YOUâRE GONNA SIT THERE AND TELL HIM THAT HEâS WRONG?!
wallacepolsom

Product Placement
hello vonnie

Kiana Khansmith
Three Goblin Art

ellievsbear
taylor price
Cosimo Galluzzi
Mike Driver
i don't do bad sauce passes

titsay
"I'm Dorothy Gale from Kansas"
d e v o n
Alisa U Zemlji Chuda
Misplaced Lens Cap
cherry valley forever

Origami Around

seen from Poland
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seen from Malaysia

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@paintedxdark
YOUâRE GONNA SIT THERE AND TELL HIM THAT HEâS WRONG?!

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I just finished watching it, now I can sell my soul to fan art themđĽš
Naoki Urasawa's Monster Upscale Project
Hello, there's a wonderful, hardworking and passionate team of individuals that are 'remastering' the beautiful series of Monster. Right now, we have up to ep 25 completely upscaled and available for download.
They're doing an incredible job.
Please show them the love and support they deserve by joining the discord here:
Please share this around.
Thank you.
Grimmer and Tenma drawn by children in Monster.

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Kdysi dĂĄvno Ĺžila jedna obluda bez jmĂŠna. Proto se obluda rozhodla, Ĺže PĹŻjde hledat svĂŠ jmĂŠno.
Once upon a time, there lived a nameless monster. The monster was dying to have a name. So he decided to set out on a journey to find his name
friends, foes, and strangers i get that not all of you are routinely reading posts about frankenstein but if i see one more post about "well if you think about patrilineal naming conventions the creature's name IS frankenstein" i will pick up a sniper rifle and dedicate my life to picking you off one by one
you receive a name because somewhere, at some point, someone cared enough to give you one. you have a name when you have someone who cares enough to call you by it. the creature does not, has never had these things. he has no people to whom he belongs, no one who would give him a name or call him by any that he might give himself. the only names his ostensible "father" gives him are demon, monster, fiend.
there is no "if you think about it." the creature does not have a name because he was expressly denied one by the only person who could have bestowed it. the bastard child only gets his father's name if it's given, and the only thing in the world victor ever gives him is life.
im coming
Monster
áľĘˇáśŚáľáľáľĘł áľáśŚĘłĘłáľĘł  Â

