#sorry i was gone tho

[blueskittlesart]

Now that you're gone

[saltycryptid]

"You know, I've been catching myself smiling more lately."

🥺🥺 shadowheart is everything to me tbh,,, 💖💖

[riickgrimes]

THE WALKING DEAD: THE ONES WHO LIVE 1.03 — "Bye"

[under-lok-n-ki]

Jay Ferin kisses her homies goodnight

esp bc she’s the only older sister figure that they have left

[notozthewizard]

Jay x literally any woman in the campaign on my mind rn

[fem0ral-artery]

(It's the norm for animals, it's the norm for chemicals)

[halcified]

teru & socialization

i've posted about this before but something ive been thinking about a LOT is mp100's themes of loneliness (and eventual connections). i think this is an aspect of teru's character (in particular) that gets left out because it's not as explicit but i've been wanting to do a deep dive on it for a while and i finally sat down to do it. just a warning, this post is gonna be LONG.

these two panels are from chapter 16 of the manga (which i'm using for my evidence because i. dont want to scrub through the anime LOL). initial sentiment: teru uses his powers to cheat having friends/a good social life and wouldn't have that if he tried earnestly. this is a fair interpretation of the scene. with what we know, at this point of time (as in within the teru-mob fight) teru would not be able to connect with other people earnestly, due to his mindset. which i think is a fair interpretation, HOWEVER:

(from chapter 17 ^^) the first panel shows teru's expression to be strained and the second is visibly unhappy. this puts the first set of panels into a different context, that maybe underneath all of this, teru doesn't WANT any of this life that he's built. keep in mind that i'm analyzing this with teru's possible autistic tendencies in mind & you dont have to believe he's autistic, im not your dad, but i do find this a pretty meaningful indication of masking if he were

(note: yes, the strain can definitely be read as comp-het, and i would agree but that's not relevant so go read this post on that instead)

even if the rest of these panels show teru content with his life, i think these expressions are pretty vital to how we read his life especially because we know so little of it. think about it, if you were a kid desperate for affection because you couldn't get it anywhere else, especially not in a way that would come off as "mature" or "unaffected", wouldn't you also look for validation in your popularity? even if it aligned you with people who you consider fundamentally different to you? my point here is that teru can't not stand out-- it's in his nature-- and we are shown how he tries to blend in & receive attention in the only way possible to him; which is to say that he molds himself into something that is palatable, likeable, and superior to other people. if he's nothing, like mob, he has spent his entire life covering up for it. if he fails socially, like mob, he has to be good at everything (even if he cheats to do so) so that everyone else can look past it.

(side note for my teru angst enjoyers: this is a panel of his mom. the mom who he hasn't seen in years. doesn't it make sense that, if he hasn't heard his mom say he's proud of him for literal years, that he would overachieve in response? not related to the autism thing i just have the teru bug. also don't be misogynistic in my notes both his parents suck we just get a singular mention of his mom)

so if teru couldn't meaningfully have friends before mob, that could very easily be because of his past mindset, right?

...except, we don't.. really... see him make other friends afterwards.

but, the awakening lab, right?

(ok i lied to you sorry there is one anime screenshot and thats because it stood out to me while i rewatched it earlier this month. sorry.) id like to bring attention to this screenshot during the cultural festival because the awakening lab can definitely be seen as a direct contradiction of this and i'd like to point out a couple things:

1) in this scene the shiratori brothers are in another room 2) them and the other three are friends with ritsu (or at least close enough acquaintances to want to see him).

considering this is one of the only times they appear together for Fun i am more inclined to believe this is an encounter where they went together because they all would've gone separately anyway. this isn't to discount the possible bond that these characters might have, but thats the thing. we... aren't really shown that they're friends and enjoy spending time together outside of this screenshot, where two out of six of the members are not even present. not to mention that teru is still placing himself in a role separate from his peers. despite stripping the superiority away, teru is still the awakening lab's mentor, not friend. teru still views himself as fundamentally different in a context where his psychic powers don't make him that way.

