#fuck real analysis

[drowninginthedarya]

“suppose for a contradiction”

bro suppose i contract my own life and just die on the spot how’s that

[gallusrostromegalus]

Kenpachi Realizes Nobody Else Actually Read The Employee Handbook And Decides To Get Inventive, A Story In A Ranking Chart

Yamamoto Thought He Was Punishing Everyone Including Zaraki By Making Him Actually Fill Out That Report, Was Not Ready For Zaraki To Deliver A Twelve Hundred Slide Powerpoint Category Seven Autism Infodump About It A Week Later, A Sequel

[dansemacabre]

i’ve been thinking about “sixer, it would eat you alive” since i read it and. man. every layer you peel back makes it worse. im not a bill apologist but. shit

if you (1) take it at face value, it paints bill as an apologetic murderer in his single (and maybe sole) open moment of regret. he doesn’t let his walls down often- only with ford do we even get to see the remnant of his galaxy, see the “actual remorse” ford describes, get just a hint of his origins. but he does it, because he thinks ford should know.

if you (2) take it from ford’s point of view, as something he committed to journal three, like. wow. imagine being so committed to a being that you’d hunt down and kill the monster that destroyed his home, only to (assumably) figure out later that that being was the monster. the small moments of trust, the “good times”, are so key to manipulation. how long did ford hold onto that one shred of vulnerability? no wonder ford stayed for as long as he did. in his eyes, bill was a survivor. ford wanted to survive too.

(slight tw below for unreality- any time i mention our reality, i mean “our reality” as a narrative device used in the book of bill as a proxy for the idea of bill being in our reality, since he can’t actually be in our reality. all of this is a fictional theory about a show/book with fictional contents!)

but if you (3) remember that “even his lies are lies” and absolutely Nothing bill says should be trusted. Whoo boy. if i read tbob right the book itself is being created in the theraprism (even tho it shows up with the ciphertologists at some point? idk that’s a whole other post). it’s meant to show what the reader wants to see; it manifests in our reality as what the collective fandom wants to see. so if we want to see truth, if we want to see where bill ended up and who he actually is, there’s a non-zero chance that the whole interaction was a complete fabrication.

imagine bill, stuck in the actively harmful, probably earth-illegal theraprism, once again being forced to be “fixed” and molded into something more palatable, being forced to conform no matter how much it hurts. (i know natural uncontrollable mutation ≠ just so much murder and destruction and chaos, but. you can’t ignore the similarities. bill has obviously been thinking about those silly straws.)

he looks back on everything that went wrong, back on his relationship with ford, back through every dimension where he wins. would that one moment, that one truth amid centuries of lies, have saved him from purgatory? if he had just been open? shown his damage? maybe he did think of his parents, or his henchmaniacs (especially the oracle). people who he might have once opened up to. maybe he just wanted to open up to someone again.

so in his own weird way, stuck in a cell, he reshaped reality again. in this reality, for this fleeting moment, he had been someone worth believing. and ford had listened, hell, ford had wanted to help. looking back, knowing how he treated ford, knowing how ford ended up because of it, maybe bill would have said the most honest thing he’d ever told ford: i am the monster, i am not worth your time or belief, and i will eat you alive.

[hildegardladyofbones]

One of the best things about Disco Elysium by far is that it does not fear ugly women. The world is full of ugly men, but ugly women are so hard to come by.

[gingerhastoomanyobsessions]

the lords in black are so interesting to me because. they’re so us. we’re watching the citizens of hatchetfield suffer for our own entertainment just as much as they are. we’re their accomplices in all of it

pokotho made hatchetfield into a musical because musicals are entertaining. and we ate that shit up! it’s soooo fun watching a little man scramble as the world around him bursts into song. the musical genre is satirized because pokey knows how the genre conventions work just as well as we do. we like watching musicals so much that black friday and npmd are musicals, too, even though they don’t revolve around pokotho’s plans as much as tgwdlm. we want them to sing. pokotho does too.

bliklotep is the audience and the audience is bliklotep. trail to oregon calls the audience “the watcher with one thousand eyes” and that’s not all, in watcher world blinky seems to be able to see through the eyes of anyone and everyone who loves spectacle. he wants to see the characters go through angst because WE love angst. it’s fun to watch alice and bill express their buried frustrations. blinky wants it to end in bloodshed because he loves tragedy, and let’s face it, so do we. it’s like that one post about how hamlet is aware of the audience and is angry that we don’t do anything to intervene because we want to see how it plays out. personally, I think blinky could have stopped the woodwards if he really wanted (he’s an elder god, after all) but alice shooting him shifted the narrative so that the emotional payoff would be more fulfilling if they escaped. and blinky loves a good story.

t’noy karaxis has blorbos. we joke about it, but that’s really what it is, isn’t it? he’s the fan who watches the movie again and again and again and again to see his favorite character’s dramatic death scene. he’s the guy who writes and reads angst fics by the hundreds because he likes to see his faves cry. he’s the hatchetfield enjoyer who’s on the edge of their seat waiting to see how ted kicks the bucket this time. the bastard’s box is pretty much just an ao3 account filled with whump and hurt no comfort. he’s sadistic AND he genuinely adores ted, because we fans are often cruelest to the characters we love the most. he puts ted through character growth— the realization that his life went the way it did because of his own mistakes, his inability to be vulnerable with jenny before it was too late— and he does that by writing a 56-chapter angst fic that’s still updating to this day

nibblenephim is the fan who voraciously devours every scrap of content that a creator produces and demands more, more, more. let’s face it, the fandom will never let starkid rest until we see this story through to its end. and then someone will demand a sequel series. nibbly is hungry because we will never stop yearning for more stories. he’s simple because that desire itself is simple— as humans, we need creativity like we need air to breathe. nibbly wants more because we want more. and we will never be satiated.

