#im working with a buffer for a reason

[coolgoodandfine]

yeah sure i went to work on 5 hrs of sleep but i was struck with inspiration so i have to do that now instead

[moreaujeans]

tmrw is so booked wtf

[bugborgs]

sorry once again for being a bit quiet lately it has been Fuckin Hectic lately between work and one of my rats having health issues but hopefully things should start to settle soonish and i can go back to posting a lil more often

to the anon from about a week or so ago - YES absolutely i am delighted by that idea and intend to doodle something for it, not sure when i'll be able to get it finished but it's on the backburner, i'm not ignoring your ask!

[liminevator]

[We are aware of the current deficiencies with the current denizen file system and are currently busy working to improve them, with our file manager Eskobar overseeing the changes of course.]

[Update continues below.]

--

[One of these improvements is a letter ranking system to help better identify the potential risks your fellow denizens may pose to you or the lack thereof- remember, always be careful of who you trust.]

[This new letter ranking system is as follows]:

D-rank - D rated Denizens are effectively just your average joe schmoe, they don't usually have powers, and if they do they usually aren't offensive, or are simply so impractical theres very little ways if any to be harmful. A good example of a D-rank denizen would be ID #2200

C-rank - C rated Denizens are much similar to D-rank however the biggest difference is they do have substantial abilities that could be harmful in the wrong hands, but thankfully C-rank denizens are typically the example of powers "in the right hands" so-to-say. A good example of a C-rank denizen would be ID #0004

B-rank - B rated Denizens are basically the "middle of the road" tier. They aren't exactly harmless, but they're not exactly dangerous either, it's difficult to explain, essentially another you know it when you see it type of situation. A good example of a B-rank denizen would be ID #0325

A-rank - A rated Denizens are those whose scale is tilted a bit more into the dangerous direction, whether this violence is intentional or not they are known to be unstable and have outbursts that may result in serious injury or even death, it's not recommended to bother them if you can help it. A good example of an A-rank denizen would be ID #0115

S-rank - S rated denizens are few and far between, but are a force to be reckoned with nonetheless. They're violent, destructive, and disregard any attempts to stop such behavior, either finding it fun or necessary or for other reasons. The ways to handle them are different for each individual, remain wary and on your toes. A good example of an S-rank Denizen would be ID #1000

U-rank - "U rank" is a very seldom given title, often reserved solely for those with deific powers, or those who have fragmented (fragmentation is further indicated by a ☥ symbol by the name.) It is highly ill advised to seek out anybody with this label unless you absolutely know what you're doing, or are operating under my orders. A good example of a (non-fragmented) U-rank denizen would be ID #4444

[The rest of these improvements are more minor things, including but not limited to]:

- Changed "Distinct Marks" into "Distinct Traits" to reflect its current usage

- Slightly more detailed descriptions for Hair and Fur besides just the color

- New description section for a denizen's Skin where applicable

- Mr. CocoCoolatta is working on new art for some of the more "scuffed" files that "look like shit"- its words not mine

- For Phonians only, adding the "Song" category to properly document the tune of applicable denizen's phonoglands

- Touching up some files with more lackluster descriptions where necessary

- Removing unsavory edits made by... "third parties" that will only remain visible to higher ups in The Archive

- Urging Professor Radiant to change his password so these edits stay private

[And one final note, my apologies for the radio silence lately and lack of updates to our database, things have been busy in our facilities lately and it's gotten in the way of proper procedures around here. But not to worry, I assure you this is only temporary, we will be back on our feet soon enough, so long as I have anything to say about it.]

Sincerely, Doctor Rito Kusatta

[mammoth-clangen]

Next

Previous

First

Hello partially written Moon update.

Also a bear, it's been like 9 years since i drew a bear (Tokota days) cx

Next update is full comic again (bc there's like 1 speech bubble) then there's 2 more written, beyond that is TBA bc my buffer rn is small (which is probably part of the reason im anxious) QvQ

I'm putting the rest of my comment under the cut tbh bc it's sorta comic-related vent and i don't wanna bum people out c'x

Kindred of the Mammoth is on Comicfury as well!

I've honestly been suuuuper anxious about posting this update bc of the half-comic style i tried out, and bc i don't know how well i wrote this scene. I kinda like that more written media lets me give some internal Lilac thoughts, and I can hint at things he knows and wouldn't say aloud. Also this scene,,, would have killed me as a comic, idk how i'd get the emotions across c':

On the other hand im anxious. idk if people will hate it or if people will think my depiction of Burnet suffering is ok (even though it's based on my own experiences with going borderline/entirely non-verbal when faced with questions i desperately need to answer but just can't.)

and then i say "pav why do u care when u are making Kindred for yourself?" and "people (including you) absolutely adore Pinepaw and the Forgotten World" and "fam you are so gd slow even with this style?" but such is life ig

Im trying to find a happy medium bc rn i literally get home from work, draw Kindred for 7 days and that's my week off gone, back to 7x 12hr days then home to rinse and repeat.

In the words of Baymax, I am not fast c':

[crimsonmochi]

Disarray ― S. Gojo

Synopsis. Satoru had always been a bit unhinged, but he would never hurt anyone without a reason, right? That went against his philosophy, what he stands for... right?

Pairing. yandere! Satoru Gojo x gn! reader

Content. MDNI, obsessive! gojo, sorcerer! gojo, violence, murder, mentions of blood, gorey descriptions, dead dove: do not eat, traumatized! reader, no gendered pronouns for reader, mentions of therapy, mentions of medication, mentions of non-religious consumption of alcohol, no beta we die like―

Word Count. 1.9k

A/N. idk lol im just yappin luv u all

A vetted machinery, operating on the principles instilled within its very core from the start, killing methodically rather than senselessly. Or rather, he thought he did, but all principles are nearly a facade which are easy to cross. A weapon trying so hard to fit amongst a world incapable of restraining him or withstanding his lethality could only sacrifice so much humanity, could only chip away at his mind for so long.

As he stood over your boyfriend's limp body, the heart which was once beating inside the man's chest obliterated and hollowed out by his disastrous technique, Satoru Gojo felt like a man instead of an artillery. A confiscating rush of force, a surging envy to do what he wanted, was all it took. There was no single individual on this earth capable of holding him accountable for what he had just done, what he had accomplished.

He was an impossible force of nature with the power to force anyone he judged to stand in his way to be met with a fatal outcome if he saw fit.

Of course, Satoru had a justification for this seemingly senseless outburst. He deemed you would never be truly free under the guidance and influence of this pathetic, moronic individual you had the nerve to call your boyfriend. What kind of man screams at their other half for wearing clothes that they chose to purchase with their own money and agency?

A real man would bring the whole world to its knees if it meant that their partner could walk the streets protected from wandering eyes, catcalls and harassment. A skirt would not be a threat to months of work on a relationship but rather an emblem of security. Satoru pitied your now-deceased boyfriend for not bothering to look past his futile insecurities but detested him for making you responsible for his fragile ego.

Crimson blood pooled on the floor, a river of what could have been seeping into the ground and threatening to stain Satoru's pristine white shoes. He took a step backwards, abruptly hit by the cool air whirling past his ears, his focus torn from the lifeless corpse before him.

Satoru could have easily disposed of the body, could have demolished it and let him fade away from the conscience of all sentient life on earth. Though that would have made sense to any other killer person, it would have tainted his process with unnecessary buffering. It served to have the body be found, as it could cast a warning to other specimens eager to get with you, advising them not to get close, and it would save you time worrying about the idiot he took his time to get rid of for you.

And he walked instead of teleporting that night, his anxiety flared up. Would you accept the truth? The reality that the one you said you loved is gone for good? If you pieced it all together, if your mind settled on him as the culprit, would you understand? Would your reasoning match his? Would you smile despite your grief?

Were you just as depraved as him?

You had to be. You were crafted specially for him, a dove waiting to be cradled by his hands, no matter how spoiled and rough they were. Even if his hold stained your pure white feathering.

Annoyed was an understatement when you cried for your murdered partner, your state of shock leaving your chest desperately heaving for a molecule of oxygen as you questioned the reality of the news given to you by his no-good parents. But alas, he forced waves of tenderness through his limbs as he stayed for you, to comfort you. You would understand someday. You would learn to forget him.

Your rehabilitation was slower than the timeframe Satoru anticipated. He could not fathom your sappy attitude towards it all. This was meant to be a gift, a liberation―and yet, your heart was taking it as a living nightmare. As the weeks stretched, his sneers grew bigger, and his scoffs louder. His impatience was never directed at you but rather at the memory of your dead boyfriend simply not fading quick enough.

Satoru's takeaway? He should have killed him sooner.

One could only imagine the state he was in as you told him about a new date you had planned with a nice man from the bakery down the street, wearing a smile on your pretty face that still wore the scars of your depression and exhaustion. Disbelief was one thing; another was pure rage, rage that you did not pick him once again.

But no matter, he understood what he had to do. If you could not get it through your beautiful little head that he was the primary constant in your life, he just had to go ahead and make sure to be the only remaining choice you had left. He needed you to realize the extent of the all-consuming adoration he reserved for you and only you.

Which is precisely why he stalked and killed your date as he commuted to his home, the man's oozing blood reflecting the yellow-toned light of the streetlamps, washed down by the rain into the sewers. Grinning, Satoru took in the disfigured head of the ugly bastard he had rid life from, brains and grey matter pouring out from where he hollowed out, right in the middle of the victim's face.

Except that this repeat offence did not help you see clearer whatsoever. You cried in the shower instead after getting the news, murmuring that perhaps you were simply cursed, one of those horrifying creatures Satoru spoke to you of.

