#essay assignment

[poorly-drawn-mdzs]

Vibes based grading system.

(for @epistemologys, who wanted some post-canon, teacher WWX)

[blueskittlesart]

cinderella adaptation for my comics history class :)

[funkle420]

Turbo Granny blunt rotation WIP

[entouragelvr75]

drawing zelda fanart for my final projects in my AP art history class LMAO

[uhhh-ghouls007]

Something I always thought was cool about the Frankenstein story is the details of Victor creating the creature, like he’s doing it just to prove he can- haphazardly stitching and stapling limbs of strangers together to create a bastardized monster. In every movie the creature is so gnarly because he’s not meant to loved, even by his creator, and he has scars and bolts stuck in his neck (sometimes) to show it

AND something I really love in Lisa Frankenstein is that while Lisa didn’t physically bring the creature to life she dedicates all of hers to protect and nurture him back to humanity. She loves him. And she’s a professional seamstresses so when she replaces his body parts—with those of people who have hurt her, ending their lives to further resurrect the creature so he can become the partner she longs for— it’s done delicately and purposefully and intimately and lovingly. Oh my god. In this essay I will

[chanquokka]

felix, giant jacket making film

[nothingbizzare]

Past and Future

[spookkismookkis]

I hope he dies

[desire-mona]

hello dropout community. i am here to inform you that the legendary author of "Mario, the Idea vs. Mario, the Man" (aka 'You can't just say "Perchance"'), phil jamesson, will be on this season of smartypants.

[the-overanalyst]

with my post-ena5 understanding of mizuki's character, i've tried reexamining her key moments through that lens. that's what led me to the questions i'll try to answer here: what was mizuki feeling during the rooftop scene (the original one) and did ena's declaration there actually do her more harm than good?

the reason the rooftop scene is so important is because it changes mizuki's motivation. she infamously says "i lied to her," but it doesn't end up being a lie. all the way through this event, her goal was still to keep her secret under wraps. but from this point forward, her goal is to find the courage to share her secret.

it's comparable to how ena's motivation switches from seeking validation to seeking self improvement thanks to kanade's kind gesture in insatiable pale color. in that case, it's clearly a good thing: one need was met so she could focus on another further up maslow's hierarchy. mizuki's situation, unfortunately, is more complicated.

to explain why, we need to address mizuki's defining internal conflict. her desire for meaningful lasting connection is at war with her self-loathing and guilt. so when ena says she'll wait forever, part of mizuki is elated. as she almost admitted out loud, she wants to keep seeing the cherry blossoms together with n25.

at the end of secret distance, having accepted that n25 is important to her, mizuki was faced with a choice. she could either have genuine friendship, or she could keep her secret. once we get to footprints, it's clear she's chosen the latter. that's why her first shock in the scene comes when ena calls her a "friend." whether or not she thinks she deserves it, and despite her best attempts to sabotage its formation, the friendship exists. and the others are trying to make it last.

but mizuki pushes back. she insists ena can't really mean forever, she warns her it could be a really long time. implicitly, she's trying to tell her "i'm not worth it." this is the ugly side of the rooftop scene. because now that ena has made her dedication so clear, there's no way for mizuki to escape her guilt.

so what's the point? aside from making us all cry, what did this scene accomplish?

well, i've hinted at it already, but this the scene that makes mizuki realize, "i want to tell her. i have to tell her." sure, for a moment, it crosses her mind that ena would stay her friend forever if she simply didn't tell her, but even the thought makes her feel like an awful person. continuing on like that was never really an option. even if she doesn't know it by the end of the scene, she now has the motivation and will someday have the courage to move forward.

before this, she saw ena more the way mafuyu sees shizuku or others from school: she'll never really know me because i don't let the mask slip in front of her. afterwards, she sees her the way mafuyu sees kanade: she's trying for me, so i have to try too.

of course, she's still delaying and deflecting out of a desire to keep things the same, but one way or another, the "distance" arc is over. it's a gradual process from here, but as we see in world link and in mafu5, she really is trying.

in the grand scheme of things, i have to argue that ena's declaration had a net positive effect. mizuki's chronic nemesis is stagnation. painful or not, the rooftop scene forces her to make an effort to change. without it, she never would have found the genuine, trusting connections and unconditional love she now knows she has.