wiggog y’rath is the ruler and the king because he’s the self-inserting writer. I think jon matteson plays paul *and* wiggly for a reason— wiggly is the only lord in black to be played by the same actor in every single show, and that actor also plays the protagonist of tgwdlm. wiggly wants to be the protagonist. he tries to force himself into the human world of hatchetfield because he wants to participate, dammit! he wants to be the bestest ruler that the earth has ever seen! everyone has to love him because he’s going to be their bestest fwiend! when he appears in human form he’s gonna be the prom king! he’s the ebony dark’ness dementia raven way of the hatchetfield multiverse. he wants every human character to bend to his whims and to love him and to put him at the tippy-top of planet earth because he’s the writer and the writer’s main character, you fuckheads, and he can make whatever story he wants, whether the other characters like it or not! if you’ve ever written a self-insert story? congratulations! you’ve been wiggog y’rath.

and the funny thing? I don’t think the lords know that they, too, are as fictional as anyone else in hatchetfield. maybe blinky knows— he sees through the audience’s eyes, after all— but I don’t think the others do. if they did, maybe they’d be a little less tyrannical. a little bit nicer.

but then the starkid writers wouldn’t have much of a story to tell, would they?

[courtrecord]

honestly i hate how that “maybe the curtains are just blue” post has become shorthand for anti-intellectualism and shit bc as someone who has an utter passion for media analysis now, I WAS THAT PERSON IN HIGH SCHOOL ENGLISH CLASS.

english class never taught me how to analyze stories, it taught me how to remember what things the teacher said were “symbolism” and how to take quizzes where we had to match a quote to the character who said it. i didn’t give a shit about any of it, bc literally why should i. it was bullshit.

there’s this idea online that people are forgetting or rejecting what they learned in english class when they’re bad at media analysis, and maybe that’s a little bit true, but i think the much bigger problem is they never learned it in the first place. cinemasins & “maybe the curtains are just blue” aren’t convincing people to abandon an intellectualism they already had, they’re filling a void.

when all you learn in high school is to write on the test “blue = depression”, why is it surprising that so many people don’t give a shit about the curtains.

[astal-art]

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This is so fucking funny there are so many things about this oh my god

[cultpastorkevin]

Kevin Day was a child prodigy who didn’t stand a chance against the adults in his life because like almost all adults with child prodigies, they weaponized what was considered extraordinary and viciously flattened everything else about him

Note the Foxes did that to Kevin as well bc they only saw him as useful for his play and not good for anything else; dude literally got shut down so hard for talking abt anything that interested him that he gave up and only talked Exy and then in turn got made fun of for being Exy obsessed like yall let the man talk about history he’s fucking depressed

[darklight-owl]

"Mom, why did you give birth to me?" "To survive." how did this exchange come out of a shonen anime. The shonen genre is known for being sexist as Hell how does this one just Get It.

[idliketobeatree]

it's been three months and I still haven't processed the Bentley playing Good Old-Fashioned Lover Boy at Crowley (when I'm not with you, think of you always) as he drove (I miss you) back (just take me back to yours, that will be fine) to Aziraphale (love you) with a really sincere apology in mind (say the word, your wish is my command). barely a few seconds of normal driving in central London, squeezed in a plot point of "oh shit, extreme sanctions" and their meetup. easy to overlook. unless? it's literally top 5 of Their Queen Love Songs. in any context other than the sheer panic Crowley was experiencing I would take this scene to my grave as peak romanticism, because we know Bentley is an extension of Crowley's mind, and it feels like it tries to comfort him in that moment? (everything's all right, just hold on tight) Recognizing the crushing, overwhelming, all-encompassing love that Crowley is feeling, and boiling it down to simply being suave and charming, casual, like he so often pretends to be (I learned my passion in the good old-fashioned school of loverboys).

it's just the stuff of fanfics, but given to you in the typical Neil Gaiman fashion of subverting expectations, while also allowing for, well, gently playing on your heartstrings. I love it, I love that we got that, bless

[cloudyvulpine]

So something that's been bugging/concerning me about HB is specifically how old Stolas is.

(To preface this I know there's seemingly a difference between years and Hell years since the wiki distinguished the two, but they seem to work close enough for huge red flags to be raised (in my brain at least))

The wiki states Stolas is in his 30s, no specification on early or late so we're working with 30-39. And in The Circus he seems the exact same age as Blitzø, maybe a year or two older.

With Blitzø in mind we can get a more solid guess. Oops happens 15 years after the circus fire and they were probably in their late teens (15-17) making Blitzø 30-32. (Also sorry for the picture choice it was the clearest shot 😭😭)

With this in mind, Stolas is at youngest the same age and at oldest about 34 since he reinforces the timeline of things by saying it's been over two decades

Where my concern and why this has been bugging me so much is Octavia. She is 17, almost 18. Going by the absolute oldest he could be he had Via when he was 21 or 22, but I unfortunately don't think it's likely (in my heart and soul i hope this is the right answer if they ever confirm his age). With my estimations, the oldest Stolas could've had Via was 16 or 17 and at the youngest only 12 or 13. The worst part is that the visuals don't do anything to dismiss these.

Look at the differences!!! He's so, so much shorter than he is now.

Even comparing shots like this is such a difference. It's not like young Goetias are the size of adult imps, we see that in the flashback that Blitzø and Stolas were the same height when they were kids.

