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#Loop hole
knotty-et-al · 2 months
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Loop hole
[2024/03/15]
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datrah87-blog · 3 months
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New Grind,
Payouts out of the rear, how to get extra from Google and higher than quoted. Will demonstrate on my Discord if you become a follower. Promo vid.. easy 100-300 a day minimal work from phone:
https://www.tiktok.com/t/ZT8oj9qND/
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moneymilf · 7 months
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Apparently there is a baby registry loop hole for Amazon. Got this in a weekly newsletter!
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shadowtraveled · 2 months
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"mithrun is the only real monsterfucker in dungeon meshi" is objectively the funniest bit you can get out of his everything, but in all seriousness i think his attraction to his love interest is deliberately overstated—and that makes sense, because romantic jealousy is a classic and digestible motive, which is explicitly what kabru was aiming for in condensing mithrun's backstory, and also because until chapter 94, mithrun wasn't willing to admit to the true nature of his desires.
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but because romantic envy is both classic and digestible, it probably isn’t a unique enough or complicated enough desire to tempt a demon’s appetite. mithrun’s wish, as far as we can figure from kabru’s reduced retelling, was to have a life in which he had never become one of the canaries, and that carries like 3857 implications and desires within it. that’s delicious. his love interest acts as sort of a red herring to his motivation for making it, though. (side note: i'm saying "love interest" here because, keeping in mind that i barely speak japanese on a good day anymore, "想い人" is something i'd usually take as just kind of an old-fashioned and romantic way to refer to a lover, but in context i wonder if both the connotation of yearning and the vagueness are intentional, and i think this phrasing gets those aspects of it more effectively. anyway.)
mithrun considered his love interest to be untrustworthy. there was a minute where i thought that comment might be about a similar-looking elf (yugin, one of his squad members), but comparing the two…
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the "sketchy" arrow is definitely referring to the elf we know as his love interest—the bangs go toward her right, she only has the one forehead ornament, and, most notably, her ears aren't notched.
every time she’s given a full-body depiction in his dungeon, she’s drawn as a chimera, with the body of a snake from the waist down. (side note: the “what if a dungeon has chimeras before reaching level 4?”/“then the dungeon lord is unstable” exchange just being mithrun grilling his past self alive is so funny. he’s so. but anyway) there are a couple things about this.
first, the snake part of the chimera appears to be modeled after some species of coral snake mimic
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which, in the biology-for-fun manga, i… doubt is a coincidence, especially with the added context of the “untrustworthy” comment. the dungeon’s conjured illusion of mithrun’s love interest was a harmless copycat of a venomous original. for whatever reason, he felt this person was a threat and made up a "safe" version of her to be in a relationship with, and while it’s definitely possible to be attracted to or even love someone you find to be toxic and/or intimidating, when you take that into consideration alongside the configuration of her body, you get some interesting implications.
which brings us to our second point: if we assume that mithrun was not in fact fucking a snake, then sexual attraction, at least, was so far removed from his idea of a relationship with this person that he did not even bother to keep her dungeon copy human enough to maintain the illusion of the option of a sexual relationship. this is somewhat echoed in the depictions of their interactions, which also imply a frankly unexpected romantic distance. she kisses his cheek and he doesn't seem to react; she's at the edge of a narrow bed with only one set of pillows, on top of his blankets while he's underneath them.
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the kiss is particularly interesting because it seems to contrast the text. kabru's narration tells us this was everything mithrun could have asked for, but mithrun is there looking unreadable to pensive, likely because this is right before the panel that makes it clear things in the dungeon are beginning to go wrong.
