#ANON I AM SO SORRY

[yeastinfectionvale-deactivated20]

as an italian how do you think vale calls marc? like when he’s mad or happy and in love?

Im British-Pakistani 😭

[artfightdramaconfessions]

2021, someone stopped participating when I was drawing their oc, and I didn't notice until I'd already finished

So I decided to just dm it to them anyway to be nice

And

I got blocked

They also put my art on toyhouse and credited it "Doesn't deserve credit" 😭 and declined my request for credit n blocked my toyhouse

Jul 1

[computer-einstein]

What have you done? And WHY?

I DRANK 97979796 RED BULLS! FEAR ME, FOR I AM INVINCIBLE! I AM GOING TO CODE THE BIGGEST FUCKING MASTERPIECE KADIC ACADEMY HAS EVER SEEEENNNNN!

[such-a-fellow]

You can't just drop "oh my queer theory read of Breaking Bad" and then not elaborate

Oh I will gladly elaborate! This is mostly compiled from thoughts I had while discussing Breaking Bad with my partner while I watched it for the first time recently. [NOTE: this is VERY LONG and disjointed, it ended up being almost a whole shittily structured essay. I have no idea if it makes any sense and I have edited nothing. bear with me.] anyway, i am so sorry, but here you go:

Because Breaking Bad is such a conventional tragedy with Walt's relationships (and how he wrecks them) as the series' emotional core, it's easy to read into the "why" of the choices he makes and consider if other unseen factors could contribute to his whole.......everything. Walt sucks, right? He's shitty and snappish at best and manipulative and abusive to the point of literal murder at worst towards pretty much everyone in his life; his enemies, his associates, Jesse, his kids, and most centrally Skyler, are CONSTANTLY on the receiving end of this stupid man's destructive spiral and rancid personality. Obviously, nothing excuses the depths the guy descends to, but his surface motivations are simple enough. He's terminally ill! His career has fizzled to a depressing dead end! He has an accidental baby on the way! Being embittered by the run-of-the-mill suckiness of him and his family's circumstances has led him to chase this grand unattainable ideal of perfect, conventional family life that he never can really achieve. The harder he tries to force his life into that perfect shape, the more he hurts those around him.

This is the first point of my idea that reading Walt as a closeted, very unhappily unaware bisexual can add a really interesting depth to the show. It would be easy to interpret Walt as gay and miserably closeted. He’s dissatisfied, he CLEARLY isn’t really in love with his wife, and he keeps pursuing this life of crime represented by the men he's caught up with (Jesse and Gus in particular). However, I think that simply reading him as gay misses an opportunity for extra complexity. Textually, Walt is caught between two lives and is never satisfied with either. No amount of money or accomplishment is ever enough for him. His white picket fence delusions and insistence that he loves Skyler even though it's extremely clear that what he loves is the idea of Skyler is one side of the coin. That's the ideal of conventional heterosexuality, which he always falls short of. The other side of the coin is his fight for power in the criminal world and his attraction to men, which I think is best analyzed through his all-consuming jealousy of the power and perfect security of Gus, who is known to be gay, and his relationship with the heavily queer-coded Gale.

This is mostly symbolic/subtextual interpretation, but again bear with me. In my mind, the narrative of Theoretical Bisexual Walt goes something like this: Walt begins to realize he's attracted to men through his initial partnership with Jesse. That relationship, however based in manipulation and overall shittiness, is one that Walt is drawn to because he sees Jesse as a gateway to the criminal world he wants to enter. It’s also his gateway to this new possibility of attraction which he had never considered and cannot avoid, even if he doesn’t want to confront it. Indeed, he's only forced to confront it later, specifically when Gale (artistic, scientific, opera-loving Gale) extends a hand of understanding to him. Gale is happy and content! HE has reconciled any parts of his life that might be disjointed. He deeply admires Walt, and openly presents him with the promise of friendship or more. Central to this, obviously, is his close association with the poetry of Walt Whitman and gift of Whitman’s Leaves of Grass to Walt. Walt Whitman is believed by most scholars to have been bisexual, as evidenced both by the relationships he had in life and by his poetry where he praises the beauty of men and women alike. The lightness and freedom and wonder at the universe expressed in the tones of his poetry fits Gale perfectly, and this is what Gale is offering Walt. Choosing to reject Gale is ultimately the thread which unravels Walt entirely in the end, because he’s rejecting not only Gale but any option to find joy in his new work beyond what money it can make him. This extends, in my opinion, to rejecting anything positive he could gain from his attraction to men.

