#(that means flip a coin)

[moeblob]

New farmer (for 1.6 update reasons).

His name is Death and he's really death. He's pretty quiet and just wants to live in peace with his chickens. Tries to interact with the town as little as possible but is really curious about them and how they live and is super satisfied to simply watch them - but as the new person it seems no one wants to let that happen.

[poorly-drawn-mdzs]

Horse Yaoi trotted so Horsegirl Yuri could fly.

[fumifooms]

Don't really reblog or leave comments all that often, but I've been reading your Delicious in Dungeon deep analysis posts for a few days now and honestly I can't wait for that Kabru (& Mickbell) party rundown. They're a fine set of adventurers, if in dire need of people more capable of handling monsters.

Speaking of Mickbell's relationship with Kuro in particular – I think it does generally tend to be perceived from Mickbell's side, whether positively or negatively (which makes sense to some degree, since Kuro's perspective wasn't presented in full until the World Guide), as if Kuro isn't himself a maladjusted adult who spent an unspecified amount of time starving in a cage, his family situation unclear beyond "permanently out of contact", and is yet as overprotective of Mick as Mick is of him. I do recall a panel where he furrows his brows at the sight of Mick sitting on Inutade's shoulders, but other than that he is less aggressively isolating and self-insistent and more... coddling, I'd say, or overtly abiding. Kabru should have found Mickbell some books on kobold language tbh.

This is not intended as a criticism of the earlier webweaving post so I apologize if it does have shades of passive-aggressiveness – it's an incredibly on-point assessment of Mickbell's relationship with Kuro and his reasoning. Thank goodness Mickbell isn't a master magician, or else he'd make for a rather tasty dungeon lord (and Kuro would probably end up in a cage again, if not worse).

[context: ask sent on april 14th, soon after I posted my Canines web weaving]

Don’t worry, I loved getting your ask and didn’t read in any hostility! I didn’t want to reply before finishing my party masterpost-analysis (🤡 man it’s been too many months) but Kuro fans are begging for scraps and clamoring for Kuro meta and content everywhere I look including my askbox and man. Man yeah I should throw a bone you guys’ way at least in the meantime. The thing though you see is, one does not simply talk about Kuro without trying to cover every ground and every single piece of info we get. I’ll end up repeating myself a lot on this in my longer upcoming post but that’s just how analysis tends to be, so flash Kuro segment focusing on the Mickbell-Kuro dynamic

In a way I talk less about Kuro because compared to Mickbell his situation feels more straightforward to me somehow, the abused is usually the one who gets empathized with and liked more over the abuser so I don’t feel the same need to explore and explain. But… Kuro is not only generally hard to read but has so many layers. Kuro is both a self-effacing follower who’s communicative but polite & behaved and somewhat stoic, making it hard to gauge how much he’s voicing himself or even repressing, and functionally devoid of the ability to speak most of the time. He emotes in doglike ways but mostly because, lacking words universal body langue and cues like growling are the only way he can emote and communicate, not unlike how tone of voice is what’s important when talking to say, a pet dog. Kuro’s extra where he talks with Kabru is truly the Kuro bible, without it we’d have a much kess clear vision of how he lives his situation with Mickbell. And… It’s whiplash inducing and disconcerting when we see then that Kuro has everything rationalized, that Mickbell is still an angel in his mind and this is normal, just a guy who’s a little insecure that he must bend every which way for if needed.

Mickbell & Kuro’s relationship is fascinating because they each have a totally different view of the relationship. Mickbell thinks he holds the reigns, he’s the employer, the master, he’s manipulating Kuro consciously to some degree and withholds things like salary or permission to talk with others from him, and he thinks this is how he gets Kuro to not leave him. Kuro has seen through the matrix and pinpointed Mickbell’s insecurities and has decided he must do everything in his power to never make him anxious or upset and be his emotional support, EXCEPT that hilariously he seems to genuinely think Mickbell is a kid. He’s 22. Like, tallman equivalent of 27. Kuro is 18. Kuro has chosen to stay consciously and keeps choosing to stay because he wants to, because he’s chosen to devote himself to Mickbell’s wellbeing. In Kuro’s eyes, before being employer and employee, Kuro is the guardian and protector of this sensitive kid that he must follow and protect at all costs. What everyone is seeing as wage slavery doesn’t even register to Kuro because he’s never really thinking about the money, he dgaf. Kuro could choose to snap Mickbell in half with his jaw at any second and is more emotionally mature than Mickbell, but otherwise the power imbalance both financially and manipulation wise and using whatever he can to keep Kuro where he wants him is 100% tipping the scale towards Mickbell.

