#but believes it HAS to be eaten

[bestworstcase]

actually comparing the divine ultimatum in the sanctioned version of ‘the two brothers’ to what the god of light really said to ozma is interesting. the received version is:

if your kind has learned to live in harmony with one another and set aside their differences, then we shall once again live among you, and humanity will be made whole again. but if your kind is unchanged, if you demand our blessings while still fighting amongst yourselves, then man will be found irredeemable and your world will be wiped from existence.

and the sanctioned version is:

If they are worthy, we will take their forms and walk among them as equals. If not, we will take back our gifts and start over elsewhere. […] Humanity will make it plain. If they come together in unity and find a way to destroy the evil in the world and within themselves, then they are worthy. If not … we will let them burn.

there are… two interesting alterations here.

#1, "we shall once again live among you and humanity will be made whole" becomes "the gods will take human forms and walk among us as our equals." gestures at ‘the gift of the moon’ and ozpin’s commentary thereupon…

One interpretation of this story focuses on the fact that the people caused the problem in the first place. But in my view, it is only natural for us to want to bring more light into the world and “reach for the sun.” And on the brighter side, if you’ll excuse the pun, people were also part of the solution. They not only replaced the sun, a celestial gift from the all-powerful God of Light, but also improved upon it through their own ingenuity. Most importantly, they could not have accomplished this magnificent, godly feat without uniting for a common purpose in a way they never had before. The world once was divided between day and night, light and darkness, but by coming together, and overcoming their inherent jealousy and resentment, people made the darkness just a little bit brighter for all.

…wherein ozpin sidles right up to the precipice of I Stand With My Damned Wife: it’s "only natural" to "reach for the sun," used here explicitly as an allegory for the gifts or blessing of the "all-powerful god of light," whom humanity "replaced" with something better through their own "ingenuity" (even the smallest spark of hope is enough to ignite change, and in time, man’s passion, resourcefulness, and ingenuity led them to the tools that would help even the odds) by uniting for a "common purpose" (when banded together, unified by a common enemy, they are a noticeable threat).

he also echoes the closing passage of ‘the shallow sea’ here in naming jealousy and resentment as the problem ("And the descendants of the Humans who turned away from our god’s great gift have always carried envy in their hearts. To this day, they resent us for reminding them of what they are not and what they never can be."), which suggests he did understand exactly what salem meant when she quoted that myth in relation to the brothers—that the brothers were jealous and resentful because humankind had risen anew without them and had no need of their old masters any longer.

he’s still talking about humankind setting aside their differences and coming together, of course, but whereas in previous commentaries ozpin frames this as a difficult ideal to strive for lest we all destroy ourselves, here his tone turns hopeful: coming together is more than possible, humanity has done it before to replace the gods’ design with something greater.

gestures at until the end. "to live free, or die, it’s all the same/the enemy was right, there’s no reclaiming/in waves of shame/we’re desperate to make amends…"

the essential problem for ozma is this: by the time he becomes headmaster ozpin of beacon academy, he’s come around to salem’s thinking on the mandate, to whit that redemption is impossible and thus the only choices are to accept death or to try, once more, to fight for humanity’s freedom. yet he still believes in the infinite divine authority of the gods—he is certain that rebellion can end only in death—and moreover he believes that what he’s done is unforgivable, that it is impossible to make amends. and he is also unwilling to just give up and submit humankind as it is now to the final judgment; his hope is gone but his conscience compels him to keep trying, because he can’t bear to condemn the whole world to death.

hence the book. on its face ‘fairytales of remnant’ is a propagandistic hit piece on salem but read from cover to cover it’s also a desolate apology and plea for forgiveness: history is important and we must listen to each other, he writes in the forward. here is the story about (the witch) the warrior in the woods, who deserved more help than she was given. here is a story about a foolish man who sacrificed his wife and children to appease the cruel, fickle sun. here is the myth you quoted to me once: i didn’t understand you then, but i do now, and there is a deeper truth in this story than i knew. here is my favorite story; it’s about a huntsman who still grieves his wife and a family that finds each other again after parting ways in acrimony.

