#ugh. like it used to be okay....?

[sleepsi]

Everyday I grow more romance repulsed....

[fisherrprince]

it’s not necessarily that I hate the themes most prevalent in fiction set in the real world and it’s not necessarily that I don’t like stories revolving around real people or relationship drama or interpersonal issues it’s more like im a dog who doesn’t recognize that a pill is still a pill if it has peanut butter on it. I need like the little peanut butter spoonful that is aliens or robots or monsters or time travel or something fantastical and not at all down to earth real life so that you can approach me and be like “this story is about how friendships can deteriorate over time and also how this guy feels bad for being a bad friend and causing his buddy problems with their girlfriend” and then look at me making a face at you and be like “AND! they’re all aliens who are doing all that across spacetime” and I’ll be like OHHHHHH OKAY YAY (shlop shlap shlup the sound of a dog horking down peanut butter pills) wow what a poignant story

[zillychu]

I NEED Loop to be further tormented by finding out confessing to their party doesn't break their loops, and Siffrin wishes to see Loop again so hard he pops out of the favor tree so he gets to be Loop's guide

[inkedinserendipity]

here’s something that surprised me on my all systems red reread: secunit sits down like halfway through the book! page 104, murderbot sits on one of the hopper’s benches.

and the first time i read this book i paid that line no mind! it’s just sitting down. i didn’t have the context to be like :O secunits don’t do that. secunits aren’t supposed to sit while on duty!

and now i’m thinking about the crew, who also have no idea what this means. and about mensah, who just minutes ago told it that she sees it as a person who’s trying to help (this is the first time its insides “go melty!”) and i simply do not think it is a coincidence that murderbot sits down next to its humans for the first time probably ever right after being told by a human for the first time probably ever that they see it as a person.

and it’s so satisfying on a narrative and rereading level, right, because the first time you read the book you’re with the crew—you have no idea what this means. but then you read it again, knowing more about secunits, and then the full emotional weight of that one line hits. because now you have context!

anyway this line was such a lovely example of why the murderbot diaries in particular is such a good reread. the context makes everything hit afresh the second time around, just as hard if not harder than the first!

[crafting-mojo]

The Factory!

[corvid-language-library]

A lot of my colleagues comment on how good my Japanese is because I can use interjections pretty well despite the fact my actual speaking is garbage. I always know when to say "えっ" and "やばい" and "え〜そうなの" and "いえいえいえ" and "そっか" and "そうだね" and every single time they're like "wow! You're like a native speaker!" and I'm like okay but I can't form an actual sentence that's more than 4 words long and if you make me use grammar my brain will catch fire

[mikakuna]

save me "jason todd leaves batfam".... save me.... "jason does not give up everything that makes him who he is to please a mediocre family"... save me...

[icewindandboringhorror]

Little bright colored outfit with a fun vest ~

(shoes from ebay like 10 years ago. everything else is thrifted)

[freckleslikestars]

FARSCAPE | 1.06 Thank God It's Friday, Again.

[iamfuckingsorry]

So I've recently realized that murderbot's been translated into my native language and it's apparently a he in the translation (which admittedly makes sense, because it's a heavily gendered language and 1. gender-neutral language doesn't really exist in general and 2. "bot" and all the related words - I believe they use "droid" for mb in the translation - are grammatically masculine).

It made me curious how it's been handled in other translations though!

*e.g. being referred to by multiple gendered nouns/pronouns depending on the context, like both "bot" (masculine) and "machine" (feminine).

[mrbrightxside]

Haha... guess who drew Sheol (my gf's Moral Orel OC @zimtlees) and Orel ❗️❗️❗️💥💥💥💥 This guyyyy ❗️❗️❗️ Yes as the Demolition Lovers why not

Also us being totally normal (I'm so normal) <333

[starrytoya]

seeing people be proud of being so overly dependent on chatgpt genuinely fucks me up because... the whole point of being human is to think for oneself, to enjoy creating and to have original thoughts. why would you be proud to outsource the one thing that ties us to our ancestors generations ago? why would you be proud to use something that causes so much ethical and environmental harm? are we collectively losing the things that make us human?

[gooser0-o]

getting the (constant) urge to make malevolence animations despite not knowing how to animate. I don’t care if it’s just animations or if it’s songs or what I just want to make the pictures MOVE 😭

[kaurwreck]

Rereading the early Guild Arc is incredible because it's Fukuzawa and Mori engaging in viciously nasty and personal threats to one another's closest loved ones and allies that wildly escalates beyond their implicitly agreed upon tension, which comes to a head because Dazai petulantly mischaracterizes Mori as pathologically mathematical (because he isn't over that Mori could do what he did to Dazai) and intentionally triggers the paranoia and obsessive compulsive betrayal sensitivity that he'd clocked in Mori at fifteen, causing Mori to irrationally lash out and release Q (and then self flagellate because the consequences of this were wildly amplified by the Guild's seizure of Q), by which point Dazai realizes he'd gone too far and now has to get Ango hit by a car about it.