[mellow-rosemallow]

so I was thinking like

what if romeo and juliet inspired scenario with kazuha during the vision hunt decree?

imagine this: you’re a member of the kujou clan, former friend to runaway criminal kaedehara kazuha—someone you severed ties with after he fled your homeland. at least, that’s how the story goes on paper.

the sakura trees sway in the sea of night, pink petals swirl around your family’s estate as the moon glows above. the pattern of the cool wind calms your mind, and eases the pressure off your heart. but as your spirit rests, your thoughts wander to the banished samurai you once held dear.

how strange, you think, that a name spoken in hushed tones still stirs your chest. the weight of it never fully leaving you. the story they tell on paper isn’t the same as the one you know in your heart. betrayal, they call it. but you remember the person behind the betrayal—the friend who had no choice but to leave.

as if the anemo archon heard your prayers, the winds shift, and a red and white hue peeks out from behind a tree branch below your balcony. a fair face with crimson eyes meets your own as he vaults up to your balcony, landing in a crouch. the soft rustle of his cloak mingles with the gentle breeze. he rises slowly, a shadow in the dim glow of the stars, and his smile is faint but unmistakable.

“i didn’t expect to see you here today.”

the words leave you in a soft laugh, the sound like the wind itself. he mirrors your gesture with a quiet smile of his own.

silence stretches between you, thick with unspoken words. the night air weaves a quiet conversation—one without need for voices. your standing figures stretch long shadows beneath the endless sky. the scent of cherry blossoms clings to the space between you. time seems to hold its breath, and for a moment, the line separating your worlds blurs. the troubling history of your shared story fades, like the fleeting shadow of a cloud.

your gaze lowers, following the fallen petals scattered across the wooden floor beneath you.

“they’ll find you here,” you murmur, barely breaking the silence. the words hang between you, an unpleasant reminder of the reality that can’t be ignored.

kazuha doesn’t answer right away. instead, he steps closer, his presence steady and grounding, as if the winds themselves are pulling him toward you. his eyes shift toward the horizon, then to the rising moon, before returning to meet yours once again.

no more words are needed. his return—his very presence—speaks louder than anything either of you could say.

the winds stir once more. fallen petals, light as air, lift back into the sky, swirling in slow, graceful circles. the stillness deepens between you, but there’s an underlying urgency now, unspoken but felt.

he shifts, as if preparing to leave.

footsteps echo from below. the distant sound of patrolling soldiers grows louder, and you both know time is running out.

he moves to pull away, but before he does, his hand brushes the edge of your sleeve, his fingers trailing lightly down to your hand. he grasps it gently, his touch a fleeting thing, soft as the whisper of wind itself. his lips press against the back of your palm—barely there, but enough to send a tremor through you. enough to remind you of what had been lost.

“take care,” he whispers, the words barely reaching your ears.

his smile flickers once more, then he turns, slowly, preparing to leave as he always does. but this time, the weight of the moment feels heavier.

you feel the coldness of the night close in, the fleeting nature of this reunion pressing against your chest. there’s no doubt that this will be the last time you see him for a while. the thought grips your heart as he steps away from you, his form swallowed by the darkness of the trees.

but you know he’ll return. he always does.

[briebysabs]

I find it fascinating how much orv makes Kim Dokja and Yoo Joonghyuk live by the constraints of “reader” and “protagonist”. Like KDJ wants to see the ending but at the same time, he doesn’t and wishes the story would never end. Not simply because he loves this story but because he needs it like oxygen; TWSA gave him a purpose. He was its reader for 13 years and you notice KDJ never talks of what he’ll do after the scenarios until towards the end. There’s even a moment between him and Sangah where he ponders what he would’ve done if the novel never became reality. If he read the ending, closed his phone, and went back to his apartment. He contemplates if he would’ve killed himself, KDJ knows at least the sad truth that he wouldn’t have befriended Sangah. He’d never reconciled with his mother, he was getting laid off from his job in two days. From 15 to 28 TWSA was the only lifeline he had so think about it. What becomes of a reader when the story is over? One can discern, based on SP and OD’s conclusion, it is to find a new story. But Kim Dokja couldn’t bear to do that. To continue on, he needed to be a reader.