As Walt is going through this slow realization, part of what drives him to despair is his persistent belief that what he really wants is still the same secure, middle-class, heterosexual family life with Skyler. More specifically, the thought that if he is attracted to men, then he cannot possibly HAVE that. This is why I like to analyze him as bisexual rather than gay; the way he can’t be happy anywhere at all, with either part of his life, is at its most complex and tragic when (like the Walt on the surface of the show) he absolutely could have had both if he hadn’t pushed so hard, if he hadn’t been so selfishly caught up in his own tragedy. If Walt is bi and accepts that, he CAN be happy! However, as we know all too well, Walt is a narrow-minded disaster. Internalized homophobia compounded with his “main character syndrome” hold him back from even trying to give himself space to explore his newfound attraction. Throughout this section of the story Walt is clinging harder and harder to that crumbling façade of happy heterosexuality. He’s more and more abusive towards Skyler and refuses to cooperate when she tries to divorce him. He even flounders through a lame attempt to have a heterosexual revenge fling when she cheats on him. I’d hesitate to reduce this to compulsory heterosexuality, because I think any percieved choice between the two here is entirely in Walt’s mind. To Walt, everything is binary. He can have a family life without deception and die in obscurity, OR he can stop at nothing to become the world’s most powerful druglord. He can be attracted to men OR he can be in a happy straight marriage. Like I’ve said, this is NOT a man who could ever concieve of both. This is where Gus becomes a bigger factor in Walt’s terrible horrible no good very bad sexuality crisis.

To even things out and to really drive home trajectory he’s set himself on, Gus has Gale killed. I think there’s definitely a portion of this that is escalated by the presence of Gus in Walt’s mind. Gus is everything Walt wishes he was in more ways than one. He’s rich, powerful, successful, clever. He carries himself with awe-inspiring gravitas. Now, as the audience learns, Gus’ primary motivation in becoming all of those things is vengeful grief over his lover’s murder. It is made clear to the audience in Breaking Bad (and expanded upon in Better Call Saul) that Gus is gay. For this unaccepting Bisexual Walt, the presence of this man who he percieves as above him in power and influence and who is also perfectly obviously gay and entirely secure in that is completely impossible to cope with. He’s past the point of letting himself consider options here, of course. He is jealous of Gus. All-consumingly jealous, just as he’s jealous of the Schwartzs’ wealth and happy marriage. Walt’s drive to remove Gus from the picture, then, becomes a conflation of not only his lust for power, but also of his self-imposed sexuality impasse.

In the end, the discovery of Gale’s Leaves of Grass gift—that quiet, friendly offer to Walt from a man who understood a part of him that he could never bring himself to try and confront—is what undoes the whole charade.

[not-poignant]

Hi Pia, do you have a date planned for when Mallory & Mount will be released? I'm super excited for this new long fic

I don't, unfortunately! It was meant to be this year, but I'm finding Underline the Black and its spinoffs way too interesting right now. My response got long so I'm going to tl;dr a response with: My last fully original story did the worst out of any story I had ever written and kept declining over 4 years which hurts, also the worldbuilding is a lot.

There are a couple of reasons for my struggle with Mallory & Mount and the first is that the worldbuilding is pretty intense (and still has a little more growing to do):

(this is on the Obsidian software - every node is an article.)

The second is actually that I actually just...don't love writing brand new worlds with heavy worldbuilding. I have thought of two ways to overcome this which is to a) start with small side-stories first featuring characters who aren't our main characters to get a feel for the world and the language, and b) to potentially write Mallory & Mount in another form (like a Fae Tales AU) to get a feel for new characters in a world that I don't have to remember from scratch. (Though I don't really want to do either).

At any rate, much like The Court of Five Thrones and The Ice Plague, that kind of writing is some of the hardest and most laboursome that I do. I have no guarantee that anyone will really want to read it in a way that makes it financially viable, after watching the Fae Tales canon slowly tank over time, and I know from experience that tropes + cliffhangers do better on AO3 over more classic fantasy style writing. At least for me. Which makes Mallory & Mount a financial risk to my livelihood and an emotional risk to just thinking I'm...okay at writing, which is like...whoof, really tough to commit to when it's going to be the hardest writing I do out of any of my stories!

That doesn't mean I won't write it! It just means I need some time to kind of psych myself up beforehand, lmao. I had these feelings and fears before The Ice Plague, and you know what, a lot of my fears came true: It was a terrible performer, it is the worst performing long Fae Tales story out of all of them. In fact, it is the worst long-perform story I've ever written across two accounts, including a fanfiction rarepair that's so rare two of the books aren't being published anymore.