Speak of the devil, he was quick to gather your form in his arms, quick to comfort, despite being the culprit of those atrocities that just seemed to follow you around. He cooed into your ear until you fell asleep, salty, tear-stained cheeks sticking to his cotton shirt. How could you not understand, after all of this, that this is perfectly where you were meant to be?

He made his presence more permanent as he unconventionally moved into your apartment with you by making your meals, taking care of your groceries, watering your plants, doing chores―all under the guise of being simply an overly concerned friend. You poor thing, all these tragedies must be getting to your head, hm? Why else would you see his eyes a bit crueller than before?

It was as if you had lost touch with the ground and the space all at once. Mornings, afternoons, evenings, nights. Weeks, days, hours, minutes, seconds. You felt guilty for even breathing, empty for daring to experience a flicker of anything other than the deep pit those back-to-back losses left in the depths of your heart.

And then, there was Satoru, always at your beck and call, affectionate to no end, revered by patience itself. A saint.

The illusion finally started to end the night you brought back flowers from work. An array of gentians and African lilies peppered with baby's breath in various spaces. You made the mistake of, in an attempt of celebratory happiness, mentioning to Satoru that they were from a coworker, one you had known for quite a few years. A faded smile, a scowl he denied wearing, an accusation, and a few awkward words were enough to leave you both in silence, ruminating.

Satoru did the only thing he knew how to do by this point; he killed. And he killed. And he killed two more whilst he could. He remained kind to you, grateful that you still hadn't pieced that the common denominator was himself, the man who stayed alive through it all.

Explaining this all to your therapist made you feel insane, your own brain trying desperately to catch up with the constant whiplash the death and decay around you inflicted. The medication professionals prescribed was only enough to make the survivor's guilt quiet but not enough to get rid of the urges to end the cycle of massacre.

All the tears, the swirl in your brain of intrusive and impulsive thoughts putting you down, and the never-ending search for clarity led you to familiar vices. One or two nights of too much expensive wine you were gifted long ago, and you were pissed and emotional, letting all your guards down, making decisions you would have never believed yourself capable of making.

One of those decisions was kissing Satoru, tired eyes shut closed as you impulsively gave in to months of loneliness and trauma-bonding.

Reasonably, you panicked. You had now shown interest in a man―surely, in the morning, you'd peek your head from the hallway, look to your couch and see his blood staining the heavyweight cotton. You were a death sentence, after all, a walking grim reaper with too big of a heart and never enough time to say sorry, goodbye. Maybe you wouldn't get to say sorry to Satoru either, right?

And yet, he was content and smiling in the morning, alive and warm to the touch, palpable. For a moment, your heart started beating at a normal rate, as opposed to the uneven tambourine rhythm at which it had been beating before last night. You could touch him; he was there. You could hug him, wrap your arms around him, and he wouldn't vanish.

Satoru was over the moon that you had finally come to your senses. That you had chosen him after the senseless cruelty he had to abide by in order to make this shift happen. It had taken months of tireless efforts to get to his goal, but he had you within his grip.

It took months of reassurance that he was still alive―texts every five minutes, constant physical touch, staring at him and lying by him on the floor―for your anxieties to subside. The emptiness still remained an ache that Satoru himself had caused yet now tried to soothe. He worshipped the ground that you walked on and took care of your every need, and it felt too good to ever question.

His anger, his resentment for those pesky flies orbiting around you and trying to steal you away, finally subsided. He never quite got out of the habit of jumping to murder once an individual dared to show interest in you, but the reminder that you loved him now brought him back to earth. The comfort of knowing that would always be an option, though, was enough to hold him back. For now.

"Do you believe in soulmates?"

As your head whipped up from the wedding planner in your soft hands to look at Satoru, a piece of your hair fell over your face, his careful hand reaching to place it back behind your ear, a gentle grin painted on his face.

"What a question to ask after proposing," you chuckled, the corners of your lips curling up to match his expression. "I mean, a little. At least, after everything."

Your eyes gazed back at the images of flower arrangements. A particular one caught your eye; gentians, African lilies, and baby's breath. You checked the little tick box with the marker attached to the binder on the shiny laminated sheet.

"I guess that's fair."

Hell only stopped once you accepted him to be the one for you.

Soulmates, those words echoed as you pranced down the aisle, looking like heaven itself. Like the dove, Satoru always saw you as. As though he, a curse, a wicked being for utilizing his power for purely selfish gain and the expense of the one he claimed to love, was deserving of this moment.

And as he leaned down to whisper in your ear, hearing those words for the first time, hearing the answer to all of your turmoil, you smiled, worn out.

Relief, at last, to know the truth behind all of your heartache.

[sed-official]

im good! was just eating dinner (chicken and pasta), and have had a great rest day today with my dogs. i did nothing of note! yippee!

how are you?

echo -n "meo" && while [ 1 ]; do echo -n "w"; done

- @sed-official

MEOWWWWWWWWWWWWWWWW

hi sed how are you

[spread-the-influence]

do you ever deal with a loss of motivation when working on the comic? how do you overcome it and if not, what drives you to consistently draw and push out all those comic pages? im honestly extremely inspired and have been planning on making a comic on my own, but i worry when it comes to consistent posting

honestly ? i'm just neurodivergent . i get Hopelessly fixated on my own stories , especially if i am particularly passionate about them . that's one thing i guess . get Too Excited over telling your story . every chapter in this thing has so many scenes i want to get to and sometimes an entire chapter is exciting itself . t.i has thrown me in her basement and will only let me go if i finish the comic

but it isn't Motivation per se ? because i'll be lying if i said that i've always been Motivated to draw every page in this comic because No . there were Many pages where it was a Slog to go through and chapter 1 and 2 was full of them I'm Going To Be Honest . it's more like a Drive , if that makes sense . while i am not excited or passionate about the Boring scenes , i still find enjoyment in doing them because it means i'll get closer to the scenes i actually Like ! .

in other terms ; think about what makes you want to finish the comic . are there scenes you just Can't wait to get to ? do you think you're telling a very important message ? do you just want to see your main character ( and the readers ) suffer ? let yourself think about why you're even creating the comic , and go with that . for me , i want to finish this comic because it'll be so Satisfying if we get to The Point Where Ragatha Completely Loses It

when you're doing a long-term art thing , you need to associate it with positive feelings . you'll be a lot more inclined to finish something if the very thought of doing so does not make you feel miserable . if you don't feel any joy in the creation process , either step back and think why you don't , or just throw away the story entirely . you're your own client And manager , the only demand you have to meet is your own . so make it great for you .

anyways , ramble over ! here's one Very important pointer that i need to leave you off with , anon :

MAKE A COMIC BUFFER . as in , draw pages in advance before you start posting ! i promise you the reason why i can post batches of pages consistently is because i am drawing a sketchy , monochrome comic + i am a pretty fast artist . so , make as many as you can . generally if you are an artist that needs frequent breaks and is easily burnt out , a months worth of buffer could help . this is so you wouldn't be constantly drawing + if you want to take a break you wouldn't be posting off-schedule .

[derschleierfallt]

my elisabeth song ranking

ok guys. i’ve been thinking abt doing smth like this FOREVER and i wanna go at least kinda in depth so very long post ahead.

this ranking is based only off of the original vienna/essen revival prods unless otherwise mentioned, and im also only ranking songs that appear in those versions. ranking is based on music, the scenes in action, and how much it just works for me in general :) ok time to type

40. schon euch alle zu sehn

- like. whatever. it just doesn’t do much for me and is like a little buffer between two good numbers before it and the ones afterwards. not much to say abt it!

39. jedem gibt er das seine

- meh. this song and the number itself are a bit of a bore to me. i like how it sets up franz and sophie’s relationship, but the song itself is pretty repetitive and i just don’t really listen to it much. however, i LOVE the set design and blocking. tod and the todesengels looming in the back and taking the pleading mother away… it’s great! but otherwise it’s the same as the previous ranking to me, a buffer

38. wir oder sie

- i’ve come to appreciate this one a liiitttle more, but unfortunately it falls into the same category as the others before it. i do find the little horsies very amusing though! and if the sophie is good then im much more amused as well

37. bellaria

- i think the song itself sounds very nice, and it’s not so long that it overstays its welcome, but… eh? in essen, where other numbers i enjoy more are cut for no reason (ELJEN) i just miss it when i get to these less than 2 minute additions to the score. i like that it humanizes sophie, but im not as compelled by her, and these additional historical context numbers added in essen that don’t have anything to do with elisabeth are a bit iffy for me. does this accomplish more for the story of elisabeth herself than the line in die rastlosen jahre about sophie’s death? im not sure. it’s just not particularly memorable to me either way

36. hass

- so, i do appreciate this number, and i guess to an extent you could say i like it for what it does in the narrative. however, it’s very uncomfortable to both listen and watch, so i can’t really rank it much higher. it definitely succeeds at what it aims to do—make you uncomfortable—but yeah. can’t say it’s enjoyable

35. irrenhaus / nichts nichts gar nichts (vienna, 92-94)

- i did not understand the insane asylum disco instrumental break for a LONG TIME. and by a long time i mean until about 3 days ago, and even then im still a littttlleeeee perplexed? it sticks out like a sore thumb musically, which i suppose could be the point, but i definitely can see why this song was phased out so soon. i like the shorter version of nichts, there’s less time to convey the emotions needed than the current version, so i like the intensity of it. piasisi is MAD AS FUCK!

