why things turn outthe way that they do in Chapter 5, there’s no way to deny either the fact thateveryone turning a blind eye to how dangerous Maki was also contributed tothings.

Even when Maki was clearly itching to go save Momota, evenwhen she talked openly about wanting to kill Ouma while everyone else justwanted to “talk him down” the same way Naegi and the other dr1 survivors “talkeddown” Junko, Maki was talking openly about murder. But everyone assumed thatbecause she said she wouldn’t do so, they could trust her implicitly. Even whenshe shows up at the cafeteria the morning of the fifth murder without herelectric hammer and only a knife in hand, everyone still seems somehowconvinced she isn’t an actual serious threat towards anyone’s life, at all.

It’s this cold disregard for human life that makes it reallyimpossible for her and Ouma to ever see eye-to-eye. When she breaks into themachinery bay in Chapter 5 to torture him first for information about theRemnants of Despair, then kill him, he’s literally just astounded. Not onlydoes he not know anything about Hope’s Peak Academy or the Remnants because henever used the remember light that Tsumugi planted, but he’s honestly 100%taken aback that she would try and kill him after he specifically told everyonethat “the killing game was over.” He asks her point-blank, “Do you really lovekilling that much?” in shock andhorror. And he was definitely not faking that reaction.

Ouma was someone who never wanted to kill or hurt anyone, ifpossible. He was willing to do cold, practical, horrible things if push came toshove—because it was a killing game, and he tried to rationalize these thingsto himself with “the ends justify the means.” But he never really could believeit. Even manipulating Miu and Gonta into getting killed, even knowing that Miuwould have killed him if he hadn’t killed her, and even knowing that the realculprit to blame was the killing game itself, the loss of human life in Chapter4 impacted him so strongly that he really was tired and cynical and frustratedwith everything by Chapter 5.

As for why he auditioned for the killing game, we can onlyspeculate for now. I have no doubt that if he’d had any bad intentions or saidanything condemning in his audition video, Tsumugi would’ve showed it, though.She was pretty set for a long time even in Chapter 6 on setting him up (Ichecked again the other day and it’s literally not until 5 hours and 15 minutesinto Chapter 6 as a whole that they even disprove the whole “Ouma is a Remnants”thing).

I know at least one popular theory among Japanese fans who’veplayed the game is that he entered it from the beginning intending to stop it.I personally think this theory is highly plausible. We know for a fact that thecharacters’ pre-game selves aren’t too different from their in-game personas attheir core. Kaede, for instance, entered the killing game wanting to becomesomeone who could trust people—because, according to her audition video, she “couldn’treally trust or believe in others.” And despite having been molded into aseemingly perfect, outgoing protagonist figure, a part of Kaede was stilldistrustful and suspicious at her core.

Therefore, if Ouma hated killing and death at the core ofhis character (and we know from all the evidence I’ve already discussed that hedid), then we can also assume he was probably like this even before the killinggame. It wouldn’t be the first time someone entered wanting to put an end tothe killing game—Amami does the same thing, after all, although his reasons aremore to do with having participated in a previous game already. Still, I thinkit’s highly possible that Ouma tried to enter the killing game wanting to stopit, though that’s a motive he would have to have played very close to the chestor else I doubt he would’ve been selected as a participant.

But in a society like ndrv3’s where children and teenagersseem to be almost entirely desensitized to killing and violence, it makes sensethat someone like Ouma who is deeply empathetic at his core would hate thekilling game and everything it stood for. The idea of people getting off onother people’s suffering was something he honestly detested, even as hisin-game persona—his post-trial villain speech in Chapter 4 is half-parts apointed jab at the audience and half-parts a bitter and self-deprecatingtirade, because he felt he was no better than the real ringleader after what hedid to Miu and Gonta.

Anyway, this is very long by now, so I’ll stop, but I hope Iwas able to answer this question in full. People can like or not like Ouma’scharacter; that’s really up to them. But I hope I can provide a deeperunderstanding of his motives, at least. Regardless of where Ouma stands oneveryone’s personal preferences, he did notenjoy killing, or death, or suffering. This is a pretty solid fact supported byevery single piece of canonical evidence we have on him, and not just mypersonal bias. If people can at least understand that fact about him, I’ll behappy—he’s a character who makes it very hard to know his real intentions andyou always have to read between the lines, but the hints and clues aredefinitely there if you’re looking for them.

Thank you for asking, anon!