The amount of miscommunication they have for being each other’s most important person + person they spend most time with is insane, but tbh I think part of it is that Mickbell is terrified of what would happen when Kuro becomes fluent in common. Not only because Kuro would have the whole world of opportunities open up to him then (and in Mickbell’s mind, who would pick him over the world?), but because then the relationship would inevitably shift, Mickbell would lose some of that power imbalance, he would have to do more listening and both of them would have to learn to know each other better, and rectify wrong assumptions. It’d remind Mickbell that Kuro is truly his own person with a lot of thoughts and it’d make him feel less safe in being able to keep the relationship secure…

This all is why I’m less into mickuro in general, because unless Kuro puts his foot down one day for both their sakes, the status quo would just… Keep going, on and on. Canon supports this too, since Kuro’s profile in the complete adventurer’s bible in the post-canon blurb mentions very pointedly he’s still being worked for peanuts by Mickbell. Kuro being able to speak fully would make it a bit healthier I think like I talked, but Kuro would still be complacent to Mickbell’s unhealthy obsessive needs and man… Man……. Mickbell feels safe only when taking and Kuro wants nothing more than to give, if that makes sense, and that might be a shaky decent enough way to live for them but it also is far from healthy the way it is. I also don’t think getting that house he wants would fix Mickbell. Could even be a huge breakoff point if Kuro mentions his dreams is travelling around.

So yes I definitely agree with your assessment of Kuro being coddling and overly abiding. Both of them are very protective of each other like you said, the difference being that Kuro is selfless and even self-sacrificing with it meanwhile Mickbell is more selfish and possessive. (Although his overcontrolling nature does to some degree come from a protective place. Which would especially if he sees Kuro as helpless because of his language barrier or the way they met. But moments that go towards this is him being worried for Kuro after the chimera fight, after being stung by an aquatic monster in a monster tidbit, Mickbell often mentioning being worried the union or Kabru will steal Kuro away in a borderline trafficking undertone. Beyond just the care he shows him on the regular like washing and brushing him for hours ofc. Mickbell is not uncaring, his worrying and insecurities just bring his worst instincts out of him. Ehem Mickbell tangent over, my apologies.)

I know Kuro also being possessive is a common reading, but I don’t think I really agree 🤔 The support for this is the way he frowns at Mickbell being on Inutade’s shoulders, but I think that and the other hostile over Mickbell behavior he shows fall more in live with being protective. From Kuro’s perspective, Mickbell (the kid who must be protected who might fall and break his neck at any moment or something) is now on the shoulders of this very tall stranger he just witnessed pull off a sneak attack Laios’ party with ease, not something considered particularly honorable or trustworthy, and now she’s handling Kuro’s most precious thing in the world? Yeah better watch them like a hawk. Also remember, this is on top of his language barrier meaning he hasn’t had the same opportunity as others to converse with them and understand what they’ve been saying and thus form bonds outside of "my party trusts you for now so I’ll follow their lead." He also explicitely distrusts Izutsumi. I’ll also say though, I don’t think it’s an exaggeration to say Kuro doesn’t know what to do with himself when he’s not looking after Mickbell, there’s the secret studies sure, but his whole life is always centered on him otherwise, so I can definitely imagine this being out of a restless feeling as well, though if that qualifies as possessiveness depends on the behavior it causes imo.

Other times where he growls or such is also defensive in nature. If anything, Kuro unlike Mickbell with him seems very alright with Mickbell making friends with the party and forming relationships outside of him. This does go in line with his "Mickbell is just a sensitive young lad I must do my best to protect until he feels safer and better, I want him to be happy and healthy" mentality. Near the end, we even see Kuro encouraging Mickbell to go towards other half-foots and implicitly join the half-foot union, the very same that Mickbell has told him would take Kuro away from Mickbell. So if it’s for Mickbell’s sake, even if Kuro might feel afraid of change or losing him to some degree (I don’t think he feels threatened bc he doesn’t think Mick would leave him), Kuro is even willing to endanger his situation/relationship/status quo with Mickbell.