So yeah this whole thing has been nagging me for like 2 weeks. If he was a teenager it genuinely makes me feel a bit of sympathy to Stella too because she's probably the same age. Of course I still hate her a lot but it's all really fucked up no matter what happened

[blueskittlesart]

I've heard that while most people really really love BotW and TotK, some people hate those two for going open-world, and some people hate TotK specifically for something about the story. As the resident Zelda expert I know of, what do you think of those takes?

"something about the story" is a bit too vague for me to answer--if you look at my totk liveblog tag from back when the game was newly released or my general zelda analysis tag you may be able to find some of my in-depth thoughts about the story of totk, but in general i liked it.

the open world thing though is something i can and will talk about for hours. (I am obsessed with loz and game design and this is an essay now <3) breath of the wild is a game that was so well-received that a lot of the criticism from older fans who were expecting something closer to the classic zelda formula was just kind of immediately drowned out and ignored, and while i don't think it's a valid criticism to suggest that botw strayed too far from its origins in going open-world, i am more than willing to look into those criticisms, why they exist, and why i think going open-world was ultimately the best decision botw devs could have made. (totk is a slightly different story, we'll cross that bridge when we come to it.)

Loz is a franchise with a ton of history and a ton of really, REALLY dedicated fans. it's probably second only to mario in terms of recognizability and impact in nintendo's catalog. To us younger fans, the older games can sometimes seem, like, prehistoric when compared to what we're used to nowadays, but it's important to remember just how YOUNG the gaming industry is and how rapidly it's changed and grown. the first zelda game was released in 1986, which was 31 years before botw came out in 2017. What this means for nintendo and its developers is that they have to walk a very fine line between catering to older fans in their 30s and 40s now who would have been in nintendo's prime demographic when the first few games in the franchise were coming out AND making a game that's engaging to their MODERN target demographic and that age group's expectations for what a gaming experience should look like.

LOZ is in kind of a tough spot when it comes to modernizing, because a lot of its core gameplay elements are very much staples of early RPGs, and a lot of those gameplay elements have been phased out of modern RPGs for one reason or another. gathering collectibles, fighting one's way through multilevel, mapless dungeons, and especially classic zelda's relative lack of guidance through the story are all things that date games and which modern audiences tend to get frustrated with. for the last few releases before botw, the devs had kind of been playing with this -- skyward sword in particular is what i consider their big experiment and what (i think) became the driving force behind a lot of what happened with botw. Skyward sword attempted to solve the issues I listed by, basically, making the map small and the story much, much more blatantly linear. Skyward sword feels much more like other modern rpgs to me than most zelda games in terms of its playstyle, because the game is constantly pushing you to do specific things. this is a common storytelling style in modern RPGs--obviously, the player usually needs to take specific actions in order to progress the story, and so when there's downtime between story sections the supporting characters push the player towards the next goal. but this actually isn't what loz games usually do. in the standard loz formula, you as the player are generally directly given at most 4 objectives. these objectives will (roughly) be as follows: 1. go through some dungeons and defeat their bosses, 2. claim the master sword, 3. go through another set of dungeons and defeat their bosses, 4. defeat the final boss of the game. (not necessarily in that order, although that order is the standard formula.) the ONLY time the player will be expressly pushed by supporting characters towards a certain action (excluding guide characters) is when the game is first presenting them with those objectives. in-between dungeons and other gameplay segments, there's no sense of urgency, no one pushing you onto the next task. this method of storytelling encourages players to take their time and explore the world they're in, which in turn helps them find the collectibles and puzzles traditionally hidden around the map that will make it easier for them to continue on. Skyward sword, as previously mentioned, experimented with breaking this formula a bit--its overworld was small and unlocked sequentially, so you couldn't explore it fully without progressing the narrative, and it gave players a "home base" to return to in skyloft which housed many of the puzzles and collectibles rather than scattering them throughout the overworld. This method worked... to an extent, but it also meant that skyward sword felt drastically different in its storytelling and how its narrative was presented to the player than its predecessors. this isn't necessarily a BAD thing, but i am of the opinion that one of zelda's strongest elements has always been the level of immersion and relatability its stories have, and the constant push to continue the narrative has the potential to pull players out of your story a bit, making skyward sword slightly less engaging to the viewer than other games in the franchise. (to address the elephant in the room, there were also obviously some other major issues with the design of sksw that messed with player immersion, but imo even if the control scheme had been perfect on the first try, the hyperlinear method would STILL have been less engaging to a player than the standard exploration-based zeldas.)

So when people say that botw was the first open-world zelda, I'm not actually sure how true I personally believe that is. I think a lot of the initial hype surrounding botw's open map were tainted by what came before it--compared to the truly linear, intensely restricted map of skyward sword, botw's map feels INSANE. but strictly speaking, botw actually sticks pretty closely to the standard zelda gameplay experience, at least as far as the overworld map is concerned. from the beginning, one of the draws of loz is that there's a large, populated map that you as the player can explore (relatively) freely. it was UNUSUAL for the player to not have access to almost the entire map either immediately or very quickly after beginning a new zelda game. (the size and population of these maps was restricted by software and storage capabilities in earlier games, but pretty muhc every zelda game has what would have been considered a large & well populated map at the time of its release.) what truly made botw different was two things; the first being the sheer SIZE of the map and the second being the lack of dungeons and collectibles in a traditional sense. Everything that needs to be said about the size of the map already has been said: it's huge and it's crazy and it's executed PERFECTLY and it's never been done before and every game since has been trying to replicate it. nothing much else to say there. but I do want to talk about the percieved difference in gameplay as it relates to the open-world collectibles and dungeons, because, again, i don't think it's actually as big of a difference as people seem to think it is.