34. eine kaiserin muss glanzen

- from this point on these are all numbers i ENJOY but… someone must come last in the ranking. to be fair, this comes right after der letzte tanz, so a very high bar is set. it’s a little unfair. i like the emotional rollercoaster this one is, it also makes me feel like im being picked and pulled apart just like elisabeth! can’t say i enjoy that but its ok. and that one note in essen… that pia sings… elevates the fuck out of this… pia essen vocals can save anything

33. mein neues sortiment

- it’s mini kitsch sandwiched in between two songs that murder ur heart… i need lucheni to LEAVE ME THE FUCK ALONE so i can mourn. i like the lyrics here though… and in the vienna 05 proshot when he and tod just look at each other as the song starts…. ooooohh that’s cinema right there let me tell you!

32. schonheitspflege

- the only thing i really enjoy abt this one over eine kaiserin muss glanzen is the ladies in waiting in the chorus. looooveeee how they sound

31. sie passt nicht

- important distinction: this DOES NOT include the intro to der letzte tanz. im not sure if its technically part of sie passt nicht, but im deciding its not. i love the choreography for this! and the spinning mirrors! it’s a great little number

30. die frohliche apokalypse

- don’t have much to say about this one? i like it, it does a good job at telling us the events of the past few years, but i just like other numbers more. the bumper cars are soooo fun

29. die ersten vier jahre

- i love what they do with the stage and the blocking! i love the projector framing device, these little moments of time in action. i particularly love how they do it in the 2012 korean production, where it’s a puppet show manned by lucheni with the picture book cutouts. otherwise i feel the same about it as apokalypse, i just prefer this over the bumper cars and the cafe a liiiittle more

28. mama, wo bist du?

- idk if this is maybe a criminally low ranking to some but to be very clear… my only gripe with this number is just that i don’t really like listening to kids singing 😭 which isn’t a knock on any of the talented kids who play rudolf, i just skip this track. it’s EXCELLENT in terms of narrative and i absolutely adore the parallels to die schatten, but alas, i do not listen to this one often, so i don’t wanna rank it much higher. it also makes me very sad

27. nur kein genieren

- these beautiful bright colorful lights… im entranced. perhaps i should’ve ranked this one a bit higher, but the audio i listened to for this ranking didn’t do much in favor of this song. i dunno who the performers were, but i found it a bit obnoxious and over the top (more than necessary), so maybe that soured the ranking a bit

26. “the conspiracy”

- im not sure what this one is actually called? its the song immediately after die schatten reprise in essen. its another one of those ones where im not really sure if it adds much to the story in the grand scheme of things, but this one works more for me than bellaria because rudolfs struggles are a little more closely intertwined with elisabeth. and i also like him more. i LOVE this scene, i especially love the end where franz finds him out. the rage is SO good (shoutout to andre bauer and michael shawn lewis…). i also think tod sounds hawt as hell during his part. ANYWAYS

25. so wie man plant und denkt

- this one is so fun! i love the family drama, it’s super catchy, and there’s a good bit of humor which is nice. not a fan of franz’s metaphors for elisabeth, but at least there isn’t any relating of sex to ships in harbors here

24. die schatten werden langer (act 1)

- bitch…. sorry this is another one that has tod sounding sexy privilege. which is maybe fucked up because he just killed a kid but i have to be honest with y’all. real talk though this one hurts me! i love it for that! it’s so short but they fit in so much despair… it’s impressive. this is one of those songs where it doesn’t work for me so much if the tod and sisi actors are kinda lacking, especially sisi, but i am pretty loyal to pia boots so this one usually works. the NEEEEEIIIIINNNNN is so chilling seriously. the sobbing afterwards… dhmu. shaking her head and breaking down while tod tells her she loves him, needs him, and will only bring ruin? guys. guys.

23. milch

- OKKAAAYY PUMP IT UP! this one has another sort of privilege, which is serkan lucheni privilege. unfortunately, i did not listen to serkan lucheni for this song, so maybe a lower ranking than if he had. however, the stars of this song is def the ensemble for me, so it doesn’t suck too bad if the lucheni isn’t as great. i like the simplicity of it, like the peasantry isn’t even afforded a little bit of set dressing. very powerful!

22. kitsch

- SUPERB opening number for act 2, especially considering how much act 2 sends me into an emotional breakdown. yes it’s all kitsch… kitsch…. kiiiiitttssschhh…..!!!! so here is a bunch of shit that’s gonna make u HURT. thanks. the audience interaction is really cool and i would kill for literally anything that lucheni throws into the audience… which is perhaps kitschy of me… dang! give me a shitty elisabeth plate idgaf! But I Also Understand The Message Of This Song And I Appreciate It And Also Find It Very Important And Interesting.

21. die rastlosen jahre

- this one just feels sooooo…… like… idk like THIS is the point in the musical where im like okay everything is about to get soooo much worse. it’s hard to explain what i love so much about the song itself, but it has a very specific mood that i just totally love. the is she still young/is she still beautiful question is one of my favorite lines in the musical as well

20. wie du

- oooohhhh… happy sisi 😭😭😭😭😭 it’s a cute song, and i like the back and forth between sisi and the governess at the end. very cheeky and adorbs. interestingly, this song sounds so much more somber in the 92 cast recording, even compared to the 92 performances. i really like that take on the song, to me it highlights her wanting and her frustrations a bit more. regardless of the tone, i like this one a lot! i also wish i could balance on a tightrope or play in the meadow or climb a tree. I Understand

19. nichts nichts gar nichts

- song is great, but like some others, this one REALLY hinges on how good the performance is from elisabeth. if the emotional weight is lacking, it can turn into a bit of a bore, considering that there isn’t much else going on to carry the number. when it’s good though, it’s really good

18. die maladie

- oh my GOD. the DRAMA. i just love love love love it. when the elisabeth and tod are locked in… oh my god. any song where there’s a power struggle between them… you best believe i’m watching very closely. similar to die rastlosen jahre, it has a very specific tone that i can’t quite describe, but it works so well. the only way i can really describe it is like… it’s kind of noir? in the beginning? if you know what i mean? and just so like…. creepy. like tod is a little freak bitch. i hate him. i love it

17. boote in der nacht

- beautiful song beautiful number. so simple yet effective, never truly crossing paths, just floating on by each other. perfect really!

16. nichts ist schwer

- honestly, you can switch boote in der nacht and this song in terms of ranking and itd be fine and still true. i don’t know which one i like more, and its a reeeeaallly close race, i just like this one more at the moment. i end up listening to it more, and the number is absolutely gorgeous in vienna. i love the synths more than anything, and sisi’s costume definitely bumps it up a bit LOL

15. totenklage

- DEPRWSSIGN AS FUCK…. I CANT….!!! i don’t think i like this one musically as much as some of the songs ranked before it, but it hits me so hard emotionally and i love the staging. when tod appears and he’s just out of reach and barely even looks at her… ugh im in pain. and shoutout to maté for some of his Acting Moments in this too. unfortunately cannot attach a gif without fucking up the list but trust me on this

14. schwarzer prinz

- there really isn’t much going on in this number but that’s alright. the song is gorgeous (i’ve yet to post the clip, i technically have posted it before in the essen proshot compilation, but jesus the orchestra sounds great), and i love tod silently listening to and mirroring sisi. it opens up a lot of interpretations… is he truly just a reflection, is he just doing what she wants to see, or does he really understand? i love the complexity of their relationship so much, and this song is so vital to it

13. eljen

- one of essen’s greatest crimes, as mentioned, is removing this song. i don’t want every entry in here to get all repetitive with I LOVE IT over and over, but yeah. i absolutely love and adore this song and every one after that, so i will try to hold off on mentioning it from here on. highlight for me is tod on top of the carriage, laughing maniacally as the celebration concludes. soooo foreboding… incredible shit tbh. and that skeleton suit? ALSO INCREDIBLE! i highly recommend you all find as many different videos as you can of serkan singing this song and trying to match the trumpet(?)’s note at the end. you will not be disappointed!

12. ich will dir nur sagen

- CHILLS every time the portrait is revealed, whether or not the audience goes crazy. it’s such an iconic moment i really cannot rank it any lower. and i do love me an ich gehor nur mir reprise/callback (more on that later….🤭)

11. ich gehor nur mir

- to me, this is THE song that matters the most for elisabeth acting. it’s the bridge between the ‘before’ sisi and the one we begin to see forming for the rest of the musical, and you really have to nail it so it doesn’t just come out of nowhere. i hateeee when sisi just magically grows up in ich will dir nur sagen… cut that out! anyways… perfect ‘i want’ song. not to get all freaky on y’all but i Deeply feel these lyrics too 😭😭 it hits 😭😭😭😭 and another case of the simplicity just being so perfect! she’s alone and isolated and afraid, but then again, she’s here with herself, with nobody else to see or judge. She belongs to herself for real….

