Margarita: How Do I Put Myself Into A Coma Without Killing Myself And Without Permanent Brain Damage?

"Look. All your friends have left."

Or it was the demon who told Msrn that his friends 'disappeared' in the dungeons.

I'm reading the Gift From the Princess Who Brought Sleep novel for the first time and--

WHAT DO YOU MEAN MARGARITA IS 16. SHE IS A WIDOW. SHE HAS PRESUMABLY BEEN MARRIED FOR A WHILE. HER FATHER HAD HER MARRIED AS A CHILD (13-14?????) NOT IN SCHOOL NO JOB LIVING WITH AN ADULT MAN AND HE TRADED HER FOR A NOBLE TITLE FOR HIS FAMILY AND HER HUSBAND AND FATHER HAVE CONTROL OF HER FINANCES.

AND YOURE TELLING ME

SHE IS SUPPOSED TO BE EVIL?????????

I wanna do this just bc I've watched AAI and AAI2

Kay : Agent Lang.

La : . . It's 2 am here, Kay.

K : Mr. Edgeworth is abducted again. Mind coming here–

La : Not fucking again.

Haha hello crispy nation i’ve returned and given you christopher with Sharp teeth because 90% of people i draw have sharp teeth and i cant Not add them

wanted to do a more up 2 date comparison between living rat and dead rat………

once i get the motivation i want to actually draw up the full TD cast urrgghh

One of my main problems with Honey I'm Home and its lore is: We get these gorgeous designs, many of them diverse and interesting and fun to look at... and then they get sidelined by both fans and Ghost themself for yet another edgy white boy. I'm not saying that any of Ghost's stories are bad just because they have white protagonists, but it just seems so frequent that they direct the most attention to their white characters and make them either protagonists or the 'Cool Bad Guys'- (1/2)

That’s an interesting take, anon! I hate HIH for different reasons than yours, but hearing your perspective on it was definitely something I hadn’t considered about the lore and characters

And yeah I’m with you on the whole diversity thing. It’s like, take a look at all of GHOST’s characters pre-HIH:

(And this isn’t even counting the mascots for their other songs)

Then there’s the Honey I’m Home cast:

And boy, now you’ve got me wondering how many fans of HIH saw this cast of characters and thought, “Wow! A lot of POC characters in one of GHOST’s new stories, finally!” only for literally most of the attention to be drawn to Norman and Charon

Just... wow. That’s gotta suck. I’m sorry to hear that you feel left out because of that, anon.

mothy, im begging you. please write a song about the owner of the marvelous gift bell. please please please. i need this parallel margarita who throws hands at people for 72 hours straight without sleep. PLEASE IM BEGGING YOU

Reblog this picture of me holding a Family Size box of Honey Nut Cheerios? I’d really appreciate it.

If you would like to support me by purchasing my stand up comedy album “The Squirrels Get Fat”, I would really appreciate it. Amazon: https://www.amazon.com/gp/product/B085DB28D1/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B085DB28D1&linkCode=as2&tag=stupre09-20&linkId=844bec8af249fcef5cb526ee0ecafe09 iTunes: https://music.apple.com/us/album/the-squirrels-get-fat/1501015931 Google Play: https://play.google.com/store/music/album?id=Bxapwmit4c5guvr2pjq3hjdawyy

Dungeon Lords and the Human Need for Connection

When I came across these panels again the other day, it got me thinking about dungeon lord parallels again.

...And I spiraled until I was writing my thesis statement about how All Four Dungeon Lords (Yes, Even Laios, Stop leaving him out of these discussions) Are Actually the Same.

Firstly (because on some level everything is about Thistle to me) I thought about how the lion could have very likely given Thistle a similar offer when his loved ones started losing their souls/rebelling/etc. And yet, there is no sign that Thistle ever accepted such an offer, nor any sign that he used magic to forcibly change people's opinions, the way Marcille briefly threatened the party with while she was dungeon lord:

Instead, he ended up with the fucking dining table that drives me insane. Which probably means that either Thistle rejected the offer, or the lion sensed it wouldn't go over well and didn't even try it.

Making replicas of people doesn't seem to be an uncommon part of granting the dungeon lord's wishes. In his time, Mithrun actually took the demon up on it:

(Not pictured; the infamous lamia-version of his love interest.)

What makes Mithrun different from Thistle and Marcille in this instance is that Thistle and Marcille both became dungeon lords for the sake of specific people. Both were motivated by the terror of losing their most important people, and both told themselves everything they did was for the sake of protecting those people.

Because they were motivated by genuine love, copies or mind manipulation were not palatable. I think Thistle even in the late stages of his madness probably would not find these to be acceptable solutions. No matter how twisted, possessive, and obsessive his love became under the dungeon's influence, it was still from the fear of losing those original, irreplaceable people that he was doing all this. Even as his relationship with Delgal and the other Melinis fell apart over the years... even as he was left with only their soulless bodies... he would still rather cling to whatever was left.

Perhaps on some level, Thistle recognized the same thing that kept Marcille from following through with her threats:

Even in the state of endlessly chasing their desires as dungeon lords, they couldn't feel truly okay accomplishing it that way.

For Mithrun, meanwhile, the people in his fantasy world were a means to an end. It was all-encompassing insecurity and the pain of not being wanted that led him to become dungeon lord. His desire was not fixated on any specific people - it was broad enough and desperate enough that anyone could fulfill it. The thing is, Mithrun prior to becoming dungeon lord was by all accounts well-liked. But his emotional walls were up so high that not a single one of his admirers could make him feel known and cared for. The kind of crushing perfectionism he exhibited in that stage of his life often comes with a silent and equally crushing imposter syndrome. No one actually knew him, because Mithrun didn't let them, even though every aspect of his personality then was a desperate plea to be seen and liked. I think the sad truth is that, by the time he became dungeon lord, Mithrun didn't truly believe that happiness was something that could be found in other people. (It's telling that his wish was for a world in which he had never been discarded; perhaps for a world in which he never felt the need to put up those masks.)

In this respect, Mithrun is actually more alike to Laios than he is to Thistle and Marcille.

Laios was told again and again by the world that it was wrong to be who he was - that he was unlikeable when he acted the way that came naturally to him. The lion didn't bother asking Laios about replicas; those would be meaningless to him. Like Mithrun, Laios had lost all hope of being liked for who he was, but took it one step further: Laios had lost hope that he could find happiness in the human world entirely. At that point, all he wanted was an escape. To leave the pain of the human world behind and become someone, something, different. All he really needed in order to be tempted into it was the assurance that his friends would be safe.

All four of these stories have a pretty obvious throughline when you think about it: the deep, intrinsic need for human connection and what happens to someone when that need cannot be met.

All four of them were starving for connection. All four of them experienced alienation and isolation that made them desperate enough to turn to the demon.

Marcille (a half-elf whose unstable aging left her without peers) and Thistle (raised as the only elf in a kingdom of humans) both formed intense attachments to the few people they did become close to, and went off the deep end from fear of losing them.

Mithrun and Laios were both rejected by others for aspects of themselves that were out of their control, and tried to cope by developing masks that left them unable to feel accepted by the people still in their lives.

...So it's fitting, then, that genuine human connection is also what saved all four of them in the end.

(Thistle is a little arguable here; I personally don't think he died, but even if you do believe he died at the end of the manga- Yaad being able to connect and empathize with him is what gave him peace and solace in his final moments.)

Dungeon Meshi is about alienation and connection as much as it is about food and cycles of life. (Or more like, these themes are masterfully intertwined - food is used to represent love and connection over and over again. But that's a whole essay in and of itself!)