here is a story about a foolish king who destroys himself out of fear that he will make the wrong choice, and the love that saves him. here is the nightmare i have about you, told as a cautionary tale against projecting our own evil onto the face of others we fear. and here’s a story about we humans scapegoating those who were changed, hating and fearing our own loved ones because they do not look the same. here is a story about me, and my failures, and the girl whose trust i shattered, and i will leave it to you to decide if i am worthy of forgiveness. here’s the story that tore us apart; the only good ending i can imagine anymore is the one where humanity replaces the gods. and this story is about my grief, my despair, and why i keep trying.

and here is a story about you, and the hero i was before all of this; look far enough ahead, and the hero becomes a villain, but hopefully the reverse can be true, too. here is a story about humanity coming together to replace and perfect our god-given gifts; maybe we can’t be fixed, but we could start over. i keep telling these stories because i am afraid and uncertain and i want to believe that all of it really mattered.

like beacon tower, built in the image of her prison, the book is a cry for help hidden between the lines of a hollow condemnation. in the thousands of years between then and now, he’s corrupted "the gods will return to rule over us all" into "the gods will be remade in our image," because ozma doesn’t want to save the world unless she can still be in it.

and #2, ozma says the quiet part out loud.

"if you demand our blessings while still fighting among yourself," the god of light tells him, "mankind will be found irredeemable."

take these words at face value, and the divine mandate doesn’t actually sound unreasonable: mankind mustn’t approach the gods with a sense of entitlement, and they should try to cooperate with each other and work through conflict peacefully. that’s within the realm of difficult, but not impossible. but…

taken into context as the divine answer to salem’s defiance and the rebellion against the gods, his true meaning is that mankind must come together in obedient submission to their creators, repudiating salem and all she stands for. it is her "selfishness and arrogance" for which all of humanity stands condemned.

ozma grasps this. i’d wager he understood it the moment salem told him of the rebellion and why the gods ended their "experiment" the first time. and so his telling of the task he’s been given is more honest: humanity must "find a way to destroy the evil in the world and in themselves" to prove worthy.

in ‘the two brothers,’ the "evil in the world" is explicitly the grimm, whom the god light disdains as unliving creatures formed from malice and hate for no purpose but "destroying all that is good in the world." the god of darkness protests that the grimm are more than that, chiding his brother to remember that they are the same. and the brothers made humans by combining their natures into one being, just as dark made grimm and light made animals by "[giving] their essence to their creations."

what then does it mean for humans to "destroy the evil in the world and in themselves"? keep in mind that the humans in the myth do not do anything even notionally wrong: the brothers go to war with each other and "wreak havoc," and terrified humans "prayed to their gods and asked if they were being punished, […] asked for forgiveness, […] begged for mercy." this is mankind’s sole participation in the divine feud, crying out to the gods in anguish why are we being punished? (COUGHS IN JOB.)

in ozma’s account of this story, there is no wrongdoing, no sin to redeem—no justification for humanity to be condemned. instead, the brothers attempt to go their separate ways and find that they can’t, having given too much of themselves to their creations to leave the world, so darkness suggests that they take back their gifts, "reclaim our power and wipe this experiment from existence." no no, says light, we should give them a chance to prove worthy first.

so it is clear—there is no ambiguity about this at all, because there is no wrongdoing—that the "evil within themselves" that humanity must find a way to destroy is darkness itself; the "essence" darkness gave them, the gifts of knowledge and destruction he blessed them with. the evil in the world is the grimm, and the evil within is the part of human nature that came from darkness.

now. ‘the two brothers’ is of course factually inaccurate, and we know (from the answer to "what is ozpin hiding?") that the omission of the whole rebellion isn’t because ozma doesn’t know about it—he does. he knows. rather, the rebellion is something he actively chose to hide.

why?

the mythical narrative deliberately elides the divine justification for condemning mankind to death in favor of emphasizing the pettiness and indifference of the brothers toward their creations—they intend to destroy humans for no other reason than to regain their former power—and also making a direct equivalence between grimm (the evil in the world) and dark’s gifts to humanity (the evil within), both of which mankind must find a way to destroy in order to appease the god of light. the absurdity of this is underscored by darkness’ explicit admiration for human resilience and resourcefulness in the face of adversity; he’s fascinated by their use of his brother’s gifts, choice and creation.