Once again, let's look at the classic formula. I'm going to start with the collectibles and lead into the dungeons. The main classic collectible that's a staple of every zelda game pre-botw is the heart piece. This is a quarter of a heart that will usually be sitting out somewhere in the open world or in a dungeon, and will require the player to either solve a puzzle or perform a specific action to get. botw is the first game to not include heart pieces... TECHNICALLY. but in practice, they're still there, just renamed. they're spirit orbs now, and rather than being hidden in puzzles within the overworld (with no explanation as to how or why they ended up there, mind you) they're hidden within shrines, and they're given a clear purpose for existing throughout hyrule and for requiring puzzle-solving skills to access. Functionally, these two items are exactly the same--it's an object that gives you an extra heart container once you collect four of them. no major difference beyond a reskin and renaming to make the object make sense within the greater world instead of just having a little ❤️ floating randomly in the middle of their otherwise hyperrealistic scenery. the heart piece vs spirit orb i think is a good microcosm of the "it's too different" criticisms of botw as a whole--is it ACTUALLY that different, or is it just repackaged in a way that doesn't make it immediately obvious what you're looking at anymore? I think it's worth noting that botw gives a narrative reason for that visual/linguistic disconnect from other games, too--it's set at minimum TEN THOUSAND YEARS after any other given game. while we don't have any concrete information about how much time passes between new-incarnation games, it's safe to assume that botw is significantly further removed from other incarnations of hyrule/link/zelda/etc than any other game on the timeline. It's not at all inconceivable within the context of the game that heart pieces may have changed form or come to be known by a different name. most of the changes between botw and other games can be reasoned away this way, because most of them have SOME obvious origins in a previous game mechanic, it's just been updated for botw's specific setting and narrative.

The dungeons ARE an actual departure from the classic formula, i will grant you. the usual way a zelda dungeon works is that link enters the dungeon, solves a few puzzles, fights a mini boss at about the halfway point, and after defeating the mini boss he gets a dungeon item which makes the second half of the dungeon accessible. He then uses that item in the dungeon's final boss fight, which is specifically engineered with that item in mind as the catalyst to win it. Botw's dungeons are the divine beasts. we've removed the presence of mini-bosses entirely, because the 'dungeon items' aren't something link needs to get within the dungeon itself--he alredy has them. they're the sheikah slate runes: magnesis, cryonis, stasis, and remote bombs. Each of the divine beast blight battles is actually built around using one of these runes to win it--cryonis to break waterblight's ice projectiles, magnesis to strike down thunderblight with its own lightning rods, remote bombs to take out fireblight's shield. (i ASSUME there's some way to use stasis effectively against windblight, mostly because it's obvious to me that that's how all the other fights were designed, but in practice it's the best strategy for that fight is to just slow down time via aerial archery, so i've never tried to win that way lol.) So even though we've removed traditional dungeon items and mini-boss fights, the bones of the franchise remain unchanged underneath. this is what makes botw such an ingenious move for this franchise imo; the fact that it manages to update itself into such a beautiful, engaging, MODERN game while still retaining the underlying structure that defines its franchise and the games that came before it. botw is an effective modern installment to this 30-year-old franchise because it takes what made the old games great and updates it in a way that still stays true to the core of the franchise.

I did mention totk in my opening paragraph and you mention it in your ask so i have to come back to it somehow. Do i think that totk did the gigantic-open-world thing as well as botw did? no. But i also don't really think there was any other direction to go with that game specifically. botw literally changed the landscape of game development when it was released. I KNOW you all remember how for a good year or two after botw's release, EVERY SINGLE GAME that came out HAD to have a massive open-world map, regardless of whether or not that actually made sense for that game. (pokemon is still suffering from the effects of that botw-driven open world craze to this day. rip scarlet/violet your gameplay was SUCH dogshit) I'm not sure to what degree nintendo and the botw devs anticipated that success, (I remember the open world and the versatility in terms of problem-solving being the two main advertising angles pre-release, but it's been 7 years. oh jesus christ it's been SEVEN YEARS. anyways) but in any case, there's basically NO WAY that they anticipated their specific gameplay style taking off to that degree. That's not something you can predict. When creating totk, they were once again walking that line between old and new, but because they were only 3ish years out from botw when totk went into development, they were REALLY under pressure to stay true to what it was that had made botw such an insane success. I think that's probably what led to the expanded map in the sky and depths as well as the fuse/build mechanics--they basically took their two big draws from botw, big map and versatility, and said ok BIGGER MAP and MORE VERSATILITY. Was this effective? yeah. do i think they maybe could have made a more engaging and well-rounded game if they'd been willing to diverge a little more from botw? also yeah. I won't say that I wanted totk to be skyward sword-style linear, because literally no one wanted that, but I do think that because of the insane wave of success that botw's huge open world brought in the developers were under pressure to stay very true to botw in their designing the gameplay of totk, and I think that both the gameplay and story might have been a bit more engaging if they had been allowed to experiment a little more in their delivery of the material.

[faunandfloraas]

Birth date analysis // Seungmin - September 22nd: The Day of Restless Drive.

September 22 - Virgo/Libra

The Day Of Restless Drive

Those born on September 22 have a restless drive. Usually they bring the one they are working on to completion only to immediately set out on a new one without rest. They are also capable of handling several projects at the same time. Those born on this day have a low boredom threshold, and consequently demand challenging people and situations. They can be outgoing and dynamic types at one time, and solitary and unapproachable at another. In either case, their strong character is unmistakable.

Often September 22 people oscillate between an offensive and defensive posture. In one sense, such postures may be one and the same since a good offense is the best defense and vice-versa. Whether in a broad social context or on a personal level, the issues and ideas those born on this day are most often concerned with involve fairness and equality. In general matters pertaining to the delegation and exercise of power. In putting forth their arguments, they can be very ironic, witty and outright funny. Their humor, however, is not for everyone as it is liable to be off-beat, sardonic, perhaps even macabre.