I can't put myself through that again this year and I don't know if I can put myself through that again next year either. I need time to heal so I can destroy myself again lmao. Like there's no guarantee this will happen (hey it might go great!), but I went through it once, and the hard thing about serials is that you go through that pain for consecutive years.

It's not a published novel you can just put behind you when it tanks (like The Gentle Wolf - which I still love, it just...was not loved by that many fellow people, though I still see you, Aodhan and Thomas fans). You're still publishing it over the years, stuck with it, trying your best by the readers and characters and wondering what to do and why you suck so much at writing, and you have all these well-meaninged readers often telling you things that you already know (even though having your flaws pointed out for 4 years is not that helpful) but can't change without abandoning the story, or they're telling you things that just straight up hurt like 'I just don't like these characters compared to Gwyn and Augus' which definitely makes you not want to continue either writing Gwyn and Augus or Mosk and Eran.

So yeah, some 'part-writing-wound-stage-fright' has turfed Mallory & Mount from 'upcoming' to 'I don't know when but maybe one day.' I do know one thing, if it does badly, I'll abandon it, because I can't put myself through like 4 years of The Ice Plague again, and Mallory & Mount will potentially span at least this long. Like, I've been burnt out since finishing The Ice Plague and most of it is emotional. I've been writing easy, lazy stories ever since (by my standards). I question if I can even write a completely original series that anyone would want to read, even if it sounds interesting now, or is interesting in a little short story. That's different in a new long story and my last experiences in both publishing an original novel, and also an original series were...really really really hard.

If a new original long story can't reach new readers in a way that sort of grows my writing career and income, I am...going to stop doing them? Because it sort of indicates to me that I'm shit at it. I don't need to keep being terrible at something for like 5+ years over multiple stories to know that I'm just not getting better at it and might be getting worse, lol.

(I am endlessly grateful to all the readers who did stay engaged, or who liked The Ice Plague and The Gentle Wolf, y'all are the MVPs of 'Pia still writing today' <3333)

[oersteds]

question. is cube a baby?

on all levels, including physical, cube is indeed a baby. this is canon, he was born the same day as his chapter, the same day he got yoinked into lucretia/lucrece, the same day he had to kill a sad pathetic wet cat of a man. sheesh, talk about a long birthday party.

you ever wonder how cube works? like. how cube is capable of learning and growing, like any other human. or how kato coulda made an ai that advanced on a spaceship... but what if kato didn't use an ai...? akira probably didn't burn any of doctor livingstill's research notes on human liquefaction...

or the lake...

which is full of liquid humans...

doc tobei knows how to do it, too. It is entirely possible that the Cube we all know and love was made through a highly unethical process.

[soaringonblackwings]

Crow in Season #1: Solid character introduction, great duels, and great lore

Crow in Season #2: Ha you thought he built the Blackbird himself? Wrong! Also he has a mentor that was never mentioned earlier and that's where he got Blackbird from.

The Pearson arc really killed Crow’s character in 2 episodes.

The show already told us how Crow got Blackbird. The audience can infer from the context that Crow clearly built the machine himself. So why roll that back?

Blackwings? He had Armor Master before meeting Pearson. I know the anime follows it’s own rules but Armor Master requires a Blackwing tuner. So he had to have some of the cards already. So why change that he collected the cards himself?

Black-wing Dragon. Crow was just given it out of nowhere. It’s a signer dragon that technically isn’t even his. It belongs to Pearson. Which makes me wonder if Pearson was going to be a signer had he not been killed? This just adds more questions that never gets answered.

Now stripping all of that away what do we have left? He built Blackbird, no. He found his cards dumpster diving because that how hard life is in Satellite, no. We was hand delivered Black-wing Dragon essentially. Crow didn’t do anything to get the dragon, it was just there all along apparently. It feels like everything we know about Crow is now a lie.

All of these things fit Crow thematically, so why was there a need to ruin his character? Yes, even the dragon fits Crow thematically, so why did Pearson need to be a thing?

As much as I love being a hater when it comes to this arc. But I also hate it because it had potential. Pearson’s whole deal was teaching kids skills so they can make their own way in the world. With that in mind, have Crow build Blackbird using the skills that Pearson taught him. Then use the arc to have Crow realize that he doesn’t have to do something grandiose like Bolton in order to keep Pearson’s legacy alive. Just teaching his own kids is enough. Let him get the dragon somehow and at the end of it all, show Crow teaching the kids how to build a duel runner or a duel disk (with the help of Yusei and Bruno of course. Jack can be the cheerleader). To end it all off, at the end of show have the kids show a completed project to Crow when he announces he is leaving. To show how much they have grown and that Crow doesn’t need to worry. This makes him promise to be strong enough to be the dream they look up to before he leaves.