And Francis is just like. There.

(He's also going through it, but because Louisa isn't in underground son protection jail like Ranpo or hashing out unresolved grief like Dazai and Mori, she's keeping Francis rational with decision trees and focused tasks within the realm of his control.)

This is why there's a chapter called "The Conflict of Strategies." The Strategy of Conflicts by Thomas Schelling is about coordination between mutually dependent parties in conflicts. Unlike zero-sum games (in which one person's gain is equivalent to another's loss), mutually dependent parties rely on each other and so can't draw blood without harming themselves in the process.

The Agency and the Port Mafia are both pillars maintaining Yokohama's tenuous stability; if one falls, the whole city could devolve into a warzone. Thus, their mutual dependence is part of the logical structure of any strategy and demands some kind of collaboration or mutual accommodation, even if only in the avoidance of mutual disaster.

Mori often uses a strategy of irrationality, i.e. he acts volatile and whimsically sociopathic, where he's actually very controlled and rational, which Dazai knows. But, as Dazai reveals to Mori's horror in Fifteen, Dazai also knows where Mori is vulnerable to emotional provocation. This is because Mori, like everyone else, isn't completely rational or completely irrational; it's not a one-dimensional scale. But, "everyone else" includes Dazai.

Dazai characterizes Mori as a math equation because he's still reeling from the betrayal he feels over Mori sacrificing Oda despite knowing how much Dazai loved Oda, and despite Mori knowing it would drive Dazai away from him— because he and Mori also love each other. Even though Dazai probably understands logically that Mori made the decision despite his love for Dazai (and not in the absence of it) because Mimic was an existential threat on Yokohama, Dazai cannot shake the irrational and emotional thought, "If you could do that to me, of all people, you really are as coldly logical as a math equation."

This is irrational because Dazai knows that's not true; he demonstrated in Fifteen that he knows that Mori is terrified of, more than anything else, chaos, and that the threat of chaos is enough to trigger Mori into decisions he does not want to make and otherwise would not make. That's what he was trying to do in Mori's office in the first chapter of Fifteen— goad Mori into killing him by invoking a fear response.

But, Dazai is hurt and so he treats Mori as coldly rational and approaches him with vicious disregard for Mori's betrayal sensitivity, loneliness, and fear by taking Kouyou and leveraging Kyouka to keep Kouyou from returning to Mori. Mori, having lost Kyouka and thus Kouyou's incentive for staying in the Port Mafia, was already afraid he'd lost Kouyou's loyalty and support— and she's one of the four people he depends on. He also depends on Dazai, and although he's aware he drove Dazai away, that still hurts him. Further, Dazai demonstrating that he can and will use what he knows about Mori against him is terrifying to Mori because Dazai is one of the very few people capable of emotionally manipulating Mori. Dazai has Mori's nerves pinched between his fingers while telling Atsushi it's just an electrical wire.

Anyway, then Q is seized, hundreds of Port Mafia members and affiliates are killed, and Mori is wracked with shame and the fear that he behaved like the old boss. That's why Hirotsu and Chuuya are so gentle with him, and why, despite their agreement that Kouyou would stay with Dazai until Dazai saved Kyouka, Dazai asks her to return to Mori. It's also why the Agency and Port Mafia call a truce to collaborate against the Guild, without blaming Mori for what happened. They forgive because the cost of fighting is, as just demonstrated, too high, but also, they recognize that the escalation was mutually cultivated.

It's also why, at the very end, Mori asks Kouyou why she stays when she could leave. He knows he doesn't have Kyouka anymore, and he's still grappling with his guilt for those entrusted to his care that were killed because of his lapse in rationality. But, Kouyou assures him that this is a version of the Port Mafia she wants to protect. Because, even as Mori was spiraling and releasing Q, Kouyou was realizing that, unlike what happened to her, Kyouka could leave and decide for herself where and with whom she feels safe and has purpose. She could do that because Mori and the Agency have helped to create spaces and community and stability where there wasn't before. He's helped create a world where Kyouka can be a flower born in darkness and yet still make the choice to bloom in the light without being rejected or burned by it.

(And also because Kyouka left, and Mori didn't go after her to force Kouyou to stay. Because he would never do that.)

She wants to nurture that world with him, and she trusts him. The conflict may have escalated, but as soon as the cost was felt by the city and their own people, the Port Mafia and Agency were able to mutually deescalate and collaborate to contain the chaos and defuse it before it spread.

Mori isn't the old boss, and the humanity and love in him is reflected in his stewardship of their city. His humanity and love also mean he's capable of being hurt and will sometimes act emotionally and irrationally. But, it's okay for him to not always be rational; that's why Kouyou and Chuuya (and Hirotsu, who was goddamn MVP in the Guild Arc) are there to support him.

[merehawke]

i love my freaking elf 😭 #myelf

[royaltea000]

I like the human actors a lot too! (I say as if the actors weren’t initially human)