10. elisabeth, mach auf mein engel

- we’re in the big leagues now. is this insane? i don’t know. the drama songs in elisabeth just really really work for me, and the set design is beautiful here. of course though, the highlight of this one to me is tod’s part and afterwards. his words are so obviously manipulative and falsely secure, but the vulnerability she’s feeling is so easy to take advantage of that the song ends up sounding so romantic. it’s a gorgeous piece of music and an great scene of the two of them, and it makes her defiance so much BETTER. the specifics of why i love it really depend on the actors so that’s a bigger discussion for another time (coughcoughPIASISIUWETODcoughcough)

9. wie du (reprise)

- 😢 tragic. TRAGIC. UGH. i think i went over it pretty well already in the tags of that poll abt wenn ich dein spiegel war so im just gonna be treading old ground again. the eternal struggle elisabeth faces is portrayed so well here, she’s trapped by her own ideas. maybe a victim of circumstance as well, but ultimately, her conversation with her father is all deflections until the end, where she once again resigns to the fact that she’s alone. despite this realization, she continues to shut out others… The evil fucked up reprise of happy song ever. and another addition to the Unfortunately I Relate pile

8. alle fragen sind gestellt

- i think… in terms of vibes… and that sort of thing… this is my fav number? like OMG i just love that bright red carpet projected onto the screen that cuts this super bright light through the stage. the song is obviously gorgeous as well but i love the visuals. and i love the fuck out of an ominous bell toll. the ensemble stumbling away from elisabeth while tod rings the bells and the lights go dim is one of my favorite visual moments by far

7. prolog

- insane opening number to be honest. when i first got into elisabeth i’d seen some clips of a few songs without subtitles, so i was pretty lost. i could gather some info from the comments but it was not nearly enough. this song got me HOOKED instantly. i can’t imagine hearing and seeing this and not being hooked? very big fan of the ensemble in this btw. the choreography is sooo freaky and those torn veils draped over them is MAGNIFICENT! and DO NOT get me fucking started on tod’s sparkly skull jacket

6. am deck der sinkenden welt

- soooo… i mentioned before how much i love the drama songs in elisabeth. this is peak drama song. i love the funky shit the stage does in the vienna version. whole number is completely overwhelming in the best way possible. like, holy cow, this is the breaking point… strap the fuck in! the back-and-forth between franz and tod is my fav thing ever. SIE GEHORT MIR! sie liebt MICH🙅🙅🙅!!! liek okay. beautiful. elisabeth and lucheni locking eyes and just STOPPING is a highly underrated moment as well

5. wenn ich dein spiegel war / mayerling

- technically i guess these are two separate numbers, but personally i cannot separate them from each other for the maximum emotional damage. also, it’s kind of hard to rank a 60 second instrumental among everything else? so this felt fair. it’s hard to truly articulate how this song makes me feel, so to put it bluntly (AND NOT SERIOSULY THIS ISNT SERIOUS) this song makes me want to KMS. it rips my heart apart. this is another one where i can’t fully talk about it without going into specifics and also without going on insane heartbroken ramblings, so again, that’s for another time. there’s this shot they go with like three times in the og 1992 vienna proshots, where elisabeth and rudolf’s reflections in the mirror come apart and distance themselves until they’re both out of frame and… yeah, that about sums it up. mayerling is a beautiful continuation of this. it’s even more desperate, and it’s so frantic, and this isn’t even me just being todolfpilled but that kiss fr makes it. insane laughing, tod just diving right in for the kiss without a moment to waste, or just extra desperation added on top of what’s already there… Yeah. duck smoking gif. give it all to me

4. der letzte tanz

- let me tell you all a story. gather around… for it will be told for many generations… by me… 🙂 i was browsing musical videos on youtube as i do every so often, and what do i spy in my recommended? 1992 der letzte tanz clip. do i know what the hell it is…..??? NO! but do i see beautiful uwe in the thumbnail and am i VERY intrigued??? YES YES YE AYEA TES YEA YES YES YES YES YES YES YEA YE SYES YES YE SYES🙂🙂🙂🙂🙂 so i watch it and i have no idea what the fuck just happened but i LOVE IT. a few days later i watch elisabeth for the first time… and then it’s all over for me. that aside, i love this song so much! the last we hear from tod before this song is the prolog, that he loved her. so the whiplash between that and him being so cruel to her in der letzte tanz is…. GENIUS dare i say! there is no love to be found in his words! maybe this is his idea of love, its obsessive and unrelenting, but…. is it love? UGH and the ensemble kicking in at the end… uggghhhhhh😘😘😘🥰🥰🥰🥰🥰🥰🥰😍😍😍😛😛😛😛😛😛😛😛😋😋😋😋😚😚😚😚😚

3. wenn ich tanzen will

- a few things i’ve mentioned previously: i love a power struggle, and i don’t know if i love some essen additions. this is another one where i think ultimately it doesn’t add a lot to the narrative, rather just reenforces what we hear in eljen, but i can’t complain about this song. i simply cannot. the blocking in the essen version is exactly what i need from elisabeth and tod. they’re equals, they’re inseparable, and it’s horrible, because neither of them can really win now. elisabeth can shut him out, but he will always be inevitable. tod can try as much as he wants, but she cannot be swayed. IIIII LOOOOVEEEE ITTTTTT!!!!!! ONE MILLION LINES OF WENN ICH TANZEN WILL COCAINE PLEASE!!!!!!! the power of puwe chemistry

2. die schatten werden langer (act 2)

- gosh. oh gosh. ohhhh golly gosh. do not get me started. i have many thoughts about this song but its kind of weird. i cant verbalize it necessarily. for my eternally ongoing elisabeth animation project (that will hopefully be put to digital paper one day) i have very specific ideas that are very connected to my thoughts here. so you’ll have to wait like 10 years for the full take. the harsh lighting of the 92 prod has never been better than in this song. absolutely gorgeous scene and PERFECT music. MORE SYNTHS PLEASE MR LEVAY!!! ALL THE SYNTHS!

1. der schleier fallt

- who’s surprised raise ur hand…. nobody is surprised ohhhh darn it. this song is Me. like my online identity is this song. i am not ashamed of how much this is my shit. changed my fucking life not even joking that much. i hesitate to call it bittersweet but… that’s sorta how i feel? like, ultimately, it’s not a good ending, she’s dead and i think there’s some sort of implication that she’s immortalized as the young version of herself that’s everywhere in pop culture. but at the same time, there is some semblance of peace, or at least comfort. the fight between them has been forcibly put to an end, so what else is left? once again… i love the complexity of their relationship. and it is very close to my heart and my being lowkey. is that cringe?!?! IDK this is my tumblr and i make the rules and the rules are that i have to think abt this song at least twice per day. per hour maybe? UGGGHHH FUCKKKK I LOVE THIS SONG I LOVE THIS MUSICAL UHGGGGHHHHHHHH 😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭 best song ever. best username ever

the end. would maybe switch some rankings around in hindsight but i’ve spent way too fucking long on this. i got sick for a few hours so that allowed me some time to think about this. and i Thought hard.

[isacksteban]

for certain legal reasons i can't respond to op... so i'll be commenting here! thx xx

@formulapookie 😸

NOT ONLY DID MARCO LEAN FORWARD BUT HE MADE HIMSELF SMALLER.

OH MY FUCKING GOD YOU GUYS DONT UNDERSTAND

HE LOWERED HIS GAZE FROM MARC'S EYES TO HIS BODY.

IM ACTUALLY GOING INSANE BC WDYM HSHSAHJASJXJAZAJ

ok let me continue analyzing it

"GET A BETTER LOOK" YES.

HE LEANED FORWARD WITH THE INTENT OF LOOKING AT MARC. JUST MARC.

THE LAST TIMES WE'VE SEEN MARCMARC AT THESE PRESS CONS TOGETHER BEZ HAS REFUSED TO EVEN LOOK AT MARC WHILE HES SPEAKING.

HE'S BEEN CHOOSING TO IGNORE MARC'S EXISTANCE BC WE KNOW HE'S WELL AWARE OF IT YET ACTIVELY DECIDED TO STARE INTO THE CROWD OF REPORTERS.

UNTIL NOW.

nvm i checked the date and im backtracking but what i said still stands...

MARCO DOESN'T CARE THAT MARC REFUSES TO PAY HIM ANY MIND

REFUSES TO CALL HIM HIS NAME.

REFUSES TO GIVE HIM ANY OUNCE OF THE RESPECT, THE ATTENTION, THE PRAISE THAT HE SO OBVIOUSLY CRAVES FROM THOSE AROUND HIM.

MARC INCLUDED.

IT DOESN'T MATTER THAT HE'S VALE'S BOY. DOESN'T MATTER THAT THIS IS THE LITTLE BASTARD MARC MARQUEZ IS TALKING ABOUT BECAUAE BEZ CRAVES HIS TOUCH ALL THE SAME.

give me a second to watch the press con...

ok so i'm at school so my connection is so bad and i keep having to deal w the video buffering but this is what ive seen so far

marco's go-to method is to look at pecco first then marc then turn and look away like he just got caught doing something he isnt supposed to

marc went on about smth (i couldnt hear bc my audio is down so low but it doesnt matter) and the whole time marco was leaned forward either looking at him or around him

when marc mentioned pointing at the sky for his grandfather marco looked at him again

he keeps like catching himself staring when the camera is on him and getting embarrassed then "fixing it" so he's looking literally anywhere else

you know when you can see someone but you dont wanna stare and make it obvious so you try and nonchalantly look over? yeah thats what marco is doing this whole press con.

and even though marc refuses to call him his name, to say marco while bez is so quick to say marc, marco continues to watch him.

like he did in 2015. like he did when he took that picture with marc in qatar. watching from afar, as if marc is this god, unable to be touched, to be dirtied, to be whatever the fuck else i cant think rn i'm doing this instead of classwork

moral of the story, bez puts himsself second and marc third. you cant fake your body language, whether he's leaning forward to hear the questions better or to be more comfortable or whatever he'd say if you asked

his eyes are on marc. and if they arent they're finding their way to marc. even if its just for a fleeting second he's unable to stay away for long.

ty now i have to do college prep work xx

[hey-heigo]

Chapter 33

squint and you may see the intricate throuple web i weave in which no one is ever winning

SEE HERE FOR GENERAL WARNINGS AND FIC SUMMARY

Some pre-chapter notes:

this time i got distracted by project: eden's garden which i argue is a fair and just reason. everyone go check it out it's like if danganronpa was good

also will be a long pause to the next chapter bc im moving againn. maybe. probably. idk

@digitaldollsworld <- understander...

