turn right on red light with care

The words branded themselves across my soul.

As an adult I think he may have been joking. He payed no especial attention to any indignities fish suffered in our household but I could never forget. I saw fish in a different light after that.

Fish kept in tiny bowls, breathing their own poisons, dying by inches. Fish kept in cold tanks, casually disposed of. Fish touted as being short lived when they could outlive the better loved family dog if only they could breathe. Fish casually won and discarded in cheap plastic bags, thrown away a week later.

do you get me. his full name is jhon marcus donatello jesus m. de los reyes and he plays basketball has 3 siblings and works at his family's sari-sari store . he is also my friend and we play tumbang preso together

what if they were filipino....

shuro gave him that bell as a token of his trust in him and his love: "we grew apart and i'm no longer fit for the position by your side, but no matter how far you go, i'll be there for you when you need me". their conflict over how to deal with falin forced them to go in different directions, but despite accepting leaving falin behind, shuro couldn't bring himself to abandon laios as well. and it's no coincidence that the bell shuro gave him was the proof that laios was still alive after all that happened, or that it's what pushed mithrun and kabru to go deeper into the dungeon instead of returning to the surface (which quite literally changed the entire chain of events afterwards).

yes, shuro decided to stop pursuing falin and report her condition to the governor so she could be stopped, even at the cost of her life. he gave up on her. but the same man also defied the canaries and fought for laios without knowing how messed up things had gotten because he chose to believe in laios above all else. and that, in my opinion, solidified just how important laios became to him- more than falin's, more than his own life, it's laios's he didn't give up on.

at the very end, when he met laios again after the latter defeated the winged lion, he gave him a hug filled with the pure, unrestrained joy of seeing his first and best friend on the island alive and well. hell, i mean, it's easy to forget that shuro didn't really have anyone close to him too- and laios might very well be the first person he was this disgustingly direct and truthful with since he was a child. and when he goes back home, there won't be anyone else like laios there; his home is still the same. it's him that changed. and later on when he will recall all those years he spent on the island, he will realize how surprising it is that all the crazy stuff he witnessed don't hold a candle to the impact those few people he befriended there had on him.

of course, laios didn't realize it until then- shuro's reaction was indeed the one that surprised him the most- but at that moment he could absolutely feel how foolish he was to be so sure he will be hated and rejected after everything they went through. it's so important that it was shuro who greeted him so affectionately, after we saw laios brooding over their fight so much: it's shuro's acceptance that he was longing for the most.

with all that being said, the one last thing that drives me crazy is that the bell laios was given to use when he needed assistance most was still with him even after turning back into his human form. that tiny item he was shown to be quite careless with and yet never let go of until he wanted to be completely alone, thinking he should run away from everyone he loved; but it was too late, his friend already heard his cry for help.

I sacrificed myself to save you. I didn't plan to survive. I burnt all the bridges. I intended to break your heart with my death, but that would be all right, because I wouldn't be around to see you. I pretended that you'll mourn me for a while and move on. I convinced myself I was going down in the blaze of glory. That my deed was appreciated. That everything was going to be all right afterwards, and I didn't need to be there to see it.

he's a middle child

bonus:

Dungeon Meshi - Into the belly of the beast…

prints available here :)

closeup under the cut

From what we see they got along, Falin has a positive opinion of him, on the few instances when we actually see them talk (beyond just memories of them talking but no actual dialogue being shown to us) it's obvious she feels comfortable enough to be completely honest and transparent with him, while still minding his feelings. She likes the guy well enough, she doesn't want to hurt him.

The marriage proposal is actually so interesting... The way they communicate with each other. Falin let's Toshiro down gently, and reveals something so intimate about herself, how she's behaved until now, what she wants to do in the future, that she'd like to visit him again!

And Toshiro is so gentle. He obviously cares about her so much (and water is wet BUT im talking specifically about how it's portrayed in this scene). If what Maizuru says is true, that was the second time he made a "selfish" request ("marry me and come with me") but he simply asks this from her and offers reassurances, "I'll make sure you're comfortable", but he's not you know the Hardass some people pretend he is.

And what I love the most... When she rejects him not only does he accept it gracefully, he's inspired by her declaration that she wants to be more independent. Why did Falin say that? To spare his feelings further? Or because she knew that this realisation, which meant so much to her, would resonate with Toshiro too?