Those born on September 22 can hide a warm heart under a forbidding exterior, but generally will only open up to people whom they deeply trust and value. Even then they may find it difficult to open all the way, principally because their orientation is highly realistic and the ironies of life all too visible to them. This day carries insight and clarity of vision both literal and figurative. September 22 people are excellent judges of character, and capable of sizing people up very quickly. Those few friends whom they allow into their inner sanctum they value most highly, usually for life.

September 22 people can often have a greater effect on those around them than they realize, and indeed can register a high degree of shock value. Because of their often disturbing impact, they should seek to be more aware of their effect on others, both friends and foes alike. True warriors in the battle of life, they must take stock of their armaments and defenses, using them judiciously and effectively, and avoid isolating and alienating themselves.

Strengths:

Individual

Perceptive

Well-directed

Weaknesses:

Guarded

Acerbic

Dark

[rebo-chan]

Hello, everyone. To today's episode of Tumblr user Rebo-chan loses her mind and assigns each and every Vongola guardian a flower that I have painstakingly searched high and low for (I wish I was being dramatic, I got too invested in this as I worked on it). Is this done in a state of mania? Perhaps, but I am diseased by COVID-19 as we speak and this is what I will do with the time I am meant to be resting with. Nonetheless we must get started. Content under the cut, because I can NEVER make a short post. It's against my core beliefs clearly.

Sawada Tsunayoshi:

The European Orange Lily (Lilium bulbiferum)

My reasoning for this starts with the fact that the "lily" itself has a lot of different meanings, but the important aspect of the lily is that its considered the spring flower and represents often meanings of renewal and rebirth. The very messaging for our sweet boy, a life restarted after he meets his mentor. An orange lily specifically has meanings dipped into warmth, joy, passion (In regards to his devotion to those he loves), 'welcoming' to new opportunities in your life (lol), and most importantly - confidence and pride. Something that he grows to be over the course of his renewal, pride in his friends. Confidence in his strength to protect them. KHR is a story about a nobody becoming somebody strong enough to protect them, even and especially when they falter themselves. It should also be noted that in Hanakotoba (Japanese flower language), orange lilies represent 'revenge and hatred'. Which I think is a factor of Tsuna we can't ignore, as sweet as he is, TYL Tsuna's actions become darker the more you think about them. Tsuna can and has killed when a villain has overstepped too far, and never forget that he just wanted to know "who" Yamamoto's attacker was. For no reason, just to look at him, maybe shake his hand lol. Fr though, that boy's made of fire, both to keep his loved ones warm and to burn their enemies. I think the orange lily fits him nicely.

Also yes, I'll do my best to color-code these flowers~

Gokudera Hayato:

A Red Fressia

So, its quite hard actually to find any sort of 'red' flowers that aren't about some sort of romantic-esque devotion. Just being a red flower inherently puts you in that category of 'passion, love, marriage' meanings when it comes to flowers. It's a real struggle, but luckily he's our only red character amongst the Vongola kids. Okay, so the Freesia is represented by the concept of friendship and ultimate trust. I think it was easier for me to find a flower that represents devotion or duty and tack it on to Gokudera, but I think that's just looking at him on the surface. The story behind the freesia is that the botanist who found them in South Africa decided to name it after his friend as a symbol of their friendship. Very lovely :)<3 For all of Gokudera's dutiful affection for Tsuna, a lot of it is based on the fact that Tsuna was his first friend and the person who he trusted first. His eventual character growth and bonding with the other guardians came as he allowed himself to trust them, when he realized that his 'duty' that he believed to be absolute was above his bonds. Rather, it's his bonds that strengthen his resolve to be the perfect right hand man. Due to the intense representation of friendship and trust, freesias are given to a loved one to represent commitment to them, not unlike Gokudera's commitment to Tsuna and therefore the Vongola family unit. It should also be noted that in Hanakotoba, freesias also have a negative meaning which is childishness and immaturity which I do feel is something that Gokudera has to work through in order to become the best version of himself and has done quite well at by the end of the series. He's our little friendship blossom :)<3 Yamamoto Takeshi: Himalayan Blue Poppy