That is just my take on things. This arc is a mess and I wish Crow’s character was handled so much better than this. It grinds my gears hearing such lies like he was the writers favorite or some other dishonest hot take they come up with.

I wish he had as much favoritism and care about his character as much as people gaslight themselves into believing he has.

[rosyandraw]

I miss your writing :( Hope you are ok sending kisses xxxx

Hi my dear!

I am writing... but mostly for other fandoms/ventures, though I do have a CP gladiator-hate-sex fic that just needs cleaning up...

Otherwise I am a huge disappointment and I'm sorry. Still nothing on NMFY as of right now, but I swear it's not abandoned in the hopeless sense. I'm just waiting to fall back in love with it, you know?

I'm good thank you! Hope you are well too 💕

[aduckmurder]

IM HOME fROM WORK YOU KNOW WHAT THAT MEANS

I eat, I DRAW .....I keep on my drawing table-

You go girlie-pop

Go eat, draw, and keep on your drawing table as much as you want

Slay the rest of the day away

[sir-yeehaw-paws]

It's -27c over here 💀

Anon I deeply sympathize and hope you are not completely frozen solid.

[siriusanotherside]

Right nnow, some people in a Discord group really hate SDRA2 and prefer DRA much more, because they find SDRA2's writing (Both in characters and in cases) much, much worse (Like, finding Kokoro and Kanade's intelligence more like a informed attribute, and finding Yuki annoying and whiny and preferring "Yuuki" much more bc they felt his breakdown was better written), and pretty much saying they LINUJ unlearned everything he learned when he did the first game (Bc in the first game, the characters questioned the others' testimonies, and feeling that Kokoro and Kanade's clues in the first two cases on SDRA2 came too out of nowhere)

EDIT: HELLO ASK THAT HAS BEEN IN ASK HELL FOR A LONG LONG TIME. IT IS FINISHED FINALLY! First, It is valid to have preferences for whatever reason between games. And even disliking other games for A/B/C/D, as taste is taste and everybody has their preference. I also feel that the structure (and cast) of Another1 and Another2 is different enough that it can happen of one hating one and liking the other. You can also dislike a character for not-deep reasons (there are characters I dislike just because their voices make my ears hurt or because I dislike the color palette).

Idk how Discord works well, but given the intensity of this, by what I am reading in the ask, I would say to try to either block them (or something similar to filtering them) depending on how frequently they do so (like say if they are flooding the chat with it non-stop). That said given that you said it is a Discord group then… It might be easier to filter it out of your feed? like a channel thing?.

I do greatly disagree with their criticisms though.

Addressing the criticism regarding Yuki VS Yuuki.

I would disagree because while they may share the same name and near same appearance they have very different: resources, connections/friends, structure of the killing game and pressures. All of those points snowball into very different breakdowns.

Yuuki/Utsuro Killing Game (calling KG) didn’t aim at him, specifically, and he had Divine Luck protecting him against most of the worst parts of it (People he cares about always survive, never betray him; No motive targets him, specifically). All participants, as far as he knows, have sympathetic motivations for killing and are being manipulated by Monokuma. As far as Yuuki knows, this is all caused by one evil person and should they find this person, everything would be over.

Yuki KG, on the other hand, is specifically targeting him in order to cause as much suffering on him as possible. As far as He knows, the game is caused by 5 murderers who are waiting to kill them, and twice shown to be willing to betray their friends (Hajime -> Shinji / Enma -> Kokoro).

The mastermind repeatedly shows that he is invincible and can bend reality and so no one can do anything about it. Not only that, but Kanade serves to skyrock the paranoia in everyone since her trial shows that even if one person is not a Void and seems to be a meek, shy, calm, softspoken, civilian, they could still be secretly a serial killer with a very different evil agenda.

All of this creates very different mindsets.

Adding to that, Yuuki is waking his memories, and while he is horrified of it, he still has the choice on what to do regarding them. Yuki is, basically, getting another person shoved inside his head while having his personality artificially (Mikado’s AI creation thing) fluctuate between both without any input of his, continually feeling powerless.

It is notable, that at the end, Yuuki’s Horror is discovering his memories. Yuki’s horror is being replaced by someone else while discovering his body doesn’t exist anymore and he is only a brain.

Yuuki doesn’t have to deal with people he specifically bonded with, canon-wise in scenes through the story, (Akane and Tsurugi), dying. Yuki loses his best friend / big brother figure / leader figure in a horrifying way.