Content warning tags: descriptions of blood, injury, canon-typical trial things

< previous - from start - next >

As Kyoko ponders where to start, she quietly reflects: This entire situation is less than ideal.

Even with the hurdle of their suspicion just barely cleared, she could feel their eyes watching her, trained like sniper scopes on her every move. Scanning for the slightest faltering, the barest indication that could be taken for guilt. She’d managed to divert them enough by giving just enough reason that she wasn’t as suspicious as anyone else, but none of that served to clear her name entirely; if she let them linger too long and realize that, all her hard work would be undone.

At best, it’s ambiguous that I was involved with the murder of Mondo and Celeste. At worst, I’m still a suspect for the attempted murder of Byakuya. She casts a quick glance to the boy in question, whose pale, fogged-ice eyes glare right back, pupils twitching and uneasy. A cornered, half-blinded cat. Considering Makoto’s current volatility, that’s not an idea I can let take root.

A quiet breath leaves her, not nearly audible enough to be a sigh. If she’d known this was going to happen, she wouldn’t have tried passing off so much of the responsibility to Makoto in the first place. Regardless of how useful he was - a medium that both served as a link to the rest of the group, and at the same time, a reliable buffer - she underestimated just how emotional he could be. How easily swayed by sympathy. I thought Byakuya was his only weakness. I didn’t realize that he still cared so much about everyone else.

She clenches her left hand as she thinks this, curling the fingers despite the stiffness and the bone-deep ache radiating out from her middle knuckles, and lets the bloom of pain wipe away the irritation. Regrets could come later; right now, she needed to focus.

“To start off, let’s establish something right now. I don’t believe Toko was involved in any of the deaths at all.” She finally decides. As expected, there’s a small chorus of surprise, as both Toko’s and Byakuya’s heads whip to her almost simultaneously, one wary, the other disbelieving, but both equally shocked.

“How can you be so sure?” Byakuya demands. “It’s her scissors on Celeste’s body-”

“Syo’s scissors,” She corrects calmly, and watches from the corner of her eye as Toko shoves her face into what was left of her hair, her exposed forehead turning pink. Good - as troublesome as the author was, Kyoko couldn’t be picky about allies right now. “And as I said before, those aren’t the murder weapon. They were likely placed there as a red herring.”

“Don’t argue semantics with me right now.” He snaps. “The point is, the only person who could have put those there was her, whichever one of her, it doesn’t matter. You’ve established that yourself. What reason would she have to do that, if she wasn’t involved? At the very least, as an accomplice?”

His skepticism is understandable. His own history with Toko aside, it wasn’t as if Toko wouldn’t be capable of it, as they’d seen before. And it wasn’t as if she wouldn’t have a motive, either.

“If she - Syo - is an accomplice, then it probably wasn’t planned from the beginning. But I don’t think Toko is directly involved. It’s likely she walked into the art room and fainted at the sight of blood, and that’s when Syo appeared. After all,” And she turns to Toko. “You cede control whenever you become overwhelmed, don’t you?”

It was an easy thing to figure out if the right details were noticed. Toko Fukawa, asocial, paranoid, and the Ultimate Writer, had rather crippling cases of aquaphobia and hemophobia, and was prone to fainting. The aquaphobia was obvious upon reading her works; someone raised in a prefecture with enough fishing piers to provide material for her novels, and yet despite the subject of the romance being a fisherman, water is always being portrayed as something to avoid. A danger that separates the characters and threatens to rip them apart. That, in combination with her apparent aversion to washing, was telling enough.

The hemophobia was even more obvious than that. Toko had admitted it herself during the previous investigation, and to Byakuya, no less. His brow twists as he recalls it, along with all the unpleasant memories it dredged.

Toko squirms under her gaze, but meets her eyes bravely. “Y-yeah. That’s right.” She manages. “But, I-I’ve been getting better! Sh-she never comes out anymore…I-I just let my guard d-down…” She twitches as she says this, turning to Byakuya, her eagerness clear.

Byakuya continues staring resolutely at Kyoko, as if he hadn’t heard anything at all.

“So you’re suggesting that the sight of blood in the art room led to her fainting, and that’s when Syo appeared?” He scoffs. “What a convenient excuse. Especially considering how she was able to desecrate a corpse during the last case.”

“I thought you might say that. And it is true that she said she’d been training to overcome that fear. But we have to remember it’s not fear that determines whether or not Syo can appear, but mental exhaustion or shock. Otherwise, we might’ve met Syo much sooner.

“Let me explain,” She continues, hiding her exasperation with another, not-quite sigh as Byakuya opens his mouth to argue once more. “In both cases that we know so far, Syo only appeared after a series of highly stressful events and when Toko was trying to maintain composure. The first time, she had that confrontation with you in the library, and was already in a state of mental disarray when she found Chihiro, who was covered by a tarp at the time. She collapsed rather promptly after staging the scene. This time, she went to warn people of your situation, and then was greeted with the sight of Mondo’s and Celeste’s bodies. That kind of scene would shock anyone.”

His mouth snaps shut with a frustrated click, lips pulling into a frown. “You’re incredibly intent on defending her.”

“I’m just trying to keep the air clear.” She replies, the perfect image of casualness. “With the position I’m in right now, I’d rather not let anyone’s personal feelings interfere.” And Makoto blinks at that, face twisting openly with guilt. Byakuya’s frown deepens at the word ‘personal’. “On the contrary. Is there a reason why you’re so intent on labeling Toko as involved?”

“I simply find it hard to believe she wouldn’t be. And I don’t think your explanation is satisfactory enough to clear her.”

“It doesn’t need to be. Can you provide an explanation that can confidently explain if she’s guilty?”

It’s unfair of her to taunt him like that. She knows this, and reflects that she should probably feel some measure of guilt for it, but it was necessary to cut off this line of questioning before it could devolve into something meandering and uncontrollable, and so holds her ground. Even as Byakuya glowers, fuming but silent. Toko is glancing between the two of them, eyes wide behind her glasses, pink down to her neck. Her face is still mostly hidden behind her hands, and the look in her eyes is curiously unreadable.

But that’s hardly important to Kyoko right now. She looks away. “Let’s go over the big picture of things, starting with the scene in the art room again.” She says. It was best to start with something everyone was familiar with. “Mondo was stabbed from the front, and the scene was staged to suggest that Celeste was the one who killed him, and that he had wounded Celeste in retaliation. There’s a clear contradiction here, if we consider where we found their bodies, and their states when they died.”

She pauses, but there’s no change in the atmosphere. Their stares don’t waver. Makoto’s mouth is pulled in a tight, grimacing line, a clear sign that he was going to refuse to play along with whatever she sent his way. Regardless of how important it was. She suppresses the urge to sigh again.

“Mondo and Celeste were found on opposite sides of the room, facing each other. The blood trail from Mondo’s body suggests he either crawled or was dragged there. On the other hand, there’s no blood trail from Celeste at all, but I did notice that there was an excess of it on her dress - if that blood was from the head wound, then there would be a clear trail marking how she got to that position, right?”

This time, her expectant pause is met with blinking, the clicking of gears in everyone’s head. Makoto’s eyes widen in understanding, and his mouth half drops open to say something, but-

“So…Mondo didn’t kill her?” Hiro asks, a strained sort of anxiety behind the question, different from his usual fearful energy. His eyes are wide as he looks at her, apprehension and caution tinged with - hope?

“Not for lack of trying.” And Hiro shrinks back down at that, deflated, disheartened. “If you remember, there were strangulation marks on her neck. The size and shape of the bruising can only implicate two people, and considering Mondo’s proximity, it’s highly likely that a mutual confrontation did take place.”

The fortune teller just nods, numbly, staring down at his hands. Makoto glances at him, the worry evident on his face, and the reproachful look he sends her way. “Um, but,” Makoto says, facing Hiro. “That doesn’t mean that he did kill her. The Monokuma File said that she died of the head wound, not strangulation.”

It must be a small comfort for Hiro to know that the shell-shocked boy he’d been trying to help hadn’t been responsible for a murder, judging by how Hiro offers a weak smile back. But it was ultimately a pointless thing to say; it doesn’t absolve Mondo of anything, nor does it offer anything else.

At least it serves as a good lead-in to her next point. “The head wound in question. It’s a depressed fracture in the cranium, located towards the back of the head on her left side. Combined with how the dent is angled, if Mondo had been the one to strike her, he would have had to hit her from behind.”

“Ah-!”

Aoi was the one who had just gasped, the scowl that she’d been wearing dropping for just a moment as her eyes widen with realization. It returns just as quickly when she notices Kyoko staring, however, and she turns away with a huff.

My words must have affected her more than I expected, she thinks, and shoves back the irritation that spawns at it. It wasn’t as if she had been trying to antagonize Aoi earlier. Her only intentions had been to point out the unfairness of their suspicions, but that was now proving to have been a double-edged blade of a decision. Can’t she understand this isn’t the time to be petty-

“Hina,” Makoto prompts gently, and this time Aoi only hesitates briefly, shooting one last dirty look in Kyoko's way.

“There was this…clear plastic bag thing in the trash can of the art room.” She explains. “It was all ripped up, so I wasn’t sure what it was, but there was something that was kinda blood-colored on it so I kinda noticed it, I guess. But since the wound was on the back of Celeste’s head…” And her brow scrunches in concentration as she hovers a palm a little to the side of her ponytail, roughly where the blow would have been. “It doesn’t really make sense how there was so much blood on her skirt. Like, most of it should have leaked down her back, but there was a literal puddle of it on her lap, but there were only some thin trails of it down her face and front. Which is weird, since I know head wounds bleed a lot, but that amount in that short a time would’ve needed, like…like a faucet flow, or something.”

