#and the tensioner!

[poorly-drawn-mdzs]

Must be a Sugondese joke.

[sinverse]

finally watching supernatural (yes, in the year 2024) and god you destiel girls weren’t lying huh

they really ARE that gay

[andi-o-geyser]

a full SAGA of chaos choices at the diner in the centre of your mind

[vintage-tigre]

[aramblingjay]

#if i had a nickel... HOUSE OF THE DRAGON 1x04 // 2x08

[hansoeii]

1941

[void-dude]

Oh yeah his brain finally kick started processing his emotions! Against his will!!!

Bill at therapy part 1 | Part 2 | Part 3 | Part 4

[lokh]

(not) recognising the self in the other...

[galaxyspeaking]

stoking the flame.

[ruoyeming]

A lirtle wangxian wip cause I've been rewatching The Untamed <3

[havanillas]

Aventurine that isn't putting on a show is actually killing me I'm dead on the floor I know it's supposed to be a personality swap but maybe in a world where he wasn't seen as a commodity he would act this way,,, explodes

i do think even without taking the AU into account kakavasha is a pretty mellow person when he's not wearing his confident fancy guy persona

that side of him paired with a slightly different backstory that no longer requires him to wear that persona probably means he knows how to endorse in his "weak sides", like showing genuine care in someone else or accepting when he's tired

Link to rest of the series

[angstflavoured]

i think too many people misinterpret what i mean when i say i ship billford. like no, i do not want them to be together happily eventually. i dont even want them to be together. the ship so goddamn toxic that there is only misery and old broken remnants of feelings and longing for something that couldve been but never will be. they will never be happy in each others lives and i want to keep it that way. dont get it twisted thinking im just shipping cute little yaoi and i want them to kiss in canon. no. this is something much deeper and intimate and painful. this aint my first Toxic Old Man Yaoi rodeo and it wont be my last. there is no happiness here.

[yuri-puppies]

Shape-shifters, face-blindness, and "paying attention to others"

The shapeshifter is one of my favourite "monster of the week" episodes because it showcases how differently Laios processes social information than the rest of the party. It reminds me a lot of the strategies I, faceblind name-forgetter and eye-contact avoider, use to recognize people and learn things about them.

We see Laios clearly fail at recognizing the doubles through "standard" social cues that are perceived as "easy to tell", such as their clothes. This makes the team (unfairly, but understandably) weary of his ability to tell the fakes apart and even worried that he'd prefer the monster versions* over them. Nonetheless, he gives it a try!

...And is immediately overwhelmed. His lack of attention to social cues works a bit in his favor, though, as it makes it harder for him to fall for stereotypes that fool the rest of the group.

Instead, he chooses to rely on his strengths and use his investigation and animal handling skills to distract the shapeshifters, lure out the monster, and roll the most insane balls-to-the-wall intimidation check of all time.

If it had ended there it still would have been a great episode that showcases Laios' strategic mind and his strengths as a leader. He doesn't have the social skills necessary for the task, but he is clever and creative enough to use the skills he does have proficiency in to solve the problem*.

However, what makes this episode so dear and near to my faceblind heart is the revelation that Laios was able to recognize the real party members after all.

Laios is fantastic representation of how special interests actually work for a monotropic interest system. Having a special interest is not just about how much you like it and the need to know everything about it, it's a way of processing and filtering information. Laios' special interest is monsters: his skills as a dungeoneer and party leader are acquired for and informed by his desire to interact with monsters, as is his interest in eating them. He actually brings this up himself when comparing his interest in cooking to Senshi's.

And in this episode, we see that this also extends to his friends. Laios hacks one of the most difficult types of information for him to process by routing it through the lens of the special interest. And, because it's not something most people would notice, it works. He knows that Chilchuck wouldn't let his guard down around a potential mimic, that Senshi values a balanced ecosystem, that (my favourite) Marcille just isn't as thoughtful about monsters as he is.

It might not be what was expected, but it did the trick! And what's more, the narrative validates his way of thinking (even if Chilchuck doesn't).

[teethburied]

Matthew McConaughey on Rust in 'Making True Detective'

[themysterykat]

Handicrafts like knitting, crocheting, and tatting teach you that holding good tension is a balance. You can't work entirely without tension, but you also can't brute-force tight work. You hold good tension with practiced hands, not squeezing fists.

I think there's something poetic about life there, but I don't have the braincells to express it.

[bixels]

It's crazy how Dungeon Meshi's manga can feel more cinematic and emotional than the anime to me, even when they're practically the same. Compared to the anime, this moment is such a heartbreaking gut-drop. The way Kui uses negative space and flat compositions to create a sense of horrific stillness is so key.

The way the text (Senshi's monologue) is sequestered to an empty corner of a panel or huddled away from the edge of its text box is not only a great way of showing Senshi's headspace (fearful, isolated, dissociating), but creates a visual representation of pause, as if you hold your breathe after each line. The first panel puts us directly in Senshi's perspective too (compared to in the anime, which puts us as an outside observer over Senshi's shoulder). The detail of the door and bricks so effectively implies that he stared at it for so long, waiting and hoping, that its image is burned in his memory. The wood grain, the brick arch, the number of rivets. The lack of dialogue in the second panel shows a moment of realization too –– "he's dead" (also a great example of the Kuleshov effect). And it's that pause that creates a beat and sets a great rhythm to his headspace, like a music rest: "He never came back." (oh god.) "I'm all alone." Finally, the third panel's negative space, cropping Senshi, shows how truly alone he feels. Without his family, the world ceases to exists. Under shock, he traps himself in a 1-foot radius, too scared to even perceive a world outside its boundaries; a world that can hurt him, kill him, make him disappear with it. There is only his body, the stone beneath his feet and against his back, his thoughts, and that awful bowl of soup.

Even though they're a series of flat images, there's an implicit reading of silence in Senshi's realization and horror. Kui influences your experience to slow down and take your time.

Compare this to the anime, which fills every shot with dialogue. The pacing is fast; we never get to sit in silence like we do with the manga. The horizontal frame allowed the boarders to add Senshi, turning the composition into an over-the-shoulder shot, which takes us out of Senshi's POV. They also added a zoom-out in shot one, which adds unnecessary energy to a very somber scene. The tightening on Senshi as a close-up reaction shot also dulls the moment. In the original panel, Senshi stares ahead at the empty space to his left as a shadow surrounds his mind. It not only shows how Senshi's senses are dulling and his world is shrinking (setting up panel three), but shows how terrified Senshi is of what's in front of him, how the air itself becomes pitch black and opaque, how Senshi is surrendering himself to fear. The pacing is understandable and necessary; this episode packed a lot of story content together. It's just a shame because it really (imo) deflated one of the most nauseating moments in Dungeon Meshi.