Monokuma allows for Yuuki group to……regroup and have moments of lightness and closure, meanwhile Yuki group doesn’t have this type of closure and are in increasingly tense and anxiety inducing sequences.(Think of Chapter 4)  

Also, Yuki has to deal with, since Chapter 3, extreme moodswings and jarring changes in his personalities as if he is disappearing. Yuuki has to deal with odd dreams, once an angry outburst he quickly assumed was due to the KG and only truly has the illusion shatter in Chapter 6.

(Ohhh nice parallel it came to me, but Yuki gets executed in spite being and knowing he is innocent of Teruya’s murder. Yuuki dodges execution despite unknowingly having a connection to Yamato’s murder.)

All of this creates two very different breakdowns and ways of dealing with it. Yuki, due to the circumstances above, gets an on-going increasing-through-chapters breakdown. Yuuki’s proper breakdown happens in chapter 6.

Yuki reacts to the constant pressure of his killing game that barely allows him to breath, by crying, by snapping, by breaking under it. Yuuki has enough moments of levity to rest and truly snaps in chapter 4, in which both him and Akane have time to address it and apologize, and 5, in which he grabs and scares Mikako due to suspicion.

One breakdown is just more openly helpless due to Yuki’s lack of agency, of hope spots between despair, and lack of resources to fight. The other is a built up for the reveal of the mastermind, which Yuuki gets agency in what to do with the information, and has Divine Luck subtlety protecting him from the worst of the killing game.

Yuuki gets to decide what he can do to what happens to him. Yuki can mostly watch in horror unable to prevent, affect or deal with what happens to him.

So, in conclusion, both breakdowns have different aims and constructions that suit each character specific arc and foreshadowing and are both greatly written. Yuki’s is just more painful to watch due to it being a reaction to his lack of agency VERSUS Yuuki’s being a build up to find out a mystery that, in the end, he is still able to have agency in it.

Addressing Kokoro’s intelligence as an informed trait

I do believe Kokoro’s intelligence shows up enough during her screentime to be shown to be a consistent trait. She identifies something is odd with Sora, she is able to read the emotions/thoughts of other people with a good deal of frequency and point out so and she tries to come up with the best choice in a sea of bad ones to deal with her problems.

Looking beyond the trial, in chapter 2, this is a constant. Her main goal is to live, which means not to anger and become a threat to the Voids and to non-Voids, so she immediately glues herself on the one person who is confirmed not to be a Void, has aversion towards killing, wants to save them, and is committed to protect them (Teruya). She tries her best to stay neutral and not interact with anyone as to not anger the Voids or show any inclination on who they are.

The clue in trial one is brought up while being consistent with Kokoro’s character presented in Chapter 1 and in chapter 2. Notably, if you do all of Hajime’s free time events, it is also consistent with that, since in them, Hajime spends a good deal of time grappling with the realization he is going to have to kill someone, and so does show a window for Kokoro to be able to be able to read his doubt and then realize that he was the killer.

Also, ultimately the clue was not just a clue thrown there and forgotten. Kokoro’s clue gave her credibility and role through the trial gave credibility to her as a very unexpected threat to the Voids that could snitch on them at any moment and would be believed by the others due to said credibility.

On why Kokoro doesn’t make the optimal choices everytime

The vibe I get / my interpretation upon seeing Kokoro arc is that Kokoro is extremely smart in the book / deductive way but lacks in terms of how to apply it. Using a metaphor, Kokoro is a doctor that can identify what you have with precision, and can suggest a treatment but flounders when it comes to applying said treatment.

Kokoro is smart in technical terms and in able identifying what other people feel to the point of being able to almost read their thoughts. But. Notably, repeatedly, she seems to lack the ability to engage with the emotions she identifies in someone else, as well as, being overwhelmed by her own emotions due to the abnormal situation she is in (Killing Game).

She can identify who the Voids are and that they want her dead, and so she scrambles to try to make herself less of a threat. Kokoro can connect the dots that if she hints or outright tells on a Void, another will kill her. She clings to Teruya due to him being the only person neutral that she can hope to protect her. 

There are different kinds of intelligence. Example: Shinji is not booksmart, but he is emotionally smart in that he can rally, motivate and comfort people. Kokoro can point out what the person is feeling and nearly thinking, but she sees it in a clinical way without engaging with said person emotions, be it by feeling them or by addressing them. As such, she can’t comfort, motivate, rally or de-escalate successfully the group.

Chapter 2 showcases this, in which Kokoro has to navigate being a threat to the voids, not wanting to die, and trying to parse her own feelings on the situation, and how to try to deescalate the situation. She fails sometimes and increases the paranoia and distress with the group both Voids and not-voids.