“Thinking back now, that bag you found must have been a spare blood bag from the nurse’s office.” Sakura muses. “I didn’t recognize it at the time, but it makes sense now.”

“Right, so that means that whoever killed Celeste, must have hit her on the back of the head and then dumped blood on her! That’s why there’s no blood trail to show how she moved in the room, and why all the blood is on her front and not her back.”

It’s a respectable display of reasoning. She’s not the only one who thinks so, as Byakuya raises an eyebrow, evidently impressed. Aoi herself almost seems proud, before the realization that she was talking about the murder of her classmate settles in, as she raises a hand to her mouth in horror.

For a moment, Kyoko feels a small, quiet flare of sympathy for her, before it’s quickly superseded by a more pressing, unnervingly familiar feeling of dejá vu. And she categorizes the sensation and files away to look over later.

“Correct. All of this points to there being another party involved here.” She stops for a moment, to stare back at Makoto. He doesn’t shy away, wearing that same, determined expression as earlier. 

‘I’ll leave it all up to you,’ he said, and it’s almost funny how he took her own words and twisted them on her. In many ways she’d underestimated him, but he’s also underestimated her, if he thought she was going to simply accept his way.

“With that said, I’m sure I didn’t need to say all that just to reach that conclusion.” She continues, voice softer and utterly devoid of expression. She’d been told once that such a thing was good - it made others take her seriously, regardless of how young and childish she was - though who told her such a thing, or why, was a mystery to her. “After all. You all knew that already, didn’t you?”

The reaction is instantaneous. That ripple of surprise and unease; Hifumi blanches even more, on the verge of fainting. Hiro flinches and turns away, Sakura’s fingers flinch and clench where they’re tucked into her elbows, but Aoi tilts her head up and stares back; a little apprehensive but no less resolved. Byakuya’s head jerks, turning first to Makoto. then the others, and finally her - the only one who had been left in the dark, again.

He was clever enough to pick up on her clues that there was another person involved while they had been walking to the pool, but not on the quiet hostility that had greeted her the moment she stepped into the elevator lobby. Even with all his adaptations, it couldn’t account for an entire missing function, as he reels with the feeling of missing something obvious to everyone else.

The brief frustration on his face gives away to resignation. At this point, he must be too familiar with this feeling to waste energy on it. “Well, Makoto?” He asks, and if he sounds less demanding than usual, then that wasn’t for her to pick apart. “Is this enough reason for you to do your part?”

__

She’s talked them into a circle.

Makoto can’t help but be impressed by it, despite everything. There was no way he wouldn’t be, of course - he always knew Kyoko was amazing, in that quiet, closed-off way that she was - but it was frustrating. All that work, and she’d twisted it around on them so easily.

It’s not out of spite, He tells himself, while simultaneously trying to ignore the slight twitch of what might be a smile on her face. It’s the most logical thing to do now. I’m the one with the most information about the art room.

The thought doesn’t quite banish the irritation that lingers, but it does get him to stand a little straighter.

“...We figured that there was more to the scene because it doesn’t make sense for Mondo to have a recording of himself attempting murder. Which means either that someone was involved in the set-up, or they framed him - and also killed Celeste.” That much felt obvious, because how else would proof from the pool find its way to the art room? “What’s not clear is who did it, and why.”

And previously, he had thought it was Toko, or maybe Syo. And still thought it, honestly, because he wasn’t sure who else might have a motive, who didn’t have an alibi.

“Putting that aside for the moment, if we look back to the murder weapons; Celeste was killed with a knife meant for clay sculpting.” And at his nod, Hiro gingerly withdraws the knife from a pocket, wrapped in a tissue with the dusty blade crusted dark. “We found it in one of the tool cups on a table.”

The blade itself is thin, and with a sharp enough point for carving delicate details out of dense material, but the edge of it is still pitted with dried clay and slip. He shudders, thinking of how it’d feel to be stabbed with something like that - sharp enough to pierce, but the length of it jagged with tiny, stone-like protrusions.

“After we found that, I checked Celeste’s hands…there’s a little dried clay stuck in her palms and nails. So I… think we can say that she did kill Mondo, or- or wounded him, at least.” His voice stutters a bit, and he clears his throat quickly. “But - because of the scissors, which could have only come from To - I mean, Syo - and the body’s positions, it means that there had to be another person involved who killed Celeste. Probably with the hammer that was found next to Mondo, and - the blood pack, I guess? - and then staged it to make it look like…like they killed each other, and that, um, Syo was involved…somehow.”

And he pauses here, frowning as he mulls this thought. It’d been a little weird how much attention Kyoko had given Toko. How uncharacteristically polite she’d been with her words - and Makoto knows that she’s smart, but this kind of sly, covert manipulation...it wasn’t anything he’d ever seen from her. Of course, she’s not nearly good enough to make it go unnoticed by anyone else who might’ve been listening, and nowhere near as good as Sayaka-

He shuts his eyes so swiftly he feels the pressure flare around the eye sockets, cutting off that thought at the helm. In the darkness, he catches a flash of a teasing smile, smeared blood on white - Don’t think about that! Not now!

The pressure builds. A thin, throbbing spike piercing through his temples. They’ve gone over more or less everything from the art room, but there was something missing, something that they hadn’t fully addressed. Something, something…

“...Toko.” He thinks, as that thread of wondering finally connects at the ends to form a realization. And blinks his eyes open to see the others staring at him, various looks of bewilderment, expectation, and…mild irritation. Namely from one person.

“What are you muttering about?” Byakuya demands, lips pulled in disgust.

“Sorry, I just - I just realized something. We never got Syo’s side of things, right?” Toko jerks as he says this, like she was shocked. “If we believe what Toko said, that she’s managed to keep control all the way up until walking into the art room and seeing the bodies…and if we believe Kyoko that Syo was an accomplice here, then…when did Syo have time to collaborate with anyone?”

It feels like a lightbulb moment. Familiar now, with this being the third trial, and it’s like he can see that spark in his head, lighting up where next to go. Even as everyone else is processing it, he turns to Toko. “Are you absolutely sure that you’ve been in total control the past few days?”

“Wh-wha- wh-who do you th-think you are-?” She snaps, but her hands tremble, eyes wide and unsure. “I-I’m sure, I mean - I-I always feel t-tired wh-when I wake up after her, a-and she d-doesn’t really c-come out when I’m a-asleep…”

“But are you sure,” Makoto presses, and she hesitates even more now, bottom lip wobbling before she sinks her teeth in it.

“I…” She lowers her face, fringe obscuring the upper half of it from view. “W-well, I guess I h-have been more t-tired than usual i-in the mornings… e-even though I-I’ve been g-going to bed e-earlier…”

“Are you serious.”

Byakuya’s voice is flat, his face stony, but Makoto can tell that he’s…really, really mad. The same kind of quiet, controlled anger that Makoto only saw a few times before in his life, from his mom when he accidentally broke a window with a baseball, his teacher when the classroom frog got lost after he got put in charge of it, and Kyoko, just a little while earlier. Right now, the other boy was staring at Toko like a frog that died under a cabinet and was recently uncovered at the height of its decomposition. “So you’re not sure? And you couldn’t tell us this sooner?”

“I-I thought-! I-!” She shakes her head furiously, looking like she’s about to cry. “I r-really was working h-hard to keep her under c-control-”

“Clearly not hard enough. Are you useless?” He spits, and Toko reels back like he’d just chucked a dead frog at her. “You can’t even manage the one thing you swore you would!”

There’s a pause for a moment, everyone stunned by the pure vitriol in Byakuya’s words. Makoto can’t remember the last time he’d heard him say something so needlessly cruel, for the purpose of being cruel.

And then Hiro claps his hands, the sound making everyone jump. “Alright!” He chirps, his face twitching with an awkward smile, like he knows it’s not suited to the current atmosphere, but doesn’t know how else to move on. “So…we just have to hear out Syo’s testimony, right? Maybe she’ll be able to tell us about the culprit!”

Kyoko shakes her head. “I doubt that she would be so cooperative. Given what she did to Toko’s hair, it seems she’s not in the mood to be considerate of others.”

“S-still, it’s worth a shot, right? And she was pretty helpful in the last trial!”

“The circumstances are very different. She was already conscious last time and truly unrelated to this case. This time, we have undeniable evidence that she was involved.” She sighs, like this is all moot. “That aside, can Toko even call her out right now? Would she even be willing to talk?”

She gestures to Toko as she says this, making the girl flinch and shrink even more. “I…” Her voice is small and wavering, and she stands, hunched with her fingers digging into her arms, like a small animal. But there’s something determined behind her glasses as she lifts her face. “I-I can try…”

She falls silent, head bowing as everyone watches. No one even daring to breathe. Makoto counts his heartbeats, one, two, three…

And just like last time, Toko drops like a cut puppet, narrowly saved from slamming her head against the platform by a hand that flies up to grab the railing. But unlike last time, no one makes a sound, or any attempt to help her up, as a high-pitched, slithering giggle creeps out through the curtain of her bangs as she rises to her full height. As she raises her head, the light catches off her glasses, revealing the only thing behind them to be - insanity.

“I’m ba-ack~” Syo sings. “Didja miss me?”

__

Frankly, Byakuya thinks they could’ve done without needing to drag Syo into this - or at least, not dragging her into this now.

Because Syo was, among all her infuriating traits, also inclined to waste everyone’s time. Serving no one’s best interests but herself, regardless of the consequences - and regardless of her involvement, Byakuya feels that they would make much more progress if they went through all the evidence beforehand, instead of allowing her influence to appear now. Even now, as she stretches leisurely with a series of audible, crackling pops, sighing happily, seemingly relishing in everyone’s attention.