this is, again, not secret. this is a book that ozpin published and made the cornerstone of the huntsmen academies’ curriculum; ‘the two brothers’ as recounted here is a mainstream, widely-known religious story. ozma is the one who established this religion in the first place, and he’s had thousands of years to nudge the doctrine in the direction he wants it to go.

which is I Stand With My Damned Wife. lol

ozma didn’t believe salem when she "blamed the end of the world" on the gods, but once she told him about her rebellion—as she must have, for him to know about it—he agreed with her that she had done no wrong. the story he has been telling about the brothers all this time is one that casts mankind as innocent victims crying out for mercy, for forgiveness, blaming themselves for the cruelty inflicted upon them by uncaring gods. "the desperate humans prayed to their gods and asked if they were being punished."

in his heart of hearts, this is what he believes. that salem is blameless. that she didn’t deserve this. that she’s right.

he could save the world by uniting the whole world against her and calling on the brothers to condemn her, but he can’t—not only because this world just isn’t as dear to him without her but also because to do so would be a grave injustice, and he knows it.

he doesn’t believe that the final judgment can be averted, and he believes a second rebellion is as doomed to failure as her first attempt. the only salvation for remnant lies in destroying salem—who is the evil in the world (grimm) and the evil within (defiance, easily swaying the hearts of men)—but, she cannot be destroyed.

which gives him time.

ozpin doesn’t have a plan for defeating salem. that’s not the same thing as having no plan at all, necessarily, and salem believes he does have a plan.

gestures at "we shall once again live among you and humanity will be made whole" transforming into "we will take their forms and live among them as equals." and the gift of the moon. and "if you look far enough ahead, even a story with a happy ending may reveal itself as a tragedy, and heroes may turn out to be villains… hopefully, the reverse is also true."

(ozma’s character in ‘the girl in the tower’ is called The Hero. ozpin isn’t referring to her, there, but to himself.)

he’s… trying is maybe too strong a word, but ozpin wants to achieve salem’s preferred outcome (humanity replaces the gods) without a rebellion; ‘the shallow sea’ contains deep truths, he writes, and in ‘the judgment of faunus’ he remarks that faunus depict the god of animals as a "wise and noble" figure while humans portray them as an untrustworthy trickster. in the context of the theological disagreement between salem and ozma, ‘the shallow sea’ becomes an allegory for her opinion of the brothers—she rhetorically positions the people of remnant as the faunus, herself as the god of animals, and the brothers as the envious, resentful humans who refused to leave the boat.

in ‘the judgment of faunus’ a god offers to adjudicate between a group of humans and animals who cannot resolve their feud. if they can’t live in peace, they warn both sides, they will "kill one another off, and perhaps destroy the world in the process." when they agree, the god combines them into one being—the faunus.

in ‘the two brothers,’ the gods of light and darkness are portrayed as two halves of a sundered being, the primordial dragon, who—like the humans and animals in ‘judgment’—are "more alike than [they] realize" but "have grown to see only the worst in each other." they create humanity in an effort to resolve their feud, combining their natures into one being, but this fails to stop the conflict between them. their battle "wreaked havoc" and threatened to "tear the world apart." in the end they agree that, should humanity prove worthy, they will shed their divinity and become mortal men; otherwise, they will "let them burn" and part ways from each other forever.

in… other words, in ozma’s myth, it falls to humanity to decide the brothers’ fates: will they be changed into something new and so find peace, or will they be driven apart forever, destroying themselves and their world?

gestures at ‘the judgment of faunus.’ a god happens upon the bloody battlefield and asks why are you fighting?

gestures at ‘the two brothers.’ desperate humans cry out to the gods why are you punishing us?

gestures at ‘the shallow sea,’ which salem used allegorically to equate the brothers to envious, resentful humans who rejected the chance they were given to change and heal, and so returned to their previous unfulfilling lives. with herself implicitly positioned as the god of animals. this one, ozpin suggests, contains deep truths that everyone should take the time to consider.

looks into the camera like i’m on the office.