Let me start this by complaining that 'blue' flowers are so fucking rare, it took me forever to find something matched and was also color-coded with Yamamoto, that didn't dip into too indigo, because of the rarity of a nicely blue flower. To start, blue as a color has all those lovely Yamamoto vibes of being calming, easy on the mind, tranquility, all that beautiful stuff we know Yamamoto to be. (It's almost like Amano color-coded her characters guys..) Poppies themselves got a bit of cultural significance in the West, being the flowers given to WW1 soldiers after they'd passed as a way of remembrance. They're also known for growing in desolate war-torn areas, just a patch of poppies as well as having many soldiers buried with a poppy with them in honor. With that the poppy itself has themes of death, honor, lessons, tradition and remembrance. With Yamamoto’s connection to the Poppy flower, Yamamoto himself is..pretty death-coded. HEAR ME OUT. HEAR !! ME OUT!!!! Varia arc, Squalo ‘dies’ against Yamamoto. Future arc, Tsuyoshi is killed for Yamamoto being involved with the Vongola, Shimon with Yamamoto himself getting nearly killed and then that big moment where he offers to kill Daemon in retaliation for what was done to Kaoru. While not canon as well, the primo fillers are about Yamamoto dealing with the fact he DIDNT kill daisy and how he felt he had to be less easy-natured and actually go for the kills from now on. And of course, his attempt during daily life when he could not do what he loved anymore. He’s VERY death-coded y’all. But the poppy itself isn’t just some omen of death, but the lessons one can gather from those who have passed. Yamamoto’s own battle style is about taking the lessons of those before him who carried Shigure Soen Ryu and then growing upon that to carve a new and improved future for himself and those he cares about. He adapts to their lessons, what Squalo and Tsuyoshi have to teach him. On the fly, continuing the Shigure legacy and creating more moves to eventually pass on to the one that succeeds him. In general, he carries any lessons he has up until the end of the series and tries to never make the same mistake again. Whether that’s his lessons against the Mists he’s battled, his loss against Squalo for not having a proper sword style, and though he doesn’t get a chance against Gamma again, he’s always understood the importance of teamwork. That being said, he’s not just a poppy. He’s a Himalayan Blue Poppy. You see the himalayan blue poppy has a different meaning outside that of the ones that the other poppies do. With its rarity, it also represents success, potential, pursuit of dreams, and possibility.  Yamamoto is the Vongola family’s prodigy, a natural born hitman, the star baseball player on his team. Stuck at a crossroads between his dream and being able to be in a position to protect the ones he loves. An impossibly difficult choice to make, yet Yamamoto handles it with ease. He just won’t choose! He’ll do both! Which fights very nicely with the Hanakatoba meaning of the poppy. “Fun-loving” “A reminder to remember happiness.” Along with general blue color meanings of tranquility, that is Yamamoto to his core, I believe. When things get their worst, he is there to remind everyone that it is never as bad as it feels. To wash away the blood spilled, that is the role of the Vongola Rain Guardian. His crossroad isn’t an issue to him, because that’s not what he fights for! He fights to make things easier for everyone, so they may remember happiness. That sort of thing doesn’t exactly need him to make a choice on his path. Now, does it? If he’s forced to choose, he will just carve out new possibilities for himself and the ones that he loves with the lessons he’s learnt. 

Lambo Bovino: Green Envy Zinnia

Contrary to the title, the green envy zinnia has nothing to do with envy. Quite the opposite, actually. The zinnia itself represents endurance (HEAR. ME. OUT LOL), lasting affection, joy, and various other things. So, the zinnia is super fucking tough, again hear me OUTTTT. They bloom all the way from springtime to autumn, something pretty unheard of from flowers which gave them their meaning. A green envy Zinnia specifically represents growth or a journey. Wishes of a healthy and successful growth. And I believe that is the hope for Lambo, as he progresses through the series. He is quite literally a child, both himself and TYL. But that’s just the thing for him, to the one that chose the guardians (Iemitsu, it’s very implied that it was Iemitsu), Lambo is an INVESTMENT. And a correct one if twenty years old Lambo was anything to go by. Not only that, the zinnia represents a joyous endurance. This doesn’t have to be painful for him, and it’s not as he’s allowed to both be a kid in Tsuna’s care while also holding on tight when told to stay out of the fight. (“You have to take the younger me wherever you go, he wants to go with you.”). And as a bit of an angsty little hehe on my part, the zinnia also represents missing those who have passed, that you remember someone and love them even now that they’re not with you. (“Seeing you all again, I thought the day would never happen. It’s making me emotional.”) Honestly, judging by how Lambo fights when he gets the opportunity to properly do it, he just isn’t weak. Destroying Kikyo’s box animal, fighting against Ooyama, and of course against Levi too. In Hanakotoba, the Zinnia represents loyalty. He is their youngest blossom, enjoying being around the one he considers a brother with hidden potentials to grow into someone with the ability to be Vongola’s shield. If the ones he loves ever make it to see that sight, of course. 

Ryohei Sasagawa: Yarrow (Achillea millefolium) 

Okay, so the yarrow is first of all a funky flower. If you’ve never seen OTHER colors of the yarrow flower, I implore you to google it. Especially the red ones? Why are you so pretty? Lucky enough for this flower (and me I’m starting to lose my mind here, this was a much bigger task than I thought it would be) the different colors don’t change the meaning of the flower here which is neat. It also unfortunately has no hanakotoba meaning either. So, anyway. The yarrow. It represents a warrior’s bravery, protection, and healing. The healing comes from the fact that its a commonly used herb for bruises, cuts, and sprains. There’s also huge folklore around it which affects its scientific name, as Achilles used yarrow to take care of the men he was in charge of. This flower was also used as a ward against evil, where people would hang this outside of their homes in order to protect them from evil getting inside. A superstition developed around this leading to Yarrow to be named the devil’s nettle to refer to the belief that the devil would come around and shake the yarrow that people hung up due to wanting to curse them. This flower also represents strong everlasting love, to the point where a little tradition propped up where people would shove this flower up their nostrils whenever they had a nosebleed so if they dreamt about their crush it meant that they liked them back lol. Yall there was so much rich lore on this flower, it’s super neat. More than I could fit in here. Anyway, I’m sure yall see the connection with Ryohei acting as the group older brother, being the motivating factor for them. He was the first to go up during Varia arc and set the tone for the rest of the battles, that the Vongola would win. Last to show up during future, representing that all of them had finally been reunited. A draw against Aoba, again the very first battle, almost symbolizing HOW shimon would end. He’s the strength in their arms, acting as the last person to leave in future arc until they were ready to go. Taught them and helped lead them to make decisions during that arc. It’s almost his duty to protect the younger ones, even getting up on Hibari’s case in the fillers for not helping out his younger classmen. We can’t even dismiss the way he would prefer to shield Kyoko from everything that they go through, and getting aggressive with Tsuna when Tsuna broke something he thought both of them saw eye to eye on.  Not much rattles him, honestly if you pay attention to his scenes, only getting the most nervous and agitated TRULY when he fears he won’t be able to protect someone (Asking Tsuna how Kyoko reacted to the news, Tozaru getting on his case about Lambo coming to the battle) Otherwise, he’s his happy loud confident self ready to tackle on anything for the sake of the family. Destroying the misfortune that attacks the family with their own body, the yarrow represents that duty well. For every bruise the younger one gets, Ryohei has the ability to heal it. For every fear, Ryohei tackles it first. Acting as a ward and protector for his family. Hibari Kyoya

