#analysis of analysis

[enderlordisadumbusername]

the fact that kobolds seem to be this more "animalistic" race, with kuro talking in broken language and like improper grammar. this, coupled with the fact that he seems unaware of the fact that he's being exploited by mick, makes kobolds appear to be less intelligent than other races.

but we actually find out that the simple speech patterns are in fact due to common being kuro's second language. and in a scene where kabru talks to kuro in his native language, it's actually kabru with the simple speech patterns.

we even learn that kuro seems to actually have a much better understanding of his situation with mick than we first imagine. merely wanting to stay with them so they can have someone who they can feel relaxed around.

this, coupled with a bunch of other things, really makes dungeon meshi stand out from other fantasy media. there are no "dumb" or "evil" races, they're all just people.

[chessb0r3d]

Analysis so bad you don't even know what it's talking about anymore.

[linktoo-doodles]

resurrection is sort of romantic, isnt it

[rockpapercynic]

A.I. photos are flooding social media and contributing to an Internet where we can't believe what we see. Spotting A.I. 📷s is an important media literacy skill.

None of us have time to research every image we see. We just need people to notice BEFORE THEY LIKE OR SHARE that an image might be fake. If unsure, check it or don't share.

I've started drawing some comics explaining the basic of AI spot-checking and media literacy in the age of disinformation. Follow along here or on my Twitter.

[neo--queen--serenity]

There’s just something extremely touching about watching Izutsumi work through a wide range of emotions when she sees Marcille cry for the first time.

She’s sleeping on Marcille’s lap when it happens—something she hadn’t willingly done since her human consciousness was subdued in the Golden Country.

Izutsumi was initially very embarrassed when she remembered showing Marcille such unbridled affection when her monster (cat) side had full control in Melini. But now, shortly after, she did it again without any fuss, seemingly over this embarrassment.

But when she notices Marcille crying—not crying expressive tears over a situation with low stakes, but tears of real sorrow and loss—Izutsumi physically recoils.

She reacts with the childlike fear and panic that one feels when someone they heavily rely on and trust (like a parent or teacher) shows vulnerability, doubt, or weakness. She lashes out, trying to use words of reproach to get Marcille to stop crying. Or, in childlike terms, to try to force Marcille’s pain go away.

When that doesn’t work, we see her physically struggle as she tries to sit by and wait it out. But Izutsumi can’t do it.

Marcille’s pain causes her so much intense distress that Izutsumi immediately offers physical affection as a response—something she has not done for anyone up to this point.

When Senshi told the party about his traumatic backstory, Izutsumi did not touch him. She did support him, tried to offer words of comfort, but she did not embrace him like the others did. Maybe she didn’t know how; maybe she didn’t have a proper example on what comforting someone looked like. But she saw all three of them reach for Senshi, she saw them hold him in their arms, and anchor him as he cried.

This is the first time another party member has cried out of sadness since that moment. It’s possible that she saw how the others helped Senshi, and maybe, subconsciously, she saw that it worked. That it made him feel better.

She is clearly unused to it, and has her own rollercoaster of emotions as Marcille gratefully accepts the comfort Izutsumi is offering her. But it helps. It helps Marcille immediately, and Izutsumi knows this.

These acts of vulnerability are foreign to her, and thus make her feel uncomfortable, but she lets Marcille lean on her afterwards anyway. She wanted Marcille to be okay, wanted it so badly, that she accidentally overcame an emotional obstacle she never even knew she had.

[justgivemeabookplease]

Shrek 2, while a cinematic masterpiece, is also an interesting look at queerness and comp het.

Fiona is married so it's time to reunite with her parents. But instead of marrying a prince, she's married to an ogre. Not just that, but she's also an ogre. (Yes everyone knew she would sometimes be an ogre but that was when she was a child, she didn't know she would be an ogre for the rest of her life, and besides once she met the right prince she would stop being an ogre. She was supposed to stop being an ogre.)

But okay they're both ogres. We can still ask about when they'll have children because even if they're ogres they can still have kids, right? That's what married princes and princesses do so naturally that's what everyone does. Even if ogres might not be great parents (I've heard that ogres eat their young, is that something you people do?) it's still something that should be discussed.

And okay you can stay in Fiona's childhood bedroom filled with all the reminders that hey, everyone thought she was just a princess and princesses marry princes. Her toys left out from the last time she played with them. The prince slays the ogre. The princess offers a token of gratitude for slaying the ogre. Fiona wrote Mrs. Fiona Charming a million times in her diary because what else was she supposed to grow up to be?