One moment I also think showcases this is when we look at the first trial in a Watsonian way. Kokoro is able to identify the killer, but she lacks a way to bring it up that wouldn’t derail the trial and possibly make people dubious. So she lets Sora take the reins of said trial, so that Sora can “build the road” to the conclusion.

In Enma’s case, Kokoro seemed to be overwhelmed by the situation. Kokoro knew Enma was a Void. She knew Enma was observing her. She was also shocked by the way Enma interacted with her, as if genuinely wanting to be friends and Kokoro……also started to want to trust and be friends with Enma.

Kokoro strikes me as a very lonely person who was never really approached this strongly by someone that committed to being her friend (even if with dubious reasons), and so, I think it did touch her and made her want to trust Enma.

Notably, it is during the hopeful moment, when Hibiki who previously was freaking out over the Voids, commits to try for friendship with the show, that Kokoro tries to reach out back to Enma and feels confident doing so.

However, due to the her lack of… way with her words, bluntness and generally not really great empathy, as well as the nervous-ness of the situation it went as it went. I imagine that due to Enma never really hinting at her trauma to Kokoro, Kokoro ended up underestimating the intensity of the trigger that talking about it was, and so was caught out out of guard.

In conclusion, I would say that Kokoro is smart, but that she lacks in emotional intelligence to use what she sees to propel others towards her own goals.

Addressing Kanade’s intelligence

Much like Kokoro, Kanade intelligence is a consistent trait. Is it used for evil? Yeah, but Kanade and her actions do showcase it.

Kanade creates a persona that immediately hides most of her intentions and makes people underestimate her. The facade she shows into the world is of a meek, follower, crybaby with no confidence, who is bullied by her sister. Hibiki follows it up by being loud, yelling insults at her, and seeming (and believing) to be the one taking charge of them. This makes it so people are less willing to scrutinize or pay much attention to her, seeing her with either pity or looking away.

All hints she herself gives that she may be more than she shows are fairly neutral, after all, who is going to call her out for liking horror genre? Or for staying calm while Hibiki panics upon the bodies and say she is trying to calm her?

Notably too, the person who most gives away both Kanade’s plan and abilities are not she herself, but Hibiki who talks about it in a setting where Kanade can’t stop her without throwing away her mask. (Nikei interview right in front of everyone where Hibiki talked about their synch, Hibiki complimenting Kanade skills in front of Sora).

I would also say her behavior in the first trial is consistent and that she, much like Kokoro, watches out while Sora leads them towards the right answers. And then, she doesn’t step up due to Kokoro doing so.

Third trial also does give credence to Kanade’s intelligence. Her plan may be convoluted as hell, but the crux of it, that is two people murdered someone at the same time, was intelligent and impossible to guess. The viewer might be genre aware due to knowledge of the canon-verse third trial, and guess what Kanade was aiming for, but a bunch of people who were used to the structure of 1 murderer 1 victim were very stuck on it. Even too, the clues that do point to the right conclusion are given previously by Hibiki and not Kanade.

Syobai, the person who had the most knowledge on murder also dismissed at first glance the possibility due to the perceived impossibility of that level of synchronization being possible. Mikado has to insert a fail-safe on Sora so that she refuses to end the trial with the wrong conclusion before the time arrives, and Divine Luck has to act, in order for Kanade’s plan to fail.

Kanade does starts to panic and snap more, alerting people something is off, when they start to get said clues but considering the high stakes situation, it did made sense. Her arrogance is also a clue in itself that something is off with the conclusion they were arriving, but that’s a character flaw that doesn’t negate that the plan was smart in shrouding what the true murder was.

And so, yes Kanade is smart and it is displayed consistently through the game for it to be a trait.

As for the second trial clue, given Kanade’s experience with murder, her clue seemingly comes from nowhere but serves as foreshadowing of Kanade character, as a cunning and smart person. It is the first time that Kanade blatantly breaks her facade of a meek person, by acting arrogant, insulting people and cleverly pointing out the murder’s twist, and getting rid of the roadblock of the trial. Notably, a lot of people were unsure of Kanade suggestion, but they did went with it due to finding themselves going into circles when trying to find an answer to the murder.

So yeah, due to the way it acts as a foreshadowing for chapter 3 + set up for Kanade character + people were already stuck might as well hear her out, I do think it is a valid clue.

(The thing in the trial that makes me go “my dude what” is the icicle whole deal tho.)

About Linuj.

*waves hands in a way to try to say what I mean* It is…. Hm. Eh.