“Soo. You all decided you needed lil’ ol’ me, did you?” She rolls her neck, and Byakuya recoils at the sounds of her clicking vertebrae. “Al-riiight. Well? Anyone gonna speak up? I’m all ears!”

Makoto clears his throat first. “Right. Um, Syo.” For all his certainty earlier, he sounds like he was sorely regretting his decision now. “Can you…er…”

“Be more direct about it.” Byakuya snaps, feeling his patience thinning, before turning to the repulsive thing himself. “According to Toko, she was in control all throughout this morning, up until finding the bodies in the art room. Can you confirm this? And if so, what were you doing immediately after she fainted?”

Syo makes some kind of breathy, cooing sound. “Ohh, I love when you’re straightforward!” She trills, sounding nauseatingly delighted. “If only you could be like that everywhere else-”

“Shut up and answer the question.” He snarls. “If not that, then explain. How did we find your scissors there? We’ve already established they only could’ve come from your person.”

Her tongue rolls. Swipes over white teeth - or maybe just her upper lip - “You know…it sure is weird, right? How quickly you decided I had to be the one whose scissors those belonged to? Didn’t I tell you that they could’ve been hers?”

What she means by ‘her’ is obvious, even without her dramatic gesturing in Kyoko’s direction. “We’ve debunked this already. The pouch of scissors that you have right now contains fewer pairs than the one Kyoko took from you-”

“And who’s to say that I keep the same number of scissors on me at all times?”

His thoughts stutter to a halt. There was something strange about how she said that, all the twisting scribbles of her frivolity dropped from her voice, leaving behind a bare, metal surface; cold, sharp and sheer. A deathly seriousness that she had never displayed before.

“Sure, those scissors are mine. And a special make that only I know how to source. But I think you’re getting a little overexcited if you think that Moody would know any-thing about my habits. How else do you think I’ve made it this long without getting caught?” She sneers, head tilting. “Though, I guess I don’t hate an overeager man, but now’s not the time for it, don’t you think?” A pause, a quiet snicker. “Isn’t that right, Rampo-san?”

To Byakuya’s surprise, Kyoko is the one who responds, a hard edge of unease in her voice. “I don���t know what you’re talking about.” And he can hear the squeak of leather against wood.

“Aww, don’t play dumb! We all know you’re much, much, much smarter than that.” And the words finally click - and a cold sliver of dread begins to creep down his spine, a horrible realization - but no, that can’t be right, this was Kyoko they were talking about, she would never-

Would she?

“Enough,” He manages to find his tongue again, though he stumbles through the words. “Just - say what you mean.”

“Ooh, if you keep asking me to be so explicit, I’m gonna fall for you again!” She cackles, high-pitched and grating, and leans towards him, hand raised between them like she’s sharing a secret. “Act-ually…Toko’s been trying to keep me in check awhile, but she always slips when she goes to sleep, y’know? ‘Course, I don’t like moving around too much during then, since it’s just awful for my complexion if I don’t let this body rest…but I’ve been getting antsy being all cooped up and couldn’t help it.” And she shouts a laugh, so loud and sudden it makes him jump. “Imagine my surprise! When last night I walked out and slammed right into albino Sadako!”

“Albino-? What?” Hina splutters. “Wait, do you…do you mean Kyoko?”

“Who else? Don’t ya think she’s like a haunted doll? Dead quiet and always wandering when ya can’t see her?” Byakuya can’t bring himself to look away from Kyoko. Still unmoved as far as he can tell, and - surely, that must be the truth, there’s no way such a ridiculous claim would possibly affect her - “And she had some real interesting things to say to me that night. For example-”

“That’s enough,” Kyoko cuts her off sharply, a clear note of emotion in her voice now. As damning as a church bell. “We brought you here to give your testimony, not spout nonsense-”

“Oh, it’s not nonsense, though? I mean, we did run into each other last night. I can prove it, too.” The pale line of her finger turns, pinwheels, and then jabs in his direction. “Both of us witnessed the aftermath of their little dinner rendezvous. Don’t you remember how purple his neck was?”

And Byakuya narrowly avoids slapping a hand over the mark in question, twisting his fingers instead into the high, elastic collar of his jacket, knuckles brushing over the bruise. A hot, sickening curdle of embarrassment was settling in his stomach, contrasting the cold sweat breaking out on his nape. He can see Makoto mirroring his complexion, face darkening, then paling all at once.

Their discomfort doesn’t go unnoticed. Syo, of course, does nothing short of howl in laughter at the sight of it, doubling over the railing and nearly tipping right over it.

Hina looks back and forth between the two of them for a moment, mouth opening and closing a few times in silence. “...What did you and Kyoko talk about, then.” She finally says, addressing Syo - it’s as much a relief as it is another glancing blow to his pride.

Syo shrugs, shoulders and hands raising up playfully. “Oh, this n’ that. It sure wasn’t the weather though. Ain’t that right, Kyoko?” There’s the slick sound of gums scraping over teeth, as she pulls a wide, leering smile. “Or maybe I should call you ‘partner’?”

< previous - from start - next >

[ueidesign]

Hello! Sorry to bother you but I have a question about Floyd's Eidolons.

May I ask why Floyd got Preservation as a Path? I thought he would get Nihility.

Greetingsss (/>♡<)/ 💛

Oh boy, this took a while for me to answer !

I just kept going back and forth with the draft T◇T adding the answer little by little

Okaaaay

soo for Floyd's path i actually gave him preservation for two reasonings :

Let me start with the basic one related to his SP "Bind The Heart"

[ Explanation for his skill ⬇️ ]

As u just read, Floyd's skill heavily depends on "reflecting" the opposite enemy attacks

it's true that the only difference is that the attacks SHOULD be targeted at Floyd first in order for it to work

(he definitely needs a taunt skill)

but i don't really think that would be a problem since if there was a fight, a veeery interesting one ! We all do know that Floyd would the first to leap in the front rows, squeezing the enemy and using his SP in order to "Avoide" getting hit

A perfect, straightforward Tank player if u ask me ;3

Now, for the second reasoning

IT IS ABIT SILLY. im warning u !

Mhm u see .. this reasoning isn't only related to Floyd but to the whole Octavinelle trio

Let's go back to my to my previous Eidolons

The one for Azul and Jade

I ended up giving each one of them the role below

Azul ----> Harmony (buffer)

Jade ----> Nihility (debuffer)

Adding Floyd ----> Preservation (defender)

Noticed anything there ??

Yeaaaah, a full set of supporters :>

Since Octavinelle is a dorm heavily centred on the evil mafia trio, i wanted to keep this going even if they were in a different AU. i want them to keep holding into their special relationship wherever they go !

Just imagine them being the essential supporters of the team, and they would just be like

"You need help? Yeaaah so what is the cost ?"

IT'S PERFECT

[grossdyke]

wait tell me more about fwb moonwater…..

ok so. this started as a conversation between me and my beloved sude @stillagoodwitch and then me and @sugarsnappeases couldn’t let it go..

also it started because me and sude hate moonwater and are wolfstar ride or dies who like to make regulus suffer :/ so i hope ur not expecting loving and sweet moonwater

regulus studies abroad. im thinking france or berlin ?? he’s doing academic resesrch all throughout europe and just never returns home

he meets remus and they start working/studying together because they’re very academically compatible. remus thinks regulus is hot. regulus thinks remus is hot. so they start fucking. there’s never really any feelings involve buy like they do like each other and they are friends

sirius is coming to visit :/ and this is how it all started. as ive said before it physically pains me to ship either remus or sirius with anyone but each other so we were like How do people write them in other pairings and then go about introducing them in a platonic setting ???? like how is remus going to date regulus and then meet his brother and not fall in love with him… no disrespect to moonwater shippers. i even see the potential. this is literally just a me problem

anyway. sirius is coming to visit for like a week. reg and sirius dont see each other that often. regs excited and sirius is excited ! but they’re also both worried and axious <3 bc they almost always end their visits on somewhat bad terms

reg and remus are working pretty closely together. i dont really know what they’re working on but i know they have to spend a lot of time together. so naturally reg invites remus to dinner with him and sirius. thinking remus can work as a bit of s buffer between them

sirius and remus meet and well. they fall in love in every universe i dont know what to tell you. it was written in the stars. remus thought he lucked out with the youngest black and now he meets the older black who’s so smart and sexy and rough around the edges and so very pretty and so very lovely and who looks delectable and who’s batting his eyelashes at remus without really meaning to. there’s just tension between them immediately. remus is so upset he didnt meet sirius first. sirius is upset because he can’t flirt with someone his brother is sleeping with

lots of late night conversations after regulus has fallen asleep. them meeting in the kitchen in the middle of the night. they’re thirsty or hungry or whatever. they’re smoking together. getting to know each other. always in the middle of the night. and they’re not really breaking any rules but they’re also not telling regulus about it so it feels like they’re breaking rules. neither of them want to name the reason why they cant let regulus know

sirius hates himself because that’s his little brother. he’s supposed to be better. he’s also supposed to want to be better. but he also resents him a bit. resents him for defending their parents. resents him for moving abroad. resents him for not taking his side. and he loves him more than anything but they come from a home where you had to fight cheat and steal to get things you wanted. and he wants remus but he loves regulus. but he already has regulus. he’ll always have regulus because regulus will always be his brother. a fate neither of them can escape. he’ll always love regulus because he can’t help it. he loves him when he hates him

they had to fight cheat and steal to get what they wanted but in addition to that they would also always have more than they ever needed. <- an excuse sirius uses to excuse his feelings for remus. regulus has his studies, friends, a life he likes, money, a nice flat and endless opportunities. he has more than he’ll ever need and sirius wants remus.