...except with mob. i bring this placement of power up because where he is the awakening lab's mentor, teru declares mob to be his rival, or, in other words, teru is just like him. he is accepting that mob and him are the same. (and if we view mob from an autistic lens... so on and so forth)

as if to hammer in that point even further-- in the summer vacation omake, teru explicitly states that "summer break is just a super long, super boring stretch of alone time." i'm not sure of the timeline here, but guessing from the hair, we're at least post season 1. which gives us explicit confirmation here that teru is spending the break alone despite his relationship to the awakening lab. his connection to mob is a lifeline here because mob is one of the only people who can intuitively understand teru's isolation without judgment

(also, on that point of teru's autistic tendencies: teru does and says a LOT of things that would raise other peoples eyebrows and doesn't seem to notice.

here we get teru actively admitting to his home life, right in front of reigen, WHO COULD CALL CHILD SERVICES ON HIM? this genuinely made me rethink this character entirely. teru's filter is... minimal. he isn't constantly volunteering information and generally minds his own business, but if you ask? Well.

teru is a social person, but to say he is proficient in understanding social situations seems... wrong. teru views his loneliness as boring because, despite being fairly open, does not actually allow himself to think about his own feelings and how they affect him. this loneliness is boring because he doesn't have enough of a reference to realize its not

if we are taking pre-mob teru to be a version of himself who is masking, or at the very least someone who is faking a lot of stuff in a less autistic sense, the fight with mob changes teru to the point where he no longer hides himself. in the same way that mob was able to shake teru's fragile superiority complex i think the change in appearance marks the end of the self teru had built up. from this point on we see him become a lot more... Him. his appearance and his fashion choices are, presumably, completely normal to him and we get no indication that he believes otherwise despite the reactions it gets-- which is... well, i wouldn't be writing this post if i thought it was one of his most neurotypical traits.

in fact, he seems... pretty oblivious to what other people think of him. which is an interesting distinction to make considering the intelligence we Know he possesses (which is not to say that you are unintelligent if you don't pick up on social cues, just that its common for media to depict it that way.) these traits are made pointedly, even if unintentionally, separate, ESPECIALLY when you note the amount of characters who Do ruminate on or stare at teru's appearance.

some examples. i don't even think this is all of it-- case in point.)

[schneiderenjoyer]

My Descent Into Madness About Unilogs

This is more of a full blown conspiracy theory than a theoretical analysis of information, keep that in mind.

So, as always, this will be VERY long and ramble-y so take your time reading!

I left off in my discussion about The Wheel's connection to the Storm and it being the possible key to how it all works without really explaining it. This is why.

The Wheel doesn't just have the ability to create fog that repels the Storm within the suitcase, but also has the ability to summon arcanists.

Through a two dimensional golden thread weaved onto the spindle, it can't be felt tangibly and it doesn't seem to truly "exist" in that realm. But with enough of these "nonexistent lines" can Vertin call out to an arcanist and bring them there.

Specifically any arcanist of any timeline. Regardless of if they've ever been reverse into that era yet.

As well as the implication of summoning an arcanist not just from their timeline, but from another universe's timeline.

Now, I'm about to pitch you the conspiracy theory part of the essay, so entertain my insane ramblings for a bit because this is gonna be one of my hottest takes known to man.

Sonetto didn't survive the Storm in the prologue.

Here's my reason why I consider this a possibility:

We barely knew Sonetto's personality in the prologue, so it'd be easy to do this switch compared to doing it at a later date. But what we can glean from pre-1966 Storm and post-1966 Storm Sonetto is her immediate tonal shift.

Sonetto before the Storm is far more subdued with her way of speaking with Vertin. Professional and could even be considered more polite.

We can chalk this up as her being on Work Mode and with the Storm's arrival approaching, it's far more important to get the task done than her relaxing her mood.

So, let's think about why I think it's not possible for her to make it back to the Foundation on time. In the prologue, we see them discuss a new form of teleportation device still being improved by LaPlace.