he includes ‘the shallow sea’ to represent salem’s theological argument against the divine mandate and offers ‘the judgment of faunus’ as a counterpoint, following the pattern of her allegory: the animals and humans represent the gods of light and darkness, and the unnamed god represents humanity (or perhaps just ozma, mirroring salem’s self-identification with the god in ‘the shallow sea’). i can end your conflict if you agree to let me choose who is right, says the god. (and is that not the intent of the mandate, in the end? for humanity to side with the god of light against his brother, for whom salem is only a proxy? to choose which brother is right?) and then the god’s answer is "neither. both. you are the same."

the primordial dragon and the division of the two brothers is made up. it’s not true. but ozpin chose that version of the story and paired it with the ending where the brothers promise to make peace by becoming human, by combining their natures within themselves and thus restoring their true nature as One Whole, light-and-dark and dark-and-light.

which is ozma’s plan.

or at least, it’s what he thinks might be the answer, even if he isn’t quite sure how to make it happen.

the god in ‘judgment’ is either wise and noble or a duplicitous trickster, not to be trusted, depending who you ask, says ozpin. the only way to unite the world to the brothers’ satisfaction is by destroying salem—removing her from it completely. salem can’t be destroyed… but.

but.

the brothers are fallible. she had lied to them, turned them against each other…

they can be deceived. tricked.

ozma is so fucking good at lying. he drove her into exile, erased her from history. what few people there are who know about her are sworn to secrecy and dedicated to keeping her at bay. if the gods had returned one year before the story began, what would they see? an elaborate performance of unprecedented global peace ruled by a powerful, benevolent cult of the light dedicated solely to slaying grimm for the good of all, with salem barred from participation in civilization, completely ostracized and forgotten.

it doesn’t matter if it’s fake. it only needs to last long enough to fool the brothers while ozma convinces them that he can settle their feud once and for all, if only they grant him the power to make it so and promise to abide by his judgment.

if he can trick them into giving up their power and becoming mortal men, then Everything Will Be Okay. it squares the circle, fulfills his god-given task without sacrificing salem to appease them or sacrificing humanity in a futile act of defiance. but it will only work if the deception is absolutely perfect and that brings him right back to square one, he needs there to be no perceptible conflict in the world when the brothers return lest they rule against humanity and he needs salem to be truly gone—not the common enemy everyone in the world stands against, but gone, so thoroughly rejected and forgotten that she has no presence in the world at all.

aaand the only way to accomplish that is by legitimately fulfilling his task, at least superficially. world peace, no salem, the leading power in every kingdom is a virtuous institution inculcating light’s values in noble warriors who protect the peace. it can collapse like the house of cards it truly is as soon as the brothers have taken the bait and shed their divinity but until then, it has to be so real that even oz himself believes it.

[shadowtraveled]

"mithrun is the only real monsterfucker in dungeon meshi" is objectively the funniest bit you can get out of his everything, but in all seriousness i think his attraction to his love interest is deliberately overstated—and that makes sense, because romantic jealousy is a classic and digestible motive, which is explicitly what kabru was aiming for in condensing mithrun's backstory, and also because until chapter 94, mithrun wasn't willing to admit to the true nature of his desires.

but because romantic envy is both classic and digestible, it probably isn’t a unique enough or complicated enough desire to tempt a demon’s appetite. mithrun’s wish, as far as we can figure from kabru’s reduced retelling, was to have a life in which he had never become one of the canaries, and that carries like 3857 implications and desires within it. that’s delicious. his love interest acts as sort of a red herring to his motivation for making it, though. (side note: i'm saying "love interest" here because, keeping in mind that i barely speak japanese on a good day anymore, "想い人" is something i'd usually take as just kind of an old-fashioned and romantic way to refer to a lover, but in context i wonder if both the connotation of yearning and the vagueness are intentional, and i think this phrasing gets those aspects of it more effectively. anyway.)

mithrun considered his love interest to be untrustworthy. there was a minute where i thought that comment might be about a similar-looking elf (yugin, one of his squad members), but comparing the two…

the "sketchy" arrow is definitely referring to the elf we know as his love interest—the bangs go toward her right, she only has the one forehead ornament, and, most notably, her ears aren't notched.