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That shakycam bit from the OP
you can unfollow me rifght there. ive made something really horrible
literally them
Hi! I was reading Monster and I wanted to ask you, since you're really good at character and story analysis, what do you think changed for Franz Bonaparte in order for him to become the non-threatening innkeeper at Ruhenheim who looks after Wim and is ready to die to atone for his actions? When he rescued Anna I didn't get the sense that he necessarily regreted his actions, at least not to the degree he shows as an older man. Is it just a factor of age and given time to reflect?
Hello anon!
Thank you for your nice words and sorry for the wait!
As usual, it has been a while since I read the whole series and even if I reread some parts to answer asks, I might very well miss something.
When it comes to Franz Bonapartaâs transformation, I think that what happens is explained in his last book:
A Peaceful Home is the story of a thief who wants to steal from some villagers, but, by living together with them, he forgets how to steal and starts helping them instead.
It is clear that this story is a metaphorical representation of what happened to Bonaparta. When he arrived to Ruhenheim he progressively left his old ways behind and became a different person.
The question is âwhy did this happenâ?
All in all, we canât be sure because we are not shown Bonapartaâs transformation, but rather its result. That said, we can make some considerations thanks to what the story offers.
First of all, I would say that Bonaparta is very similar to Johan:
As a matter of fact, as I have written in this meta:
This is important because it shows how Johanâs identity ends up being  strictly intertwined with those picture books. In a sense, Johan is the  fruit of those books since he ends taking the name âJohanâ used by  different characters in those books, repeats the booksâ lines in an  obsessive way and even ends up unconsciously reproducing the stories in  the real life. He does so by repeating specific lines and latching onto  situations which resemble the ones he read in the books. For example, he  identifies with the nameless monster of the books and tries to cope  with the emptiness he feels inside by joining different families only to  leave them and discard them once they are not able to fill the  emptiness he feels. He identifies Nina as his other self, just like the  Devil and the God of Peace of the books and repeats the devilâs lines to  her. Once he finds Tenma aka an incredibly altruistic and selfless  person who ends up saving his life he starts unconsciously replicating  the same dynamic with him. He tempts people and manipulates them like  the Devil of The Man with Big Eyes and the Man with the Big Mouth.  It is actually interesting that Johan ends up always identifying with  the devil instead than with other characters, but this can be partially  explained by the fact that devils and monsters are the most recurrent  characters in the books. This might be why Johan aka a child with a very  frail sense of self ended up projecting on them specifically as  characters appearing often and being constant. This might also be why he  specifically latched on the name Johan which is often used in the  books. In general, he develops a vision of the world which is  pessimistic and nihilistic and which is the one conveyed by the book he  was taught to study and to read.
This is important because in this  way Johan becomes the heir of Bonapartaâs vision before his change of  heart, while Nina who was shown a glimpse of love and of hope becomes  the heir of Bonapartaâs ideals conveyed in A Peaceful Home.
Johanâs ideology is nothing, but the one offered by Bonaparta in his books. What is more, many of the issues Johan has can be found in Bonaparta as well. For example, Bonaparta, just like Johan, is a person who has trouble with who he is and this is conveyed through him using numerous pen-names for his books. It is also implied that he, just like Johan, saw himself in the monsters of his books. As a matter of fact he wanted to write a book with a monster falling in love and it is clear that that story would have told his love for Viera. Moreover, the massacre of the Red Rose Mansion where he killed all the people who knew Viera is the precursor both of Johanâs perfect suicide and of his violent and selfish way to âprotectâ Nina (letâs think about the âbirthday partyâ he organized for her at the beginning of the story). Finally, Bonapartaâs interest for human minds and the experiments he conducted to âreprogramâ human personalities can be easily associated with the ability at manipulation Johan shows throughout the series.
In short, Bonaparta and Johan are similar. However, Bonaparta, differently from Johan, has a name and a place to return to:
In other words, Bonaparta has roots whereas Johan lacks them. The story explores the importance of roots and names and how they can help build a personâs identity. Throughout these little things and the relationships the person develops, they can stop being empty and become a proper individual. All in all, the majority of the horrible things which happen throughout the story happen because of how frail the identity of the characters are. Because of this, it is meaningful that Bonaparta has a change of heart after rediscovering his roots.
Finally there is another parallelism between the character of his final book and Bonaparta himself, which I find interesting:
To me it is interesting that, while the thief forgets how to steal, Bonaparta forgets how to draw. It is as if Bonapartaâs art conveyed his malice and as he progressively loses it, he also loses his artistic drive:
He lost his ideal of creating perfect specimen and is trying to grasp something different. It is a different one (the twins brought up with love), but since it is an ideal he is not familiar with, he struggles to recreate it in his drawings.
It is a very interesting concept and I wonder if it can be explored more, maybe in another analysis. As for now, the only thing I can think of is how what Bonaparta was stealing was not money or material goods, but rather a personâs own âsoulâ/personhood, so it is interesting that he did it also through art and drawings.
Thank you for the ask! I hope it answers your question even if it may not be so detailed!

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Hereâs links to the entire Monster Anime for anyone interested (^áľ^)ââ§!
Premise - A man is trying to track down a serial killer.
Hereâs it in English:
https://youtu.be/eMXqnL-tHFU
Hereâs it in Japanese with English Subtitles:
https://youtu.be/DD0Wd34CWeI
ââââ-
Btw if youâre not interested in reading subtitles donât worry the English version is extremely good! I actually prefer it tbh (ăďźžâďźž) ă
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More detailed introduction if you donât mind minor spoilers for the first few episodes:
A doctor saves the life of a young boy only for that child to grow up and be a serial killer. Who frames the doctor for his murders. The doctor then must track down the serial killer and unravel the mysteries of his past.
âIn Jewish thought, a sin is not an offense against God, an act of disobedience. A sin is a missed opportunity to act humanly. The verb to sin in Hebrew is also used in the sense of âmissing the target.â When God created us free to choose between good and bad, He also gave us the capacity to know when we had chosen wronglyâ
â Harold Kushner, To Life!: A Celebration of Jewish Being and Thinking
@oath-of-lovingkindness