It's a means to have a better way to teleport a large group of people from a much farther distance.

With this in mind, it's important that they have the disks to immediately evacuate because it'll take longer to get back to the safety of the Foundation. But they used all three of it. One to summon Vertin.

One to intercept the enemies.

And one-

Was used by Regulus to escape.

And with that time, they only hade 45 minutes left before the Storm hits. Sonetto instructed her squad to go back ahead, leaving her to go with Vertin to investigate.

Even if we're absolutely generous in stating she can get far with using consistent fast travel arcane spells to move her to safety, how much time did she have?

Not enough. Not even the best teleportation spell can get her back in time assuming the nearest London branch is just a subdivision away.

Speaking of teleportation spell, we can even use one of the teleportation spells as a reference. Aferoj Around.

It's one Sonetto suggested Vertin used to summon her, but immediately dismisses it as a possibility. It could be because of the fact that the range wouldn't make sense assuming that Sonetto's been summoned from the main headquarters all the way to where Vertin is. So even an advanced arcane skill like that can't just summon someone in that great amount of distance.

While it's also should be taken into account that with the reverse having send them from 1966 England all the way to 1929 America, it's still an impossibility if they were to still be within London. Because if that kind of spell is so easily executed consistently, then they wouldn't be developing the Teleport disk. It's an advanced skill for a reason and even that has limitations. So other less taxing teleport skill wouldn't have the distance needed to get Sonetto back in time.

Which brings us to post-1966 Storm Sonetto and the wild implication of her summoning. For one, her reaction is far more brighter and excited, familiar even. Much more like the puppy we consider her to be now. It can also interpreted as shock, but the demeanor compared to post-1966 Storm Sonetto at least has a slightly noticeable difference.

One of the biggest difference though, is this:

Madam Z somehow knew about what Vertin's doing and has instructed Sonetto specifically to seek her out.

If we can believe in Vertin's words here, she's never told anyone about this. Not even Madam Z. So to boldly be told that they knew all along is a strange difference that even took Vertin off guard.

Why this is important is to ask you this. Just how much can you tell if someone is replaced with another version of themself? We're all lead to believe that those differences are drastic, but alternate universes doesn't have to be full blown change. It can be as simple as putting on your right sock first rather than the left that day.

Which is why it'd be so cruel and so sneaky to actually have done this switch in the first place. Because we don't know Sonetto enough to have noticed the change. And Vertin doesn't know her enough either after 4 years of not really being that close to her.

And how can I say this could be possible without a little bit more evidence to entertain it? Well, Chapter 5 is the reason I'm making this theory in the first place. And that's because of one person.

Diggers.

This man. THIS MAN.

Canonically fukin joins the Manus. This manfailure is the sole reason, aside from one more reason but i'll get into later, why I thought about this possibility.

Because you can say that maybe after this event in the island he'll just defect to Vertin's team later after suffering the injustice of the arts or whatever, but I like to point back to one of the listed descriptions of Unilog's capabilities.

It can sometimes change the fates of people. So what I'm suggesting is that the Diggers we end up recruiting isn't the same Diggers, but an alternate universe one who didn't join the Manus as he was literally ripped from his timeline to join Vertin's instead.

This could explain many more of the characters in the roster being from timelines far into the past or even far into the future like John Titor. Heck, it explains dead people like Click and Poltergeist being there when they're supposed to be dead. Because summoning them through The Wheel has the potential to change their fate.

So yes, you can also argue that means Vertin did end up saving Sonetto from reversing and they actually do have their timeline's Sonetto still, but there's still the possibility that she's just another universe's Sonetto. She's both this timeline's Sonetto and not at the same time.

Schrodinger's Sonetto. (Note that this isn't the accurate use of Schrodinger's cat logic, it's mainly a joke)

Which now leads up to 100% the ultimate reason why I wanna pitch this idea as possible and y'all already know where I'm leading up to, this is just a huge build up to one thing and one thing only.

S C H N E I D E R.

