#Kei telling her life

[keikoyume]

Can we normalize this?

Like please please please??

[scopnotes]

Comforting myself in the best way I can

[saints-who-never-existed]

Cutty Sark <3

[anxiously-sidequesting]

how about you shut the fuck up Mr. Irresponsible

[veththeebrave]

Does anyone else ever think about the "when i met him he was a scared little boy in a jail cell" part of the he's my boy speech. I don't need him he needs me because I am his foundation. He was nothing before he met me. I built him from the ground up and will be damned if anybody gets in the way of his growth. I love the mix of possessiveness and pride throughout that whole speech.

[buwheal]

this doofy bug again

[dailykugisaki]

Day 332 | id in alt

More special than Gojo? Always, duh.

[invinciblerodent]

I just learned today, after a good 700 hours in-game, that it's possible for Aradin and his crew to attack you at your camp in act 3 (through someone saying, paraphrased, that if you enjoy him as a character you must not have played act 3), and I'm honestly so bloody into this possibility now.

Like, sure, on one hand that's textbook fantasy thug behavior and I like that he has the chutzpah to do it, but also... yeah, go on and tell the person you learned was hired to capture the Nightsong maybe three hours into the game, about how the Nightsong is chilling at your camp. Truly, the man who was offered enough money for this contract to have him set for life, and who'd abandon an archdruid and some of his own crew because they got attacked can be trusted with that information.

I'm sure nothing can go wrong if you tell him, he's such an absolutely 100% trustworthy individual. Surely this man has not done anything nefarious or underhanded (such as attacking a person at their camp) in his life. You should also give him a copy of the key to your room at the Elfsong in case he wants to drop by later for tea and crumpets...??????

I know this person likely meant that this is a reason one shouldn't like him, but if anything, I honestly enjoy his character like three times more, now that I know this can happen. He's a greedy, cutthroat, an kind of stupid man who is only an adventurer because his daddy was one, and all he wants is money enough to retire.

He's barely- to moderately hinged. I'm obsessed with him now.

[swiftfootedachilles]

there is definitely something to be said about the fact that one of the few female characters and the ONLY black adult character to be in every single season of shameless is barely discussed or even acknowledged by the fandom. like, i feel there is more conversation about season 1 mandy alone than there is for vee as a whole. the only black female main character. and theres so little love shown to her by the fandom

[keikoyume]

I got really frustrated in a debate about Little Nightmares with someone so I’m drawing a whole comic for getting my feelings out.

[clarissaweasley-10]

ughhh i hate this smm

[camellcat]

you ever realize you never properly learned how to say a character's name, so by the time you finally HEAR it, you have no idea who they're talking about? cause I feel like I keep doing this and it's very confusing to keep being corrected like that

[longagoitwastuesday]

I am liking Jujutsu Kaisen, way more than I imagined I would, but I foresee it will let me down and it's keeping me from enjoying this as much as I could haha

I think the characters and dynamics are well set, and I think many of them have an incredibly good and deep potential, but I would be willing to bet they'll not get a proper development, enough for them to really hit. A well assembled set of gears is not enough to make the movement go, you have to wind the clockwork.

I think Gojo and Megumi have a fascinating and very complex dynamic, but I doubt it will be given the time and care that imo it needs to actually work. And it is going well enough for now! One could see the intimacy between them was deeper than the one Gojo had with, say, Yuji and Nobara ever since the very first few episodes despite the fact Fushiguro too was a first year. But the pieces forming what they have are extremely complex, and it just wouldn't be realistic if it doesn't show, even if in a not showing way, or if it doesn't have consequences or implications.

It's one of those dynamics that shape one's life, the way one regards the world, the way one establishes or not relationships with other people. It's one of those dynamics that could be full of fondness, gratitude, resentment, admiration, trust, and that imply intimacy, the good kind or the bad, even if in just the knowledge of someone who's been a constant through your life. It could, and would, imply a myriad of feelings, and probably in such a mix it could imply contradictory feelings too. Even the nothingness would weight, even the nothingness would be significant and meaningful.

Gojo took Megumi and his sister under his wing, the son of a man who murdered him, because of both selfish and selfless reasons. Megumi looks like Toji. What does Gojo feel about this? How does Gojo deal with this? How does Gojo go about taking care of Megumi? Would he walk him to school? Make him breakfast? Celebrate his birthdays making him blow candles? Did he take him to the zoo? Does the relationship between them feel professional or is it something more? Gojo appreciates his students, but is Megumi to him just another student? When Gojo faces Sukuna in Megumi's body, did he see the kid he raised, or does he just see Sukuna in one of his students' body? Did he have one faint wavering instant? And how does Megumi feel about this? Is he resentful of him? Resentful of the situation? Of the selfishness behind his actions? Does he feel like a pawn? Is he grateful? Does he resent feeling grateful? Would he rather not? Does he love Gojo? Does he feel nothing about him other than what he could feel about a teacher that sort of annoys him but knows he's reliable in his strength? Does he think it unfair, cruel or unfeeling that Gojo is close, closer perhaps, with Yuuji or Yuta, considering their story? When Sukuna slices Gojo in two, does the remnants of Megumi's soul tremble?