And Harold you have to fix this, your country can't be ruled by ogres. You were unfit to rule when you were a frog but I changed you, I made you better, I made you a prince. You know how this works. Think of your daughter's safety.

Shrek goes to the Fairy Godmother and oh honey, ogres don't live happily ever after. It's just not done. It hasn't happened in all of fairy tale history. You have to change the both of you to be happy. You have to present as a prince and a princess. It will be better. You'll fit in better that way. You'll be accepted that way.

[counting-stars-gayly]

It’s time we accept that Percy Jackson is an unreliable narrator. He’s not dumb. He’s just insecure. He’s not clueless about his and Annabeth’s feelings. He’s just in denial. He’s not clueless about Rachel’s feelings. He just doesn’t want to do anything about them. His mother isn’t perfect. He just loves and respects her more than anyone in the world. That boy contradicts his own inner monologue all the time. Do not trust him!!

EDIT: Please don’t interact just to disagree. You can make your own post.

[shyjusticewarrior]

[aerequets]

this post was the catalyst for this comic, and i was also thinking of a desi song lyric (tere dil ke sheher mein ghar mera ho gaya / in the city of your heart, my home is made) and just... hmmm.... leaving your mark.... making a house into a home..... when the marks a child inevitably leaves behind (messes, scribbles, and in this case stickers) eventually fade away as they grow older and you're left with the memories stored in what hasn't been erased....

im not verbalizing it very well but catch my drift?

[artbyblastweave]

I'm not the first to mention this, but one bit that I thought was really clever in Steven Universe is the ways in which the show subtly justifies the cartoonism of the principle cast always wearing the same outfit for ease-of-animation purposes. The gems are a gimme in that they're all hardlight-projections, and even before that's solidified as a plot point they're otherworldly and superheroic enough that you don't really think to question it. But Steven canonically just owns hundreds and hundreds of those star shirts, which are leftover merchandise from his father's fizzled-out career as a rock star. Into which you can read a whole bunch of other stuff if you really want to, right? And I do want to. It's reflective of Greg's misplaced optimism that he got hundreds of those made in the first place, and it's a benign but visible example of how Steven's life is shaped by the knock-on effects of decisions his parents made before he was even alive. He's got his mother's superpowers and he's wearing his father's shirts.

[hedgehogoftime]

Rereading the Lord of the Rings series recently, and it's so fascinating to me how much the series is a denial of the typical juvenile power-fantasy that is associated with the fantasy genre.

Like, the power-fantasy is the temptation the Ring uses against people It tempts Boromir with becoming the "one true king" that could save his people with fantastic power. It tempts Sam with being the savior of Middle Earth and turning the ruin that is Mordor into a great garden. It tempts Gandalf and Galadriel with being the messianic figure of legend who brings salvation to Middle Earth and great glory to herself.

The things the Ring tempts people with are becoming the typical protagonists of fantasy stories that we expect to see. and over and over we see that accepting that role, that fantasy of being the benevolent all-powerful hero, is a bad thing. LotR is about how power, even power wielded with benevolent intent, is corrupting.

And its so fascinating how so much of modern fantasy buys into the very fantasy LotR denies. Most modern fantasy is about being that Heroic power-fantasy. About good amassing power to rival evil. But LotR dares not to. It dares to be honest that there is no world where anyone amasses that power and remains good.

I guess that's one of the reasons its so compelling.

[thottybrucewayne]

I don't think people realize that critiquing the media you enjoy is fun too.

[ambrosiagourmet]

I've seen pieces from this extra comic before, but never read the full thing until today. And holy shit does it hammer home just how much the story is about class.

Multiple times, when food comes up in this comic, it’s also in context of money:

I've seen this last panel on the right brought up before in context of like, dungeon meshi's relationship with fat and eating, but in the full context of the comic it really hits how much adventuring directly consumes bodies for money.

As much as this has been part of the story the whole time, showcased as early chapters 19 and 20...

It never fully hit me before how often adventuring comes down to having no other way to make money but to throw yourself into death repeatedly. To be used, whether it’s by individual selfish people (like the resurrection group that is happy to try and get Kabru's group to kill each other to get extra gold from them in chapter 32), or by the greater cog of the Dungeon Economy in general.

Which, to be clear, is all too often how things work in the real world, too. So many jobs burn through the health and lives of workers. Dungeon Meshi just makes it literal in a new way: by making the healing and resurrection, a core part to the adventuring loop, directly use fat, muscle, and energy from the body being healed.

Imagine Amazon, but if you got injured at work, they could literally burn up some of your body to get you back to working sooner. And that was seen as an advantage of the job.