every time she’s given a full-body depiction in his dungeon, she’s drawn as a chimera, with the body of a snake from the waist down. (side note: the “what if a dungeon has chimeras before reaching level 4?”/“then the dungeon lord is unstable” exchange just being mithrun grilling his past self alive is so funny. he’s so. but anyway) there are a couple things about this.

first, the snake part of the chimera appears to be modeled after some species of coral snake mimic

which, in the biology-for-fun manga, i… doubt is a coincidence, especially with the added context of the “untrustworthy” comment. the dungeon’s conjured illusion of mithrun’s love interest was a harmless copycat of a venomous original. for whatever reason, he felt this person was a threat and made up a "safe" version of her to be in a relationship with, and while it’s definitely possible to be attracted to or even love someone you find to be toxic and/or intimidating, when you take that into consideration alongside the configuration of her body, you get some interesting implications.

which brings us to our second point: if we assume that mithrun was not in fact fucking a snake, then sexual attraction, at least, was so far removed from his idea of a relationship with this person that he did not even bother to keep her dungeon copy human enough to maintain the illusion of the option of a sexual relationship. this is somewhat echoed in the depictions of their interactions, which also imply a frankly unexpected romantic distance. she kisses his cheek and he doesn't seem to react; she's at the edge of a narrow bed with only one set of pillows, on top of his blankets while he's underneath them.

the kiss is particularly interesting because it seems to contrast the text. kabru's narration tells us this was everything mithrun could have asked for, but mithrun is there looking unreadable to pensive, likely because this is right before the panel that makes it clear things in the dungeon are beginning to go wrong.

walking through this backwards for a minute, we have the physical barrier of his bedding and the spatial separation inherent in a bed made for one person, the emotional barrier of his mounting anxiety getting in the way of his ability to enjoy the affection he sought, and... the snake, which historically carries the connotation of temptation, yes, but also mistrust, barring physical intimacy. okay. ok. if a dungeon reflects the mentality of its lord, all of this might suggest that mithrun was not able to have any real desire for a relationship with this person. his unwillingness to be vulnerable or let another person in was insurmountable. but in that case, why was she such a focal point that she remained to the end, after his dungeon had stopped creating iterations of his friends to come and visit him? why would he get so upset over her meeting with his brother that he became lord of a dungeon about it?

well. mithrun's brother was also interested in her, probably genuinely. and mithrun had to win.

you have an older brother who your parents completely ignore, probably in part because he is chronically ill/disabled and almost definitely in part because he received a ton of recessive traits that resulted in rumors that he was an illegitimate child. you are aware, most likely because those same parents fucking told you, that you actually are an illegitimate child. but they keep you around because you had the good fortune of looking just like your mother. what can that possibly teach you but that you, like your brother, are disposable?

it's utterly unsurprising that mithrun, under these circumstances, developed a pathological need to be better than everyone around him. people don't keep you otherwise. i'd argue this is also why he says he looked down on everyone he knew while milsiril claims his dungeon reeked of feelings of inferiority—he sought out people's worst traits and prioritized them in his mind to protect his already extremely fragile sense of self-worth, and all the while he tried to be as likable and high-performing as he possibly could be. his parents disposed of him anyway, but even then he tried to keep up the performance. he was kind to everyone. he never once lost to a dungeon.

when he saw his "love interest" meeting up with his brother, what he saw was himself being replaced by a person his parents had always treated as worthless, and if that was what they thought of the child they'd kept, what value could anyone possibly see in the bastard they'd given away to die? mithrun and kabru tell the story like he wanted to win this unnamed elf's heart, but it was never about being with her. it was about cementing his worth, proving that he didn't deserve to be thrown away.

and so it's particularly cruel that his demon discarded him, too. but maybe it's also particularly gentle that, in the end, there was someone who refused to even consider giving up on him.

kui laid it out in three panels better than i could hope to.

yeah. it's love. you wanted to be loved, even when the only way you were able to understand it was through the desire to be wanted, and you wanted that so badly that the idea of being consumed felt like the promise of finally mattering to someone.

[originalartblog]

Don't forget to eat to keep the demons at bay

[caramelcove]

Ah yes, my favorite episodes of smiling critters

It was originally just supposed to be this

Man...