THAT'S RIGHT. IT WAS SCHNEIDER ALL ALONG. You think I wouldn't go a single damn analysis without talking about my bbygirl? You're dead wrong. If this summoning system has the damn ability to yoink people from another universe and change their fate, then the possibility of getting Schneider back is far more real. Heck, you can even pull a version of her that actually IS an arcanist like y'all I fukin swear I'm not delulu, PLEASE--

ahem.

So that's my thoughts about what could unilogs do. I know it's extremely far fetched, but I like to entertain these ideas in hopes that it might give people a lot of other theories to craft!

[sunshinepixels]

typical florida house 

[dizzybizz]

scarves

[even-disco-baby]

CINDY THE SKULL — “Evening, officers. It’s a bit late to be skulking about, don’t you think?” Though she’s lounging around the coal room door as languidly as ever, her pale eyes ringed with coal dust seem to bore a hole in your skull.

YOU — “I’m looking for a place to sleep.”

CINDY THE SKULL — She lifts an eyebrow at you and Kim. “Did the cafeteria man finally decide he wasn’t interested in keeping a pigsty?”

YOU — “No, Kim is still staying there. I just can’t pay my bill.”

KIM KITSURAGI — The lieutenant clears his throat slightly. “Let’s not give people the impression that officers of the RCM make a habit of dodging their tabs, detective.”

CINDY THE SKULL — She glances at Kim, lips pursing just slightly.

EMPATHY — His little comment irritated her. Curious.

CINDY THE SKULL — “Tough luck, officer.” She shrugs, the faux fur collar of her coat brushing her cheeks. “There’s a perfectly good garbage bin in the courtyard. It’s got a lovely view. Real prime real estate.”

YOU — “I know. Garte said I could sleep there, but I’d rather find somewhere else.”

CINDY THE SKULL — She blinks her coal-smeared eyes at you. Then, she turns to the lieutenant. “Is he joking?”

KIM KITSURAGI — “No,” he says drily. “He is not. If you know of any… more *comfortable* places to sleep, we would be much obliged.”

CINDY THE SKULL — She stares openly at the two of you, as if in disbelief.

COMPOSURE — The absurdity of your plight has nearly broken right through her veneer of youthful detachment.

CINDY THE SKULL — “Maybe I’m the one who should be a detective. I can solve your little case for you right now.” She points to the lieutenant. “Your room.”

KIM KITSURAGI — His face is solid stone. “No.”

ESPIRIT DE CORPS — There are so many reasons why he does *not* want to do that. He has neither the time nor any desire to share them with Cindy. Or with you, for that matter.

-1 MORALE

CINDY THE SKULL — She whistles softly. “Damn. Must be true what they say about pigs and cannibalism.”

KIM KITSURAGI — The lieutenant does not rise to her bait.

EMPATHY — But there is something playing at the downturned corners of his mouth and the furrow of his brow. Something like guilt.

YOU — “What about the coal room, Cindy?”

CINDY THE SKULL — She outright laughs at you. “Fuck no! You want in my room, get a warrant, piggo!”

LOGIC — While drug possession is not a crime in Revachol, it doesn’t stop most cops from confiscating substances from vulnerable civilians for their own personal use. Including yourself, most likely.

ELECTROCHEMISTRY — Hey, good idea! Cindy’s an artsy type, she’s probably got all kinds of shit to get her creative juices flowing.

PAIN THRESHOLD — And to get her through the cold and the hunger and the cruelty.

VOLITION — No. Don’t make things any worse than they already are.

YOU — “But then… where do I go?”

CINDY THE SKULL — She shrugs again. “It’s not my problem, is it? Ask your partner, here. Or maybe you should take a hint and go back home to the farm.”

YOU — “I don’t know if I have a home… I think I lost it.”

KIM KITSURAGI — The lieutenant’s frown deepens. He stares down at his boots rather than meet your or Cindy’s eye.

CINDY THE SKULL — A long, almost uncomfortable silence. Her eyes are hardening as they take you in— you and your bloodshot eyes, your slightly labored breathing, your clothes that are certainly too thin to keep you warm tonight.