walking through this backwards for a minute, we have the physical barrier of his bedding and the spatial separation inherent in a bed made for one person, the emotional barrier of his mounting anxiety getting in the way of his ability to enjoy the affection he sought, and... the snake, which historically carries the connotation of temptation, yes, but also mistrust, barring physical intimacy. okay. ok. if a dungeon reflects the mentality of its lord, all of this might suggest that mithrun was not able to have any real desire for a relationship with this person. his unwillingness to be vulnerable or let another person in was insurmountable. but in that case, why was she such a focal point that she remained to the end, after his dungeon had stopped creating iterations of his friends to come and visit him? why would he get so upset over her meeting with his brother that he became lord of a dungeon about it?
well. mithrun's brother was also interested in her, probably genuinely. and mithrun had to win.
you have an older brother who your parents completely ignore, probably in part because he is chronically ill/disabled and almost definitely in part because he received a ton of recessive traits that resulted in rumors that he was an illegitimate child. you are aware, most likely because those same parents fucking told you, that you actually are an illegitimate child. but they keep you around because you had the good fortune of looking just like your mother. what can that possibly teach you but that you, like your brother, are disposable?
it's utterly unsurprising that mithrun, under these circumstances, developed a pathological need to be better than everyone around him. people don't keep you otherwise. i'd argue this is also why he says he looked down on everyone he knew while milsiril claims his dungeon reeked of feelings of inferiority—he sought out people's worst traits and prioritized them in his mind to protect his already extremely fragile sense of self-worth, and all the while he tried to be as likable and high-performing as he possibly could be. his parents disposed of him anyway, but even then he tried to keep up the performance. he was kind to everyone. he never once lost to a dungeon.
when he saw his "love interest" meeting up with his brother, what he saw was himself being replaced by a person his parents had always treated as worthless, and if that was what they thought of the child they'd kept, what value could anyone possibly see in the bastard they'd given away to die? mithrun and kabru tell the story like he wanted to win this unnamed elf's heart, but it was never about being with her. it was about cementing his worth, proving that he didn't deserve to be thrown away.
and so it's particularly cruel that his demon discarded him, too. but maybe it's also particularly gentle that, in the end, there was someone who refused to even consider giving up on him.
kui laid it out in three panels better than i could hope to.
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yeah. it's love. you wanted to be loved, even when the only way you were able to understand it was through the desire to be wanted, and you wanted that so badly that the idea of being consumed felt like the promise of finally mattering to someone.
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fairbairn-sykes · 2 years
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Oh boy, it’s depression o’clock, the most wretched time of day!
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flocklings · 8 months
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i'm obsessed with time loops. it's such a tricky thing to pull off, and i have yet to find a story that scratches the itch properly, but the allure of characters being trapped and the grief of being trapped on top of whatever the story is about is so tangible, as humans we mourn the passage of time with nostalgia but time is a promise that despite the good and the bad, time trudges forward--the character of a loop is stripped of that law, and it's a prime environment for angst and terror and it's just so delicious--especially if they never escape, if they accept fate and turn their torment into comfort.
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redysetdare · 1 month
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One thing I've noticed about the erasure of aspec identities is that it's eerily familiar to the erasure of non-binary identities. Often times Aspec identities are viewed as Blank slates to slap other identities on top of - similar to non-binary identities.
A character uses strictly they/them and people will say "Okay but I'm going to use he/him or she/her because x looks like a boy/girl to me" A character strictly states they are not interested in romance and people will say "okay but I'm going to call them a lesbian/gay/any other sexuality because obviously they must be interested in x even though they said they weren't interested at all."
"I can ignore this characters canonical non-binary identity because people can headcanon whatever they want and I headcanon them as cis instead! no this isn't erasure!!! it's fiction it doesn't hurt anyone! pronouns don't equal gender anyways!!!"
"I can ignore this characters canonical aspec identity because people can ship/headcanon whatever they want and I headcanon this character as allo/not aspec instead! no this isn't erasure!!! it's fiction it doesn't hurt anyone! aspecs can still date and have sex anyways!!!"
idk as someone who is both nonbinary and aroace I'm having a sense of déjà vu.