Kuro is peak guardian angel……… 🥺😭

You’re also right Kuro is very maladjusted, with his past it feels very unsurprising Kuro would end up like this. Having a language barrier alone is extremely isolating: not being able to really communicate with others is his default with or without Mickbell, so it isn’t innately alarming or anormal to him, even when someone actively tries to make it harder for him. This is of course without mentioning the experience of being taken away from your homeland suddenly, and brougth against your will to a country you know nothing of and have no resources or knowledge to live in. Who knows how long he’s been in a cage— and as we see the living conditions were awful, similar to Izutsumi’s when she was part of a freak show. He was visibly starved and food was all the payment he could have wished for and that + following this guy who got him out of his chains were all the motivations he needed. And this makes sense for the overprotectiveness on both ends, Mickbell is all too aware of how particularly vulnerable kobolds are as targets and Kuro’s second interaction was mauling a guy who was trying to hurt Mickbell. Mickbell did "hire" Kuro as a bodyguard first and foremost, after all. Mickbell was scared of Kuro at first, echoing how he reminds Kuro during canon that his snarling is scary and not to do it. Even at first, the professional aspect to their relationship is a very shaky facade, it’s always been more like mutual aid that evolved into life partnership. Kuro was used to being alone, Kuro was used to having nothing and being starved and beaten, Kuro was used to having everyone dismiss him as a beast that’s not worth even trying to talk to, so of course Mickbell seems heavensent.

Man. The fandom has been so scary esp with the anime wave, Mickbell discourse is something I never expected would be so divisive 😭 Sometimes I hear things about Kuro like "he’s too smart to be abused" which is not only as a broad statement untrue but also harmful and vile. Abuse is complicated!!! You are bending over backwards to justify literal Mother Gothel behavior!!! No one is telling you you can’t sob over Mickbell and want mickbell & kuro fluff oh my god let’s just not normalize well known abuse tactics such as isolating them and controlling their finances and social circle.

Ok fun last ending note, it’s also interesting to note their dreams for the future and directly contridactory. When they have some money saved up, Mickbell wants to settle down with a house with Kuro, and Kuro wants to travel the world with Mickbell. Ohh to be a guy who’s been denied ressources all your life and has lived in constant danger who now wants nothing more than to have the ideal of a stable peaceful life, vs being a guy who’s been kidnapped and traded around and denied your freedom for so long who wants to see the world you’ve always been kept away from…. They’re each other’s world but they’re not a place they can live in, not sustainably not while thriving…….

Ahh, mickuro, mickuro, the ouroboros of codependence…

[blankieisablankie]

This guy, this fucking guy, shows up twice says nothing and dies.

I love them, they’re my favorite

[revvethasmythh]

We waited months for that Ashton and Laudna conversation and you know what? Worth the wait, that shit was one of the most scintillating one-on-ones we've had in this whole campaign

[agentravensong]

Ros & Guil Being Victims of the Narrative Compilation

propaganda for @doomed-bythe-narrative's poll tournament

If you've never heard of Rosencrantz and Guildenstern are Dead, it's a play from 1966 that follows two side characters from Shakespeare's Hamlet. Any other context I'll provide as we go. This post will spoil the whole play, so keep that in mind before reading further. TL;DR these guys are arguably the progenitors of being doomed by the narrative in our postmodern understanding of the concept, and, as much as it sounds like those orv guys deserve the title too, I want my boys to win. Please vote for them.

If you need more than that to be convinced... I'll oblige.

1.

Ros and Guil don't have any solid memories from before the start of the play, at best impressions of memories, because they only exist within the context of the present narrative. They don't get to have pasts because it's irrelevant. They don't even get to know which of them is which (and every other character treats them as interchangeable).

2.

The reason for Ros and Guil's presence in Hamlet is that they're supposed to figure out what's wrong with Hamlet on behalf of the king (because they apparently used to be his friends), but their efforts are unsuccessful. In this play, it's framed as an impossible request -- they get as close as they can get, despite not really understanding a word he says, but get tripped up at the thought there must be more to it than that -- because they were written to fail.

After Hamlet does a murder, their function in the narrative switches to being the ones to bring him to the king, and then to accompany the prince to England where (currently unknown to the two of them) he will be executed. Roles that, as Guil points out, could have been fulfilled by anyone:

The answer to that last question, is, of course, no. The reason it has to be them is because of how this sequence of events ends: with their deaths.