Clematis (Etoile Violette)

Clematis is a climbing flower, to start with. One of those flowers that grow along walls and vines. It’s a very adaptable flower, able to work with various environments and thrive amongst them. They’re known as the traveler’s joy, meant to wish travelers good luck and act as protection to those who pass by them. While also having a more negative reputation, having “killed” other plants by outcompeting them considered having done the devil’s work. (The plant is actually considered invasive aha oops) The clematis though, itself represents mental fortitude, cleverness, and the ability to find hope in perilous situations. Hibari himself, I mean just that back and forth reputation is just him, no? Acting as Namimori’s protector, keeping a watchful eye on the town while also being utterly terrifying for Namimori students and almost overwhelming to those competing with him. (Dino will only find escape from Hibari in death, Mukuro is the same) But, he is also undoubtedly Vongola’s wall. Similar to Ryohei, not once throughout the series really and truly faltering. The clematis itself with its representation in mental fortitude can be given to someone when they need mental strength. I think the best way to represent this is directing you to that moment in Shimon arc when Tsuna, while not physical beaten, had been mentally tormented by everything that had happened and Hibari came to his battle to Adel. A simple, but strong “Little animal, your face right now is dull. Watch my fight.” It’s in that fight Tsuna gets his mental strength back, being given a hint to answer the question he’s been stressing and faltering over. Then there’s future arc, having been the only one TYL Tsuna trusted with the plan. Kokuyo Arc, Gokudera seeing an already defeated Hibari and taking him to the battle. Varia arc, the gang realizing that if Hibari is fighting next then they may have already won it and refusing to succumb to the poison in the sky battle. Rainbow arc, Tsuna considering them in that list of people he “just expects to help him.” He has the ability to be their hope, to be another factor of their strength. Where Ryohei is holding them up on the physical aspect, Hibari is absolutely their mental strength. (Isn’t it charming that the two eldest are the pillars of their group? I think it is). Also, in Hanakotoba, the clematis represents moral beauty and order. And that’s just the kinda man who could run something like the discipline committee, isn’t? The special thing, finally is that the etoile violette represents a sense of freedom from troubles. A free man, unchained himself and choosing to help those younger than him. Sometimes for the thrill of a battle, sometimes to actually help them with the reputation of a devil. Unpredictable, but still trusted.  It’s the sky that allows the clouds to roam freely, but even someday that sky will be beaten to death. 

Chrome Dokuro

Lupine (Blue Bonnet)

The Lupine flower is before anything else, a second chance at life. A recovery from one’s trauma and the admiration that comes from that. Its gratitude and kindness put into one. There’s a legend around the lupine flower about a land full of drought where Native Americans had believed would be saved by selflessness and yet no one had come forward to do anything, until a young girl came forward and offered the last of her possessions. The rain came to fall at her sacrifice, and hundreds of lupines had blossomed from the ground saving the tribe from drought and hunger as the seeds of the Lupine could be harvested to be eaten. The Lupine represents that the world will always give back if you are willing to help. Chrome, from her introduction, is told to be a girl who has nothing. With two parents who want nothing to do with her and no friends by her side. She runs forward to save a kitten and is gravely injured. With neither of her parents willing to help her, Chrome wonders if she is going to die here but is offered a deal by Mukuro. It’s here that Chrome is offered her second chance and she spends the whole series trying to return the favor to Mukuro. All while healing from her own trauma, the type of trauma that “no one could care about her”, as she is offered food and bonds from Tsuna, Kyoko, Haru, I-pin, Bianchi, Hibari, and so many others. It's in her second chance that she gets to experience what life truly had to offer her, as thank you for her continued selflessness. It’s that gratitude that she represents and the never-ending desire to give when she doesn’t accept Mukuro’s assistance anymore with her organs because she can no longer give him anything now that he’s out of Vindice Prison. She resolves that she will become someone who can protect the people she and Mukuro like. Her confidence isn’t perfect and she falters quite a bit, not believing that her powers are as great as those around her. But, that’s okay, because her goodness has brought her to people who have got her back until she can figure herself out. She has Mammon to correct her when her illusions are seen through that they are well made, but she’s just dealing with professionals and that’s why they’re seen through. There’s Tsuna who relies on her blindly, never doubting her strength to protect them as he asks her to act as defense during Shimon arc and protect Enma from his attack. Alongside with Fran, she is trusted to protect Yamamoto and Gokudera in the final battle against Vindice and taken with Tsuna against Jaegar. She has a lot of space to continue growing, but Lupin also represents voracity and happiness in Hanakotoba. She has her second chance to learn all about that, or as Mukuro put it to her, “An ending is merely the beginning of another cycle.”