[crabsnpersimmons]

Yes actually, I do want something off the menu.

That would be moon, please.

Moon: no no no!! i can’t! i-i-it’s too soon! i’m not ready! t-take me to dinner first! n-not yet tho! i need to prepare! i--

Eclipse: (pushes the flustered Moon to the side) Looks like our little mooncake isn’t ready to be served yet, might I interest you in one of our other offerings? I make an unforgettable amuse-bouche.

Sun: (calls from the kitchen) Please refrain from eating the employees.

[ollyollyaxe]

got you shackled in my embrace, i'm latching onto you

fem adam and lawrence bc ?? ¯\_(ツ)_/¯ (non-transparent & closeups under the cut!)

[commsroom]

it is a little funny to me that zach valenti is a vegetarian and seems generally health conscious, considering that doug eiffel is... not that. the opposite of that, even. eiffel would say french fries should count as a vegetable. eiffel thinks ham & pineapple pizza covers all necessary food groups. eiffel has a meat & carbs & grease based diet, sustained by a quick metabolism and an iron stomach. and he is like aggressively american; eiffel is the guy they make novelty fast food items for. there is nothing in this world he wants more than a burger that is also a pizza. doritos® locos tacos and baja blast. that radioactive looking flamin' hot cheetos mac and cheese? he would eat that. no question. that guy loves koolaid flavors that don't even resemble artificial fruit.

[devsbian]

just saw modded gale with short hair and a clean shave. almost called him a slur out of reflex. get that away from me

[anistarrose]

oh man, it's been so long since the adventure zone has last gifted us with some good old-fashioned elevator bullshit, all is exactly as it should be. please listen to taz steeplechase

[rearranging-deck-chairs]

"i skipped dinner last night because of you and the meep" bestie he died last night <3

[joyridingmp3]

i have been doing this thing where i have been accidentally eating nutritious meals, not drinking caffeine, not smoking, not drinking alcohol, and not eating any junk food and holy shit i feel amazing??? my mood has just increased so much and I'm NEVER tired and I've been having rare if no negative thoughts. has anyone heard of being healthy this is insane?

[ratcandy]

food I did not like until this trip introduced me to them in new and interesting ways

Eggs

Almonds

[kandicon]

Avatar of the Web who keeps getting mistaken for an avatar of the Stranger because nobody cares to understand the nuance between marionettes and mannequins.

[darkmagicmirror]

Can't get over the fact Sol Regem is all like "I SMELL DEATH" about Callum when he -- according to the Callum's Spellbook publication -- canonically uses the "rattle from a magical snake" for the one dark magic spell he does, so he's never actually killed a magical creature for dark magic.

It's likely assumed (by Sol Regem) that he killed the snake to harvest the rattle, but that's definitely an assumption. Hypothetically, if the snake died of natural causes and its rattle could be used for magic, is that also a problem? Does Sol Regem also smell death on people who've killed others for non-dark magic reasons? Why does it matter that he "smells death" when he doesn't mind threatening to burn down an entire town of innocent people, himself?

[thedeadthree]

-`. WHATS YOUR OCS ROLE IN A TRAGEDY?

TAGGED BY @nightbloodraelle, @detectivelokis, @chuckhansen, @gwynbleidd, @corvosattano, @shellibisshe, @leviiackrman, @minaharkers, @marivenah and @socially-awkward-skeleton to take this loveliest uquiz for a few dears! ty ty so much!

TAGGING: @feystepped, @risingsh0t, @griffin-wood, @jendoe, @marivenah, @shadowglens, @queennymeria, @denerims, @jackiesarch, @unholymilf, @kingsroad, @gelvaan, @nokstella, @girlbosselrond, @rosebarsoap, @malefiicarum, @phillipsgraves, @aelyosos, @calenhads, @florbelles, @aartyom, @50sjello, @heroofpenamstan, @themysteriouslou, @noonfaerie, @jacobseed, @blissfulalchemist, @adelaidedrubman, @aceghosts, @loriane-elmuerto and you!