In short, Hamlet changes the letter with the King's declaration when the pair is sleeping so that they will be killed instead. In the context of Hamlet, this is a key moment for his character (it's his first use of the state violence that's his birthright, and it's a situation he could have gotten out of in plenty of other ways) and for how his bestie Horatio sees him.

But in the context of this show? For as far as Ros and Guil get to know? It is simply what has to happen.

3.

Ros and Guil have no agency over the events of the narrative. When they're not "on stage", they're left in limbo, at the mercy of the other characters' comings and goings.

They try to summon the other characters, because they don't know what to do with themselves otherwise, but nobody comes. Eventually, Ros gets frustrated with this, and then this happens:

When they're "on stage", everything sticks to the script. Even in this example, where Ros and Guil have failed to detain Hamlet and bring him before the King, the world adapts just enough to keep things on track:

They are at the whims of the narrative.

There's even a dig at how they can't get the ever-passive audience to meaningfully react to them:

They can't escape the bounds of the narrative, even if both of them wanted to.

Any chances they might have had to actually change the course of events come too late, when they're already convinced (arguably more as a coping method than anything else) that their choices don't matter in the shadow of what they've been caught up in.

That last snippet is the conclusion of a bit about how Ros doesn't believe in England because he can't conceptualize it as a place, can't conceptualize his and Guil's arrival there -- which is because it doesn't happen, because England is out of the scope of the narrative and thereby doesn't exist. They can't even imagine a different future for themselves.

4.

There's one other major character in the play: the leader of the traveling players (aka tragedians). He basically exists to prod at Ros and (especially) Guil and explain, in a manner that they can't quite grasp (or refuse to), how they're trapped in a tragedy -- and the cost the two of them will therefore have to pay. As he puts it, in this genre of narrative, "blood is compulsory".

5.

Rosencrantz has this whole monologue in parallel to Hamlet's "to be or not to be" soliloquy about being trapped in a box, which imo is a pretty clear metaphor for being a doomed character in a narrative and whether it'd be preferable to live that existence or to not be part of the narrative at all -- that is, to not exist, to have never been alive.

6.

Lastly, the ending. Ros and Guil are sent off with Hamlet on the boat to England. Pirates attack (yes, really, it's what happens in Hamlet too), and the prince escapes with them. Our pair discovers that the letter they were sent with now inexplicably calls for their heads (not knowing that Hamlet switched it).

Guil, at his wit's end, desperate to prove he has some influence, some agency, stabs the Player. But the man gets right back up.

Rosencrantz and Guildenstern face their deaths.

And the worst part of it all?

The promise of "next time". They're in a time loop. Because that's how theater works. Every performance, following from the previous, is them living through these events again. The same exact events, as dictated by the narrative.

They don't remember, loop to loop. Not enough to make different choices. Not enough to say "no".

They won't learn. They won't improve. They won't save themselves/each other. They will do this forever.

And since that gets me basically to the image limit, that's where I'll stop. These bitches (affectionate) are the definition of doomed by the narrative, and it would make very happy if they could at least get past round 1 of the tournament, as stiff as the competition is.

As a closing bonus, take the ending of Act 2 (of 3) of the play, which just. Kills me every time.

[vroomian]

Oc usopp in a world with Actual Fate By Word of God Oda deciding to see if he does Have A Fate by leaving Syrup at fourteen and traveling the blues all on his own.

If Luffy is destined to have Usopp join his crew — well. Hell have to find Usopp first :)

[transsexualelysium]

got a mchanna WIP based off of rocket88’s Some Weird Sin fermenting in procreate but i have to learn colour theory if i want it to be as vivid and beautiful as the fic…the plights of an intermediate artist who is gay and ill in the brain

[aetherdecember]

Another snippet from my Flipping the Coin au. Probably won’t make it into the actual fic, but I’ve been obsessed with these two and keep finding myself writing moments like this ^^

…

Mordred was sprawled over Arthur’s chest, with his thumb tucked in his mouth, and blue eyes serious as he listened to the story with the gravity of a judge. The two of them are slumped in their favorite armchair, the red velvet blotchy from numerous spilled drinks, sticky snacks, and misguided attempts at crafts. It was too warm for a fire, but in the dim evening, with the lone table lamp for light and the window cracked open for a breath of air, it took Arthur back to countless evenings spent in another room. One built of stone and lit only by candle flame.