TL;DR: 1 was the first fangame and so he was still getting used to doing a fangame and getting confident as he went, but still acting inside the constraints of the setting. 2 was Linuj’s more ambitious project (I mean this in a neutral observation) that diverted a lot from the common tropes and standard plot structure of a killing game.

Due to this, the games have very different vibes. It is not that he unlearned anything, but that he got more confident to tell the story he wanted to tell and the plots he had ideas for. (END TL;DR)

When I see Another1 and 2, it gives me the gut instinct that Another 1 was Linuj first dipping his toes in fangame and DR -

(Chapter 1 in particular is…feels… very safe in the sense that he followed the very very standard DR formula to the point where it feels it is DR/1 with the twist that it is played straight in that ass who murdered is an ass and saint victim is a saint. Sports guy murders girl but she wasn’t the intended victim, ball was a key point of the murder, confusion due to location etc etc)

--- And as such, even as Linuj started to get comfortable and experimenting with his writing (the following chapters) due to the set up, he still went with the common structure of the plot, that is: Despair VS Hope; standard killing order; 1 (2ish) mastermind; mastermind reveal at 6; Murders are caused by motives set up by Monokuma or blew out due to confrontation; everybody had been Hope’s Peak students and Ultimates before and had known each other.

(I mean the observation above in a neutral way (not negative or positive). I think the writing of the first game is incredibly good, a joy to watch, the twists original and gripping by their set up, but he goes with the usual structure)

In 2, Linuj gives the vibe of feeling more confident and had gotten more practice with the creation of the killing game, and so went with the vision he had and experimented with his ideas.

This caused a very different plot structure: Despair VS Hope is barely there and is a light curtain due to Mikado/Voids motive having nothing to do with it and the theming focusing more heavily on Outcomes VS Process; Murders are (mostly) pre-determined beforehand by chosen murderers; everybody are strangers actually; already revealed mastermind in 1 and technically near every chapter having one adjacent reveal.

About specifically the clue and testimonies writing

I think the clue that Kanade gives in within the story in that it serves very well its purpose of both setting up Kanade’s true character and threat and in introducing a new way to look around the murder.

Kokoro’s clue felt very in accordance with her character and her goal as well.

About testimonies…. I will be real with you chief, it has been a hot second since I saw all of the trials. I generally think that they were done ok, with shout outs to chapter 1 and 4 when it comes to it. Due to the structure of 2 (Somewhat everyone accounted for plus looking in reverse order) and 5 (3 people were all together leaving the options as: suicide, Alt Yuki possesses Yuki, Mikado did it or Iroha did it), I do understand why the testimonies were structured that way.

I think that the testimonies due to the structure of the murders between games as well as different motivations. I don’t know, they felt very natural to the trials of their respective games. Notably, I would point out that Mikako also does a testimony, not unlike Kokoro, in Chap 4, in which she sees Satsuki running away in tears out of the room and is taken as truthful.

The clues comes as character establishing moments for Kokoro and Kanade, which either impacted them in the future (Kokoro’s credibility3) or foreshadowed important points that were to come (Kanade’s true personality and threat as a clever cunning person).

So yeah.

[endusviolence]

Rowling isn't denying holocaust. She just pointed out that burning of transgender health books is a lie as that form of cosmetic surgery didn't exist. But of course you knew that already, didn't you?

I was thinking I'd probably see one of you! You're wrong :) Let's review the history a bit, shall we?

In this case, what we're talking about is the Institut für Sexualwissenschaft, or in English, The Institute of Sexology. This Institute was founded and headed by a gay Jewish sexologist named Magnus Hirschfeld. It was founded in July of 1919 as the first sexology research clinic in the world, and was run as a private, non-profit clinic. Hirschfeld and the researchers who worked there would give out consultations, medical advice, and even treatments for free to their poorer clientele, as well as give thousands of lectures and build a unique library full of books on gender, sexuality, and eroticism. Of course, being a gay man, Hirschfeld focused a lot on the gay community and proving that homosexuality was natural and could not be "cured".

Hirschfeld was unique in his time because he believed that nobody's gender was either one or the other. Rather, he contended that everyone is a mixture of both male and female, with every individual having their own unique mix of traits.

This leads into the Institute's work with transgender patients. Hirschfeld was actually the one to coin the term "transsexual" in 1923, though this word didn't become popular phrasing until 30 years later when Harry Benjamin began expanding his research (I'll just be shortening it to trans for this brief overview.) For the Institute, their revolutionary work with gay men eventually began to attract other members of the LGBTA+, including of course trans people.