MISUNDERSTOOD VILLAIN

prepare for an onslaught of both the most dehumanizing and hateful takes, and flood of thirst comments. you are chronically misunderstood. whether or not you're actually evil is debatable. you may be acting out for revenge, to defend someone you love, or even just to protect yourself. you're a pretty jaded person. you don't trust or even really like most people. maybe you did at one point. but that part of you is gone, and you don't go a single day without grieving it. you think a lot about what your life could have been. you're stuck in the past. you're angry and maybe you don't even want to be, but this is the only way you can see to survive. you're open, but less in a trusting way and more like a wound. you don't like to let people see you, but the hurt spills out of you before you can stop it. you're impulsive, even as you try hard to plan and prepare. maybe someday your side of the story will finally be heard. until then, you can convince yourself that being hated is safer anyway.

DESPERATE NARRATOR

this story is a cycle, and you're spinning around it like a hamster in a ball being tormented by a cat. you know how this story ends. after all, you've told it a thousand times. but you try to change it every time. you love the people in this story more than anything. so watching them fall victim to the narrative breaks you in a way you can't begin to describe. but all you can do is tell the story── their story── with tears in your eyes. you're prone to anxiety and feelings of helplessness. you have so much love in your heart, and for once you wish it would change something. it didn't. it doesn't. it won't. but you refuse to stop telling the story. and you refuse to stop loving the people in it. in this way, no one is stronger than you. you just wish being strong hurt less.

UNASSUMING EXTRA

you had maybe 3 lines but you will forever own my heart. you play a very minor role, one often forgotten about (not by me tho bby, i'll love you forever). however, your significance in the story is pretty big. something about you propels the story forward in a way no one else can do. you tend to blend into the background, and you probably like it that way. you want a simple life, free from the drama of the main characters. unfortunately, your story is almost always cut short. your role is usually a death that kickstarts the plot. going unnoticed did not save you, but it probably did bring you some peace of mind.

TORTURED LOVE INTEREST

you're so hot. sorry about the horrors. you're the kind of person people immediately notice. whether you have a distinct style, are more outgoing, or are just plain beautiful, you make an impression. people usually feel the need to protect you, which probably frustrates you to no end. you're not weak! you're not fragile! you're not helpless! but the people in your life tend to disagree. maybe it's your lover, the protagonist, trying to keep you out of their own turmoil. maybe it's someone responsible for you in some way, keeping you away from your lover, while they head down an increasingly dark path. regardless, all you really want is a sense of autonomy! unfortunately, you're very likely to die before that happens. the audience will be so caught up in the grief your death causes the protagonist that they forget to grieve you as a person. you deserved better, but unfortunately this is not your story. maybe it should have been.

SWEET SUPPORTING CHARACTER

i wanna be your grandma so bad, please let me pinch your face and knit you a sweater. you're most likely the best friend of the protagonist, and there's some possible overlap between you and the narrator. you're sweet and try very hard to be selfless. you watch the ones you love descend into darkness, and make every effort to help them through it all. it's not enough. you keep trying to make it enough. you provide comic relief, a listening ear, a hug, advice── any method of support you can think of. your own personal tragedy isn't documented. sometimes you wish it was, even though you're the one who ensures it is not. you want people to care for you the way you do for others. but you refuse to ask for it, so you wait for others to read between the lines. they usually don't. at least you're the one who gets to survive the tragedy. no matter how many times you beg to trade places, it is always you at the end, sitting at someone else's grave.

BOLD PROTAGONIST

you're the star of the show, baby! and boy does that come with a lot of emotional turmoil. you have a seemingly endless supply of determination. whether you have a lot of goals, or one big one, you're constantly working towards it. you're pretty restless, and struggle with imposter syndrome and generally feeling like you should be doing more. your insecurity might not be immediately obvious to others, however, as you come across as very strong and bold. vulnerability is not your strong suit, and that's likely to be your downfall. if only you had just let people in, and asked for help... well, maybe this was always gonna be a tragedy.

[immortalsins]

i'm aware how lucky i am to have never been short of food (in my parent's house) and always been taken relatively good care of so the fact this is a new experience to me means it's one of privilege. but my dad hasn't bought food in days and he just showed up at my door to ask if i had alcohol requests from the shop in the village ?? hello if you're buying alcohol i'd like to request something to eat