Aloud, Arthur read, “Because he was the king…”

Personally, it wasn’t his favorite retelling, but Mordred had seen his name on the cover and insisted on hearing it, so he had conceded. Maybe he should’ve waited until Mordred was older before telling him that there were stories about characters who shared their names, but in these last few years, the events from long ago had been so close to mind Arthur had wanted to share it. He assumed Mordred would fixate on the sword fighting and tournaments. Instead, Mordred had picked a book that started with babies being sent out to sea.

“Two by two, he carried—“

Mordred pulled his thumb out of his mouth. “Did you really do that?”

“No.” Arthur marked his spot with a finger and ruffled the thick, black curls. Still damp from the bath, they were in need of a comb. And soon, if Arthur hoped to avoid dealing with tangles. “I never did that.” Dipping his fingers to tickle the back of Mordred’s neck, he smiled as Mordred giggled and tried to escape. “I could never.”

Sitting up, Mordred’s knobby limbs found all of Arthur’s soft spots as he settled knees first on top of Arthur’s chest. “If you had to, could you?”

“Would you,” Arthur automatically corrected.

“Would I?” Mordred’s pitch went comically high. “Nooooooo! Would you!”

Arthur gave him a look, one that Mordred immediately leaned in and mimicked with a giggle. “Would I, Arthur Penn, a man far removed from the ancient past, cast a boat full of babies into the ocean? Absolutely not.”

“What if Merlin told you to?”

He’d never had to. History hadn’t played out like that. But Arthur couldn’t tell his young son that he definitely knew it hadn’t happened because he couldn’t even explain his own past and all that entailed. All Mordred knew was that his father was named after King Arthur, so that meant he’d been named after Mordred. Because they were father and son and that was how it was supposed to be. He didn’t know that in another life they hadn’t been related and that the first time Merlin met Mordred he had helped save him.

“Nope.” Arthur popped the ‘p’. Out of Mordred’s sight, he set the book on the ground. It was time for a better story anyway. “Not even then.”

“What if Merlin did it?”

“Listen, let me tell you about the—“ He almost said ‘the Mordred I knew’ but luckily stopped. Instead, he says, “—the story I heard. It took place when Uther was still king. The first time Arthur met Mordred he was only a little boy…”

[spherekuriboh]

the difference between the triumph in 'i found you!' and the shame in 'you've found me.' is proof enough!!!

[silverstudios]

That moment you realize that one of the character dynamics in your in progress story is basically going to be someone fostering a spicy kitten. They wish to love and be there for the kitten and the kitten keeps hissing and swatting at them.

[trainingdummyrabbit]

ialways wanna use my silly lil talksprites way more than i do but i am also unfortunately constantly in a state of Talking About Character(tm) so it always feels like talking about yourself in third person..

[agendratum]

help me decide

which 3racha song to kick out from the polycule from the cassette tape playlist

context: some time ago i bought myself a little nice cassette recorder, cause i wanted to record some tapes with my favorite songs. i did one and since that time it's already been a while, so i'd love to do another one. this time i wanted to record a whole tape of 3racha songs. one tape has two sides, each can contain 30 minutes of sound. so i tried to arrange songs i like into two playlists, here they are

as you might notice side a ended up being 33 minutes long, which won't work. side b is perfect with its 27 minutes, but as per side a's troubled nature, someone has to go. i can kick out one song from side a or i can kick out one from side b and move one from side a to side b. i just need to figure out which one to kick out, and i'm not sure, so

here are the links to these songs on youtube just in case: double knot, placebo, don quixote, 은석이

please help me feed this cassette it's so hungry

[beardedmrbean]

I'm playing this game called "the ants: underground kingdom" getting the gang of it. I figured out how to fill in and dig the tunnels so i filled everything in and dug the paths anew, moving the buildings as i went. The resources like the plants and bugs and mud can't be moved so i have to work around that. I tried to make it clear at the end that the embassy and entrance are behind a wall of military units but idk how well that came out.

Submitted and tagged by @ims-oti-red

This looks like fun, hope it does the trick keeping you occupied n such

[visionsynth]

I think Stanford Pines is overrated/the hotter twin. Stanley is obviously the hottest. Where are the bear lovers

the implication that stanford is not also a bear is actually heartbreaking

[schmabbald]

bringing a Master Chief (Spartan 117) figure into my exams -> 117 total marks -> huh