Contrary to what Anon says, sex reassignment surgery was first tested in 1912. It'd already being used on humans throughout Europe during the 1920's by the time a doctor at the Institute named Ludwig Levy-Lenz began performing it on patients in 1931. Hirschfeld was at first opposed, but he came around quickly because it lowered the rate of suicide among their trans patients. Not only was reassignment performed at the Institute, but both facial feminization and facial masculization surgery were also done.

The Institute employed some of these patients, gave them therapy to help with other issues, even gave some of the mentioned surgeries for free to this who could not afford it! They spoke out on their behalf to the public, even getting Berlin police to help them create "transvestite passes" to allow people to dress however they wanted without the threat of being arrested. They worked together to fight the law, including trying to strike down Paragraph 175, which made it illegal to be homosexual. The picture below is from their holiday party, Magnus Hirschfeld being the gentleman on the right with the fabulous mustache. Many of the other people in this photo are transgender.

[Image ID: A black and white photo of a group of people. Some are smiling at the camera, others have serious expressions. Either way, they all seem to be happy. On the right side, an older gentleman in glasses- Magnus Hirschfeld- is sitting. He has short hair and a bushy mustache. He is resting one hand on the shoulder of the person in front of him. His other hand is being held by a person to his left. Another person to his right is holding his shoulder.]

There was always push back against the Institute, especially from conservatives who saw all of this as a bad thing. But conservatism can't stop progress without destroying it. They weren't willing to go that far for a good while. It all ended in March of 1933, when a new Chancellor was elected. The Nazis did not like homosexuals for several reasons. Chief among them, we break the boundaries of "normal" society. Shortly after the election, on May 6th, the book burnings began. The Jewish, gay, and obviously liberal Magnus Hirschfeld and his library of boundary-breaking literature was one of the very first targets. Thankfully, Hirschfeld was spared by virtue of being in Paris at the time (he would die in 1935, before the Nazis were able to invade France). His library wasn't so lucky.

This famous picture of the book burnings was taken after the Institute of Sexology had been raided. That's their books. Literature on so much about sexuality, eroticism, and gender, yes including their new work on trans people. This is the trans community's Alexandria. We're incredibly lucky that enough of it survived for Harry Benjamin and everyone who came after him was able to build on the Institute's work.

[Image ID: A black and white photo of the May Nazi book burning of the Institute of Sexology's library. A soldier, back facing the camera, is throwing a stack of books into the fire. In the background of the right side, a crowd is watching.]

As the Holocaust went on, the homosexuals of Germany became a targeted group. This did include transgender people, no matter what you say. To deny this reality is Holocaust denial. JK Rowling and everyone else who tries to pretend like this isn't reality is participating in that evil. You're agreeing with the Nazis.

But of course, you knew that already, didn't you?

Edit: Added image IDs. I apologize to those using screen readers for forgetting them. Please reblog this version instead.

[royboyfanpage]

I'm gonna cry... Tumblr played up and I lost the draft of the Arrowfam ask...

[egophiliac]

What do you like about the Diasomnia boys if I may ask?

I always love hearing about the different reasons people enjoy characters.

I mean, c'mon. he has split custody over Sebek okay

also, Lilia in particular has maybe the best timeskip character development of all time

[bluevalleybreakingnews]

do u ship ice

No, I’m actually a scientist, not a distributor of some kind! But you could prob try this website?

[fanaticalthings]

Jason being the easiest kid is super funny. Bruce looking at Jason and remembering Dick at 18: “we can work through this. He’ll come around if I don’t give up on.”

Bruce, watching over a freshly street-snatched Jason: Why is he so calm

Having Dick as the rambunctious, feral, and unhinged first child must've given him SO much whiplash once Jason entered the picture. Lil guy just vibed in his own world. Just reading books and doing schoolwork. Baby Jason hurt nobody.

Bruce will just be going over the ground rules of the manor, remembering all the chaos Dick brought upon the household.

Bruce: No swinging from the chandelier.

Jason: ?? I wasn't planning to?

Bruce: No murder.

Jason: What? That never even crossed my mind-

Bruce: And please, for the love of God, don't sneak out and try to beat up the nearest criminal on our block

Jason:

Jason: WHO is responsible for these rules being created??

Bruce will just come home from a long day of work. He's tired and just wants a nice, quiet evening, but he's subconsciously psyching himself up to prepare himself for the chaos he'll witness once he enters the manor

but then Jason's just quietly doing his own thing, maybe even helping Alfred with some chores, reading, or just lounging about in the manor. In general, just causing no trouble and Bruce just turns to Alfred, all worried like, "Is he sick? I don't think children are supposed to behave this way."