EMPATHY — She feels sorry for you, and she resents herself for it.

CINDY THE SKULL — She lets out a long sigh, closing her eyes and shaking her head. “All right, piggy. Just quit looking at me all pitiful… You saw the foreclosed apartment in the hall, right? If you wait for the cleaning lady to go to sleep, and you don’t stay long, it’s not a bad place. Better than the trash, anyway.”

REACTION SPEED — She seems to regret it as soon as the words leave her mouth. She’s not thrilled at the idea of trusting your honor not to rat out or even arrest your fellow squatters. But it’s too late now.

SUGGESTION — Wait. Is it really that simple? What if she expects something in return for the information? Or she could be setting a trap for you!

YOU — “Hang on. What’s the catch?”

CINDY THE SKULL — A wry smile breaks out across her face. It almost looks pained. “No catch, officer. I’m no snitch. Nor a pig.”

RHETORIC — You’ve insulted her more deeply than she cares to let on. She helped you because she knows your struggles intimately. Struggles that have claimed the lives of people she cared about. But now you’ve reminded her of the difference between you: she calls you pig because you sold your humanity for the power to strip others of their own.

EMPATHY — She’s sad. She was born sad and she will die sad. You are the one making her sad.

YOU — “Hey, Cindy?”

CINDY THE SKULL — “What?”

“I’m sorry. Thank you for helping me.”

“You shouldn’t judge me. We’re the same. We do what it takes to survive. You have the Skulls, I have the RCM.”

“Can’t we just get along?”

“I’ll pay you back somehow. I’ll make things right.”

“I don’t want to be this kind of animal anymore.”

KIM KITSURAGI — The lieutenant looks up at you, startled. Concerned, even. He almost looks as though he wants to say something, but nothing comes to him. He just stares at you, at a loss.

CINDY THE SKULL — She levels you with a steady gaze. Even without the coal dust, her eyes would look sunken into her wan face. If it weren’t for the roundness still clinging to her cheeks, she would have lost nearly all trace of her youth by now.

“I don’t think you even understand what kind of animal you are,” she says coolly.

ENCYCLOPEDIA — Homo sapien.

CONCEPTUALIZATION — A tiny, violent ape.

AUTHORITY — Predator.

HALF LIGHT — Prey.

VOLITION — You’re a human, Harry. Nothing more or less.

INLAND EMPIRE — The saddest and cruelest animal of them all.

[yuriyuruandyuraart]

𝐬 𝐦 𝐨 𝐤 𝐞 𝐛 𝐫 𝐞 𝐚 𝐤

two versions because i'm indecisive hhh >:')

[ashchoo]

\\—oh he’s gonna get ya…—//

[flufallo]

What possessed me to make these 😭

[sopuu]

champion jesse has been rotating in my head for WEEKS i can finally get this out

also extra info and slight tweaks to the story under the cut!

- jesskas is a thing in this. obviously hfkdj what else did you expect from me

- romeo’s projecting a lot and wants jesse to see his friends the way he sees xara and fred

- lukas joins the main group (he punched romeo right after he teleported jesse away and romeo got pissed) and sorta takes jesse’s place as a reluctant leader

- the hug that happens when jesse and lukas reunite in ep5 is now in ep3 after the prison fight, roles reversed

- olivia and axel replace the ocelots, becoming the dead enders or whatever team name you chose at the start of s1 (to remind jesse of the time before they had any fame)

there’s a bit more lore to this but it’s gotta wait a bit cause it’ll spoil the animatic i’m working on :)

[spotlightstudios]

Omg the girls are fighting...

No, but frfr, this is a collab drawing between me and @neonsix67 !!! It's been ages! Neon chose the pose + drew Vox, while I drew Alastor and the background!

It was gonna be a showcase of our styles at first, buuuuut we both subconsciously just mimicked their og styles. It happens, lol. Regardless, I had a ton of fun!

Bonus Commentary of the Progress:

^ Phone refused to send the images, and half of my messages.