i also love this au because it’s such a character study of both black brothers and their nastier traits. how fucked up they are and how much they love each other but how being kind to each other doesn’t come naturally. how selfishness and greed is rooted in both of them

and! i love this au because its such an interesting remus study. how he’s also a bit fucked up and selfish and greedy. he knows he’s homewrecking a family but he just cant let sirius go. he’s not used to getting what he wants in life so when it’s presented he wont turn it down. a normal person would probably extract themselves from the situation but he DOESNT

^ because in no universe will sirius or remus ever be normal about each other. they’ll never not be completely unhinged about the other ever … and that is what i love about them.. they’d both do morally fucked up things to get to each other every single time. so remus can look past sirius fucking over his brother, and sirius can look past remus fucking over someone he was ’dating’

there were never any romantic feelings between regulus and remus and regulus is genuinely not that upset about losing him. its his brother. its all about his big brother and how he always gets what he wants. regulus couldnt care less about losing remus, but he’ll never forgive sirius. and that’s okay because there’s lots of things they’ll never forgive each other for. they still love each other because they cant help it. they’re the only ones who understand and that’s fine. they’ve done unforgivable things to each other but they’ll never hate each other more than they love each other. it all comes back to how deeply they understand each other no matter how often they wish they didn’t

so regulus doesn’t talk to sirius for a year and sirius doesn’t try to reach out. until one day sirius gets a phone call and remus has all but moved in with him at this point. sirius ends the call with ’okay, miss you, too’

who was that?

regulus

your brother?

no the other person i know called regulus

but? i—, shouldn’t he like hate you forever or something?

he’s my brother. he already hates me forever

END SCENE <3

[genericpuff]

I followed artsangel since her previous comic immaterial. I have to say she IS talented and has the skills. But her style is verrrrry time consuming and she would only update every 2 weeks. I used to study her art a lot because I was always impressed by it, and Im fairly certain it did not look like like that when it was on canvas. I used to see her progresses on her stories and she uses a lot of assets and predrawn faces to keep her consistent pixar look. The faces were less uncanny and more expressive. Now the eyes are all wonky and displaced.

I think she may have used ai to polish her panels. Perhaps the workload proved too much, or maybe she was feeling insecure. I was concerned when she got picked up by webtoon because I could tell it would be difficult for her to keep up the schedule. Ai is super powerful but its not powerful enough to make a COMIC, not even consistently. She probably using it as an enhancer to her already great skills. A shame though, she doesn’t need it.

Also I think the reason her preproduction period was so quick is because she was highly prepared before launch. She already has multiple comics under her belt and webtoon probably didn’t need to change much. Im sure she just reused her canvas comic for her reboot and built a buffer in the meantime.

Having to meet deadlines can definitely be a reason but not an excuse IMO.

One creator I can think of who has a similar style (albeit in black and grey) is figmentforms, creator of A Tale of Two Rulers.

Updates are slow, she posts maybe a new page once a month, the art is gorgeous but it's clear it takes her time. It's a free to read comic. It's worth the wait.

That said, if she wanted to make her updates more frequent, I wouldn't blame her at all for utilizing new tools and methods to do so - but it wouldn't justify her in using AI tools that are stealing other people's art.

There are loads of shortcuts that artists already use that are fine because they're still genuinely handcrafted. 3D models, overlay textures, blur effects, etc. are all tools that artists use to help speed up the drawing process and were made by hand.

And beyond that, the need to make the process more efficient isn't a crime, but it's in how you do it. You can use these tools irresponsibly or at the cost of your own comic's quality. Case in point, Lore Olympus and Let's Play, which are both godawful in how they implement 3D backgrounds and stock images:

Creating comics is finding a balance between efficiency and quality, not sacrificing one for the other and using it as justification to avoid criticism for that sacrifice.

If Sarah Ellerton was using AI based on her own art and being honest about it, I don't think anyone would be nearly as upset. It might prompt a debate over what's ethical in the world of comics - whether or not it's right for consumers to pay for a product that's being churned out of an AI prompt - but at least it wouldn't be theft and it would probably just be there as an aid to an artist who's been doing this for 20 years and had to find a way to make the process more efficient. I think AI can be used as a productive tool if it's implemented responsibly and without being at the cost of another artist's work.

The issue is that 1.) Sarah is being VERY suspicious over the whole thing which leads us to believe that she's NOT using ethical AI assistance, and 2.) there's a VERY clear distinction near the end of her previous comic, Immaterial, where you can basically tell when she adopted AI. The main character Alex, for example, literally became a whole other person.

This is a common problem for AI coloring prompts, a LOT of them are bad at rendering darker skin tones (I think I mentioned this in my last post, but I literally got to playtest AI coloring tools from WT's a couple years ago, and they could NOT figure out darker skin tones, any dark colors that were put down were assumed to be shadows so characters just looked like white characters with the curtains pulled over their face).

She just looks like a SamDoesArts poster girl now. Everything unique about her has been stripped away and you can see this transition in the final page of Immaterial and the first episode of Quantum Entanglement:

None of it feels like organically her, it feels like a cheap machine reproduction.

I don't doubt that this person has evolved a lot as an artist or that her older work was genuinely her, she's clearly got a lot of skill that only someone who's been drawing comics for years would gain.

But it's clear somewhere along the way she succumbed to insecurity or stopped caring enough to start using AI to do the heavy lifting. I mean honestly, her work from before was fine! So I don't see why she would be using it for 'polishing', there are so many ugly ass webtoons on the platform so even the art from Immaterial - even if she had to simplify it a bit more to make it easier to meet deadlines - would likely be a refreshing change of pace.

But the way she's utilized AI here, I was quicker to assume Sam Yang drew Quantum Entanglement when I first saw it.

And it is a shame, because, as you said, she doesn't need it. Her art is perfectly capable on its own and while I can understand her need to make the process more efficient, there are better ways to do that than using AI that's clearly ripping off other artists and then lying about it. It's a shame she'd put her reputation on the line as a seasoned artist just to meet Webtoons' stupid deadlines. Like, how can it be worth it?

[fraudulent-cheese]

Do you think they made Dave a bit of a straw man near the end of Pahkitew? Like it always felt to me they needed someone to use as a hate buffer you know since they couldn't use any of the antagonists they had already made. And this is coming from someone who likes Dave. He was just a pathetic guy who had some charm to him if explored and used them correctly but in the end he was... Mauled by a robotic bear? The punish may fit the crime, the culprit sure doesn't.

-Pahkitew anon

Total Drama in general has a problem with over punishing it's antagonistic characters in general. I mean, Heather's head getting shaved off is fine imo? It's harsh, but also a punishment in line with her character; if her hair's the hottest thing about her, taking it is a fitting punishment (again. Really fucking harsh). Same with Justin's downfall, caused by him actually liking a girl instead of just charming one. I haven't watched the ending of Action so i can't say anything for how Courtney's elimination is treated.

However, as the series went on, the antagonist punishments started going... way too far. I think the writers just thought that making Ezekiel a weird creature was funny and the volcano erupting would've made for a dramatic finale, but making Alejandro both get burnt alive by it and then stuffing him in a robot suit for over a year is just overboard. Same thing with Scott in ROTI; the trauma chair's implications just get worse the more you think about it - at least Alejandro could speak in the machine at first!

I won't cover the Reboot in this context, but i will cover PI: mostly because this season seemingly has 2-3 antagonists, and most don't carry the plot. Scarlett's an actual antagonistic force for a single episode and doesn't get any punishment on screen outside of elimination (and being sent with Max). Sugar is who im pretty sure the writters wanted to treat as an antagonist? But she doesn't feel like an overarching vilain since she's mostly just doing her own thing all season and the show's just... really mean to her? The narrative repeatedly treats her as unattractive, annoying and dismisses her abilities (specifically in singing) when she's like. Fine. in those aspects. She's also not the smartest, but knows how to use the rules to her advantage (see Ella's elimination, probably the worst thing she does all season)

Getting to the actual topic of your ask now, Dave's heel turn to murder just... feels a little off. Oh sure if the writing insisted on the conditions on the island wearing him down and having Sky be the only positive connection he had (especially considering his attitude towards relationships), having it torn down like this could make it work? At least a little better? But by the episode he's eliminated in he seems to be doing ok.

In general the finale just seems to exacerbate Dave's worst traits for either comedy reasons or plot reasons (pre and post Sky-has-a-boyfriend reveal), but i could personally excuse it if his reaction was more akin to one he'd have before. He would not have reacted well to the reveal, hell him trying to stop Sky from winning could've worked but like??? Not like this man! Im not asking the Total Drama teenager to have a reasonnable reaction, im asking the Total Drama Writters to stick with the character they wrote, and frankly it would be funnier if he failed miserably in trying to get back at Sky or something. Out of all the seasons i feel like either TDAS or TDPI should've ended with the contestants fighting back against Chris instead of the actual endings we got.

Also, as a final clarification: Dave wasn't mauled by a bear (onscreen), Scuba bear was just standing behind him as the entire season ended. I guess my big problem is that he gets consequences for his actions during a single episode and not actions from over the course of the entire season; frankly Sky rejecting him is enough consequences, the dude's pathetic and didn't listen to her 'but', multiple times.

[milkyway-galaxary]

I really hate that this assignment only opens at noon, like is my teacher of aware of how annoying that is, I think the worst time would be like 3pm but for the same reasons of you dont get the one full day to work on it cause I dont trust myself to be able to complete it in the morning, the night buffer helps with that in which if im struggling to do it I can access the forbidden time while in the morning its when it hits noon youre over and also failed cause you cant submit anything