Gonna get personal but. I'm aroace, hello. I've had a few friendships go to shit because someone confessed to me and I rejected them. And exactly one where the person accepted it gracefully and our friendship, after surviving an awkward moment, blossomed.

Like. Relationships CHANGE, and they can develop and deepen and strengthen in many ways, regardless of the dynamic they take on. When aspecs say "friendship can be as important as romance" one of the things we mean is, allow romantic love to go back to platonic love and be stronger regardless OR EVEN because of it.

Like. How beautiful, that these two recognised a bit of themselves in each other, and knew how to approach the other. How beautiful that Ryoko tells us "their friendship survived a rejected proposal, when the commonly used trope would've made their friendship unviable from then on".

How beautiful that narratively Toshiro's sacrifice is never played for laughs or made fun of or devalued because """he didn't get the girl""', but instead the manga says "it didn't pan out but it wasn't a pointless sacrifice because Toshiro genuinely cared for Falin as a person, and always did what he thought was best even when it went against his normal behaviour." How beautiful that Falin wants to meet his friend Toshiro again, that she thinks to tell him "I'm going to start being an active participant in my own life" and Toshiro thinks "I think I need to start doing that too".

How beautifullll that a rejection ended with a promise to meet again, it's so beautiful am I insane? Can someone hear me hello?

It's crazy how Dungeon Meshi's manga can feel more cinematic and emotional than the anime to me, even when they're practically the same. Compared to the anime, this moment is such a heartbreaking gut-drop. The way Kui uses negative space and flat compositions to create a sense of horrific stillness is so key.

The way the text (Senshi's monologue) is sequestered to an empty corner of a panel or huddled away from the edge of its text box is not only a great way of showing Senshi's headspace (fearful, isolated, dissociating), but creates a visual representation of pause, as if you hold your breathe after each line. The first panel puts us directly in Senshi's perspective too (compared to in the anime, which puts us as an outside observer over Senshi's shoulder). The detail of the door and bricks so effectively implies that he stared at it for so long, waiting and hoping, that its image is burned in his memory. The wood grain, the brick arch, the number of rivets. The lack of dialogue in the second panel shows a moment of realization too –– "he's dead" (also a great example of the Kuleshov effect). And it's that pause that creates a beat and sets a great rhythm to his headspace, like a music rest: "He never came back." (oh god.) "I'm all alone." Finally, the third panel's negative space, cropping Senshi, shows how truly alone he feels. Without his family, the world ceases to exists. Under shock, he traps himself in a 1-foot radius, too scared to even perceive a world outside its boundaries; a world that can hurt him, kill him, make him disappear with it. There is only his body, the stone beneath his feet and against his back, his thoughts, and that awful bowl of soup.

Even though they're a series of flat images, there's an implicit reading of silence in Senshi's realization and horror. Kui influences your experience to slow down and take your time.

Including these tags as a screenshot because damned if I can copy tags on my phone.

It's actually a phenomenon you see often in museums (hence my own research into it) that when it comes to conservation and restoration (and museums in general) people tend to have very black and white views... when they don't know the details of an object.

One of my professors who has been a conservator for years actually ran a study once (which i am basing my own off of) where they had people vote for if a 17th century piano should be restored to be able to play it again or not. At first there was a lot of firm agreement for restoring it, with a lot of the same responses in the tags. "its meant to be played" "its a functional item" "ur just letting it rot"

The exhibit then went on to explain that to make the piano playable again, they would have to completely replace all of the mechanisms inside the piano, replace an entire leg to make it stable enough to sit at, multiple keys which had been worn down from decades of people playing them that held the history of the people who loved it would need to be removed and replaced. That to be able to use the piano again, it would essentially need to become a entirely new one.

The end of the exhibit then encouraged people to once again vote on if the piano should be restored to being functional again and the answers saw a dramatic shift. There were some who were still staunchly for or against, of course, but having the history of the object laid out for them tended to help a lot of people realize that theres maybe a bit more to an object in a museum than if it still works or not.

Functional objects are meant to be functional, yes, but there is so much more nuance when it comes to historical objects. A violin in a collection might not be able to be able to played anymore, but the frayed bow, worn frets, and battered strings show the love and history that object contains. A clock might not tick anymore, but the mechanisms inside still have the fingerprints of the creators what were smudged on them with grease and oil when they were hand carved and placed inside. These decisions are not made lightly, and the historic value of an object and its materials should always be weighed against the value of it still fuctioning, especially in regards to objects like clocks which can easily have replicas made.