And then you have Laios, thinking about eating monsters:

Not just because he likes monsters a lot. But because it would help. He says something similar in the actual manga too, during the chapter discussing his dream with the Winged Lion

Laios wants to be able to make a home for Falin. He wants to give her a place where she never has to eat alone. And when he gets a party, he wants to give them a way to eat well. And when he runs a country, well…

He wants to ensure that everyone has enough to eat.

Food is political. Food ties into class, and money. What is deemed "proper" to eat, what is a luxury, what is crass… so much of it comes down to money.

Being judged for eating what's available, when what is “proper” isn't affordable, is already a thing that happens. People forced into work that consumes their energy is already a thing that happens.

Dungeon Meshi has a lot of fantastical elements, but boy is its examination of food and class very real.

[fluideli123]

[IMAGE ID: The American Chopper Argument Meme that reads: "Deadpool 3 wasn't a good movie because the anchor being concept didn't make sense and neither did the cameos, it was supposed to be about deadpool." In the second panel, "Anchor beings are a commentary on Marvel's fucked up money-making scheme and destroying characters who are popular to the audience which puts more money in their pockets." The third panel states, "The cameos still shouldn't have been there! They made no sense!" Followed by, "Deadpool wanted to be a hero since the first Deadpool movie and continues to be rejected over and over and you think it's not important for him to meet people who were rejected by the industry and forgotten? To not only make a jab at big industries but also for himself and his repeating themes?" / END ID]

Guys, I might be passionate about this movie, I don't think it's noticeable./s

[luna-azzurra]

List of 40 character flaws

Stubbornness, Unyielding in one's own views, even when wrong.

Impatience, Difficulty waiting for long-term results.

Self-doubt, Constant uncertainty despite evident abilities.

Quick temper, Excessive reactions to provocations.

Selfishness, Prioritizing one's own needs over others'.

Arrogance, Overestimating one's own abilities.

Trust issues, Difficulty trusting others.

Perfectionism, Setting unreachable high standards.

Fear of change, Avoiding changes.

Haunted by the past, Old mistakes or traumas influencing the present.

Jealousy, Envious of others' successes.

Laziness, Hesitant to exert effort.

Vindictiveness, Strong desire for revenge.

Prejudice, Unfair biases against others.

Shyness, Excessive timidity.

Indecisiveness, Difficulty making decisions.

Vulnerability, Overly sensitive to criticism.

Greed, Strong desire for more (money, power, etc.).

Dishonesty, Tendency to distort the truth.

Recklessness, Ignoring the consequences of one's actions.

Cynicism, Negative attitude and distrust.

Cowardice, Lack of courage in critical moments.

Hotheadedness, Quick, often thoughtless reactions.

Contentiousness, Tendency to provoke conflicts.

Forgetfulness, Difficulty remembering important details.

Kleptomania, Compulsion to steal things.

Hypochondria, Excessive concern about one's health.

Pessimism, Expecting the worst in every situation.

Narcissism, Excessive self-love.

Control freak, Inability to let go or trust others.

Tactlessness, Inability to address sensitive topics sensitively.

Hopelessness, Feeling that nothing will get better.

Dogmatism, Rigidity in one's own beliefs.

Unreliability, Inability to keep promises.

Closed-offness, Difficulty expressing emotions.

Impulsiveness, Acting without thinking.

Wounded pride, Overly sensitive to criticism of oneself.

Isolation, Tendency to withdraw from others.

[myfairstarlight]

We joke but the fact NO ONE bats an eye when Penelope and Colin are unchaperoned in broad daylight, or the way they keep to themselves in the corner of balls and other events, speaks a lot of how little the ton considers Penelope as a desirable debutante. Fife and co mock Colin for his friendship with her. Portia catches them alone in a room and somehow doesn't jump on the YOU MUST MARRY train. Even Anthony, albeit s1 Anthony so he's a bit dumb, comments that Colin has danced multiple times with Penelope yet it does not signify.

Side note but I would kill to see his reaction when he hears Colin interrupted Penelope's and Debling's dance lol.

Everyone sees Colin running after Penelope multiple times this season, and everyone assumes it's out of pity, rather than care. Like she's not even the one chasing him, he's the one doing it in all four episodes!

Never in their wildest fantasies could they imagine Colin Bridgerton being interested in Penelope Featherington indeed. And oh boy, are they in for a rude awakening! Because that boy is already loud with his actions when he wasn't even aware of his feelings, but he's gonna be even louder with his words to make sure everyone understands how much Penelope Featherington is beloved by him.