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eigenraptor · 3 months
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very very dramatic depiction of what it's like to loop back in ISAT
(source for time dilation)
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chiquilines · 6 months
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Its been ages,,, i missed them
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One day, Isabeau suggests giving the Sadness the Dagger.
Odile gives him a dead eyed stare while Mirabelle looks shocked that he'd suggest such a thing. That's Siffrin's dagger, after all! They can't give away their friend's stuff all willy-nilly! And if they start pretending this Sadness could be like Siffrin... or, as most if not all believe, is Siffrin...
But it's hard to acknowledge it, or even bring it up. And Isabeau points out that since the Sadness is capable of fighting for them, a weapon might be useful.
Plus, deep down he's already figured out that this Sadness is Siffrin. He just wants to give it back to them.
[Equip the Sadness with the Dagger?]
> Yes
[...The Sadness is already so strong that you don't notice a difference.]
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kurohaai · 15 days
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死ぬまでピュアピュアやってんのん?
Still image ver.
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buiemies · 1 day
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One more chance! 🐰💞
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dailyloopdeloop · 1 month
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DAY 16: guess which game i've been replaying
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oifaaa · 7 months
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What is your preferred explanation for Bruce’s no kill rule?
Personally a combo of Bruce was severely traumatised as a child watching his two parents be murdered in front of him to the point he literally can not watch someone die in front of him without it triggering him and he knows himself well enough to know that if he can justify killing one person then he can justify killing another and he's sure he will not have the self control to stop once he gets started
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thatsrightice · 7 months
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*Maverick, Merlin, Hollywood, Wolfman, Slider, and Iceman in their bunk room with some “medicinal” alcohol after saving the SS Layton*
Slider: You’re telling me you’ve never broken the sound barrier? Not even on accident?
Maverick: Nope. I’ve stolen a jet and buzzed seven towers now but I have never broken the sound barrier
Merlin: How do you accidentally break the sound barrier???
Hollywood: It’s a lot easier to do than you’d think
Wolfman: What about you Iceman? Ever accidentally broken the sound barrier?
Slider: Who do you think he is, some amateur? He would never break the sound barrier on accident
Iceman: Yeah, I only ever break the sound barrier on purpose
Maverick: *chokes on his drink*
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aroanthy · 4 months
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the symbolism of revolutionary girl utena is key to understanding what it’s even trying to say narratively and thematically. if you remove the symbolism, if you remove the ways in which the narrative obfuscates itself and abstracts what it’s saying, then what it is saying changes dramatically. if rgu was like ‘yeah lol and did you guys know that incest is bad’ or ‘maybe gay people are good’ or ‘hey did you know that csa victims are Real and Alive and Have Interiority’— like those are all paraphrases of things that it says, but the way that it chooses to say them is so powerful and conveys so much nuance and complexity that those simplistic statements don’t. it provides an incredibly meaningful commentary on the way that systemic violence and abuse are covered up, codified, made part of our culture that supposedly resents those things. it’s examination of incest, the incest taboo and how that impacts incest victims— it’s all so incredibly considered and layered because the show chooses to convey what it’s saying through symbolism, through its metatheatrical framing, through allegory. it retains the reality of these issues; it shows them to us only when we’ve already bought into the system’s lies to make a point about how that operates, how that works to make us all complicit in that violence. nanami. nanami.
dont even get me started on how the movie uses its symbolism to demonstrate how the abuse anthy and touga experienced is simultaneously built into the world and culture they exist in, and always obfuscated and abstracted for the sake of their abusers (also specifically the way that it engenders shame and prevents people from seeking help. rgu is so damn good at understanding how and why people don’t ‘do what they should’ in abusive situations: the systems in place don’t fucking work bc they are an extension of the system built upon that abuse). anthy is the model in all the paintings, the symbol of so many undesirable things, the canvas on which they are painted. her likeness is used as an approximation for all of these awful things, many of which are a part of her in a way, but such that her interiority, her feelings, are never regarded, never seen, never understood. she’s the model. akio is never explicitly named as her painter.
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