And not just Megumi and Gojo. Yuuji and Nanami, Gojo and Nanami, Yuuji and Fushiguro, Nobara and the boys, or Nobara and Maki, Todo and Yuuji or Yuta, Gojo and Yuta, Megumi and his sister. Gojo and Geto, even! If the pieces are well set, the dynamics are intriguing, interesting, and have potential to be deep, but then the characters have like two plot relevant scenes that punch you hard, but little more, it's not nearly enough. Especially not nearly enough for the enormity that is shonen dynamics and situations. And the potential existing at all, and then not delivering, makes it all the more frustrating when you're left with something mediocre that could have been so good.

The development of dynamics through not only a few plot relevant gut wrenching moving scenes, but also the smallness of life, is important. The friend who recommended this to me said that those things were just unnecessary filler, but I disagree. I think there's a big difference between a large amount of anime-only filler episodes whose existence is based on the fact they had run out of manga chapters to animate, and moments of quietness. The low stakes character-driven moments of quietness can be so telling and so insightful, and they are so satisfactory when brought back later in higher stakes situations. My friend teased me there was no scene of Gojo making breakfast to Megumi, that it would be an idiotic idea, but it would be so telling. How he makes breakfast, what they eat, if he tries hard or if it's all mechanised, if they have personal bowls or if they use whatever, if he just buys them some pastry on the way to school, if the way they have breakfast changes through the years, or if he doesn't make them breakfast at all! All that would be very insightful on their dynamic and its evolution. All that would give a glimpse on how they regard each other and why, even in the present. All that could become meaningful in tense situations and high stakes scenes.

These moments also let the plot breath; if a lot is happening all the time, if every character is always experiencing trauma after trauma, the entire story is so emotionally draining that at some point you don't even care all that much. Besides, these nothing moments or low stakes plot arcs, besides deepening and developing dynamics, also let some in-world time pass, which would make the intimacy and bond between characters more believable imo; between Yuuji eating Sukuna's finger and their last confrontation in December how much time has passed? A few months? Am I truly to believe these characters are so everything to each other in only a few months?

Without some smallness, some repetition, some daily life, some low stakes not plot-centric development, the dynamics don't hit, they don't truly feel fleshed out, and dynamics as complex as the ones Megumi and Gojo have, or as supposedly meaningful as the one Megumi has with Yuuji or his sister, should be fleshed out if they're going to exist at all. Otherwise they'd risk making the writing feel awkward and fake. Besides, if the dynamics felt well fleshed out and realistic, they would shape the way the characters interact and act, and how they deal with situations, thus being plot relevant.

The shonen genre has so much happening all the time, the stakes are so high, the dynamics are so rooted in big events and the relationships carry enormous weight and implications. Yet they barely get developed, and it feels so stupid, so plain, the absence of something so important noticeable like a constant void, a shapeless nothingness present in every scene. It makes the characters feel like cardboard figures. Jujutsu Kaisen is already getting a better job than many, but I doubt it will do enough for what I've heard, and I fear I am bound to feel let down, and bound to feel unmoved.

After all, if not enough time and care has been given to develop a dynamic, I am not going to feel pressured by the high stakes; if not enough time and care has been given to develop the dynamic between Megumi and Yuuji, as good potential as it has I am bound to feel little for this last confrontation between Sukuna and Itadori, and his effort in getting Megumi back.

[imminent-danger-came]

continue being a little mean to toh fans please it is really irritating how some act like its got the best writing of any modern cartoon

Daawwwww I don't have it in me. TOH fans love it for a reason, and there are legitimately good moments! It's just not the most complex or well-written show out there—which it doesn't need to be—but I also totally get your exhaustion. It gets tiring seeing people praise it so highly over and over again when it's just like...fine. It didn't do nothing but it also didn't do something, you know? It's main couple is cute and queer, but that's pretty much all there is to them. It has a fun cast of characters, but they all tend to fall into archetypes. Luz is a sweet main character, but she doesn't have any real flaws and kinda takes a back seat to Hunter and Eda (the white people lol). Her foil with Philip was interesting...but then they kinda backed off and went the "you and Belos are nothing alike" direction.

((I'm also going to answer this anon with another: ))

And It's not that an unsympathetic villian is bad, or that Belos would even be sympathetic with added backstory, it's just that...there were a lot of interesting things to explore with his character that were left hanging.

Like, while he's definitely not at all a good person, it's intriguing that he would bother to recreate his brother over and over again knowing that each time the grimwalker was going to betray him. It's intriguing that he was even willing to kill his brother to begin with (though Caleb was super underutilized in general). Like, you can give a villain depth without justifying or victimizing them (hi Finnegran from tdp, I'll also add Spider Queen & LBD here). So it just feels like a missed opportunity all across the board. It's still surprising to me that we got a confirmation on the Wittebane backstory through an unrelated background character, rather than Philip himself (who had literally possessed a main character, and mindscapes had already been well-established....the pieces were all there me thinks).

And obviously it's like, people can love something despite it's flaws, and they can cherish it for the good it has, but they still don't need to praise it as an ultimate form of media, you know? We don't need to pretend toh was this dark and complex story—it was just a story a lot of people liked and resonated with. Which I'm glad it's there for those people, and I'm glad there are options when it comes to queer pieces of media!

That said the show with the best writing of any modern cartoon is The Dragon Prince (streaming on Netflix).

[leiascully]

Rewatching Pilot and realizing how red Karen Swenson's hair is and something something Karen-Billy-Theresa/Scully-Mulder-Samantha parallels. It's not a fully formed thought. But there's something.

[keikoyume]

I’m having weird dreams

Yeehaw Enoch just cowboy Enoch