Lee Sookyoung wrote her novel to gain income for KDJ’s living but also to paint herself as the murderer. To sink the lie into KDJ’s head that she was the one wielding the knife. If the traumatized 12-13 years old Kim Dokja knew he killed his father by accident and his mother took the fall for him, KDJ would’ve killed himself. No doubt the guilt would kill him so LSK felt as though she had to do this. So that KDJ’s self-hatred would be aimed at her instead. She made her son a reader of his own life. It temporarily saves him, gives him some time but KDJ is still given a label “a son of a murderer”. His trauma was publicized and hyperfocused on, he was bullied excessively for it. That book is one of the factors that led to his first suicide attempt. So it doomed him.

HSY wrote TWSA to keep Kim Dokja alive. A desperate attempt to save a kid with one foot prepared to leap off a cliff. What else could she have done? She created characters that KDJ could aim his self-hatred at: Kim Namwoon, Anna Croft, the constellations, Nirvana. She made him a reader of a character’s life. Made him inject YJH’s essence through his veins like an IV drip. Of course, Kim Dokja wants Yoo Joonghyuk to be happy in the end. That is the main driving force between so many decisions he makes but where does leave him? The whole reason he attached himself to TWSA was because this protagonist was suffering too. But he kept on living round by round so surely, they could live through their shitty lives together. If the TWSA ended on that train, KDJ would truly be alone and might’ve killed himself. So what happens, the novel comes to life and gives him even more time. But because of that, later down the line KDJ will make the choice to become the Oldest Dream, a watcher for all eternity. Yes, KimCom’s world needed someone to dream for it to exist but even if that wasn’t necessary ... .do you think KDJ would have enjoyed a happily ever after discovering he was behind all their pain and tribulations? The guilt might’ve killed him, we saw some of that with his visceral reaction to OD. So it doomed him.

Kim Dokja has to be a reader.

Yoo Joonghyuk was created for Kim Dokja. This isn’t a shipping statement, this is just a fact. I think it’s foolish to believe that is all there is to his character, he’s his own individual and his journey throughout orv is keeping his autonomy and gaining agency. Outside of what he’s written to behave like or KDJ’s will for him. But his life’s purpose is to keep Kim Dokja alive. HSY wrote each of his regressions to save this one person. And this is where the 0th turn YJH comes in because he makes the decision to regress. He was happy in his world, that is true but he couldn’t truly rest because something was missing. Everything was idle, every day was peaceful after saving the world. But while yeah, KDJ was reading his story as always…he wasn’t being the protagonist. YJH needs to do something, he needs a goal to accomplish so he gives himself one. He regresses for three reasons: To meet his sponsor aka his reader Kim Dokja. To find out his purpose, what he was made for….which is to save Kim Dokja. And finally to fulfill his sense of self which is being a protagonist. Reaching self actualization and being an active force in the world around him. So fast forward when Kim Dokja’s fragments are scattered across the universe and the scenarios are over, why is it surprising that YJH falls into depression? Why is it surprising that he goes to HSY in the museum and seriously asks her to end his life? What becomes of a protagonist when there’s no one to read his story? What use is there for him? So of course he’ll be the one to venture on this suicide mission to space, hopping from one worldline to the next, grasping onto the fragile hope that KDJ can come home.

Yoo Joonghyuk has to be a protagonist.

[hplonesomeart]

Man feels like I can’t get ANYTHING finished no more—finals week is rounding the corner, steadily approaching like a dreaded blizzard about to topple me over. I’m seconds away from being bulldozed by the workload. Unfortunately, I don’t animate quick enough to make up for the lost time…so everything’s kinda in a limbo state of unfinished frames. Easier to get rough movements down then polish anything

I have intentions to work on these more (these aren’t the final versions), but feel like it’s necessary to post the WIP here just to keep everyone informed. I don’t want to seem like I’ve gone on for too long without something to show. Thanks for the patience and hopefully some of these animatic ideas interest you :P

[mayasaura]

so fucking funny to me when people talk about tlt setting like everyone in the whole society is sorted into being either a necromancer or a cavalier. like yes necromancy is an inborn trait. but cavalier? that's a wholeass job. that's a career. assigned butler at birth

[crystallizsch]

“You can’t come after me just because I’m an ‘easier’ target!”