Rokudo Mukuro

Aconitum (Wolfsbane)

Wolfsbane is also referred to as Monkshood. This is another one with pretty rich lore with its connection to werewolves. It’s referred to as “queens of the poisons” and has a pretty negative message to it on the outside. First of all, this thing’s poison? TOUGH AS HELL. Delirium, frothing at the mouth, vision impairment, and of course the classic coma<3 It’s got an uncanny resemblance to what rabies actually looks like. Fun, right? Okay, fr though onto its meaning. Wolfsbane is an omen that danger is nearby, not unlike the unnerving feeling Tsuna gets whenever he senses Mukuro nearby. Said to have come from Hell itself, the saliva that has dripped down from Cerberus himself. Not unlike our sweet boy. But, being an omen does not always represent something bad. Is he bringing the danger to you, or is he warning you of the true danger that lies past him? It’s a little bit of both. Aconitum represents concealed wisdom and caution in decision-making. But it also DOES represent protection, a proper and true warning of the dangers of the wild. That beauty does not always mean safe. For his twisted sense of vengeance and believing that taking over the world is the only way to destroy it for the sake of what was done to him, he isn’t necessarily wrong for being enraged about what happened to him. Yet, despite his hate, he doesn’t drag those who he cares about further down into it than he has to. He sends Ken and Chikusa away when they are going to get caught, he never uses Chrome for anything besides as a vessel to help her, and he says during Rainbow arc that if he forced Fran to continue past his limits he’d be no better than those nasty adults of his past. Aconitum balances sweetly between light and darkness, similar to Mukuro. He won’t admit it, but he cares for those amongst the Vongola. He infiltrates the Millefiore and sends the Vongola information after Tsuna’s death, he helps Chrome form a barrier around Enma so he could be safe from Tsuna’s X-Burner. And, of course he teams up with Vongola’s team during the rainbow arc. These are undoubtedly kind actions,  but when Tsuna gets angry at Mukuro during Rainbow claiming that he didn’t believe that Mukuro was the type to abandon his allies, Mukuro says that that was just his idea of him. Even though it was Chrome ultimately rejecting him, he instead pretended that he really was some big bad heartless person. Definitely, Mukuro is no angel, but also he’s no demon either. He’s.. just a human at the end. The aconitum’s dance with both light and dark, a flower that tries to warn, can be read both good and bad depending on how you look at it. His rejection of his ‘official’ position as part of the Mafia, yet acting as the Vongola Mist Guardian when their goals align. He’s as confusing as the duty he embodies, but he succeeds nonetheless in ensuring the family is untouchable in his deceptions. After all, the best way to fool your enemies is to fool your allies first.

[mayxo-hxh]

So like. everyone laughed at this and moved on but i havent.

because this drawing specifically being made after Hisoka and Chrollos fight and Hisoka being revived is so fucking important. Allow me to analyze this like the nerd I am.

Let's talk abt the elephant in the room, hisoka's pussy lock. I think its pretty obvious what that symbolizes. Its a way for togashi to say, look at this man! Look where his stupid horny decisions got him! But now he is back. And he has a chastity belt on because its supposed to represent him keeping the horny under control. He will now, FINALLY, start to stop and think with his brain, like Illumi told him to.

Second thing to note here is his pose. I find the pose choice very very interesting considering hisoka hasnt done it before. His arms are over his chest in the shape of an X. it feels closed off. Like hes distancing himself from the audience. To me, it says hes done playing nice.

Now we get to the SPICEY part. The CARDS. An ace of spades and an ace of hearts. Ace of spades has been associated with death and war in some cultures and in card games, is the highest and most powerful card. Now we all know what that means. War is on with the troupe. And Hisoka's bringing it ON.

NOW. NOWNONWO!!! The ace of hearts. An ace of hearts is the complete opposite of the ace of spades. It symbolizes love, compassion, and emotional beginnings. It's the most positive card in the deck, AND. its appearance can signify new relationships, deep emotional connections, and the nurturing aspects of love.

AND..... WE ALL KNOW...... THAT A CERTAIN MAN. IS MARRIED TO THIS MAN.

These cards were deliberate. They symbolized what the succession arc is going to be for Hisoka. death, war and love. DO you fucking REALIZE. DO YOU-

IM GOING FUCKING BONKERS RIGHT NOW. B O N K E R S. TOGASHI. AGHHHHHHHHHHHHHHHH

[themyscirah]

Complaining abt Suicide Squad yet again but the fact that they have Waller exposing the alien community to space racist attacks and talking abt how she got to her position through deceit and being a terrible person and stuff is just. Ahsfiwueh JUST SAY YOU DONT KNOW WALLER.

Anyways literally the 3rd mission of the Squad ever (and the first framed as smth Waller picked and not orders from above) was the Squad discrediting and stopping a rogue vigilante who was only arresting POC and funneling white people into white supremacy groups (of which he was the most prominent member) in SUICIDE SQUAD #4. and it's explicitly framed as this mission being personal for Waller that she's hiding from the government bc its illegal like. Guys. Please why are we having her incite (space bc comics) racist attacks now

Also the whole "Amanda got her position through deceit and being a terrible person" NO. she KEPT her position through being shitty and playing complicated political games!!! She wasn't always that way like there is a difference and it is IMPORTANT ppl PLEASEEEE. In Secret Origins #14 we learn Amanda's backstory and she used to be a normal, caring person! Like even after she entered into working in government and politics she wasn't automatically morally bankrupt like please people. She was originally given control of the Squad by Reagan (*sigh* 80s comics...) to distract and get rid of her because she was so successful at pushing progressive social policy in Congress. Acting like she's this static pillar of evil is such a waste of her character and so fucking uninteresting and disrespectful to her arc it drives me MAD.

Like I am NOT saying Waller is all sunshine and rainbows, she fucking SUCKS (said w love <3) but like there's a human being there. It's a progression, she has a character arc like please, DC, please!!! They've fucked up Waller so bad and made her so opaque and uninteresting she can't even be the protagonist of her own story for fucks sake!

Like I don't know how many times I have to scream it until DC hears me or remembers but WALLER IS THE MAIN CHARACTER OF SUICIDE SQUAD. ITS HER BOOK. yet right now she's a cutout to be used as the villain wherever the writers please. Even in her book we get none of her perspective really displayed, no exploration of her thoughts with any kind of understanding of the role she traditionally has played and was made to play in the story.