#gintama... math?

[reductionisms]

gintama mathematics compendium

recent developments in the world of gtama mathematics have convinced me to put together a rough handbook, if you will, of its various disciplines and applications.

the culmination of my gtama-math thinking is a (subjective) understanding that any gtama math is necessarily derivative. gtama mathematicians take gintama's initial unintelligible representation and extract meanings from it into relations we can better understand; in other words, we are looking at the representation of something undescribable and attempting to describe it further. if you like Euclid, this is going from R^n to R^n-1.

the scope of this list is narrow simply because my memory sucks and my knowledge of gtama-math bloggers is small. please send me addendums and updates so i can incorporate them.

My qualifications for this project are that I'm bad at math.

Philosophical Basis

on gintama as a mathematical system (yamameta, 2024)

Set Theory (groups and their relations)

gintoki equivalence class (ibid, 2023)

yorozuya&shinsengumi equivalence class (kraniumet, 2022)

joui 3 set theory (ibid, 2022)

ft. ygh set theory (ibid, 2022)

shoukason equivalence classes (joelletwo, 2023)

Analysis (limits, continuity, sequences, etc)

limit theory (kraniumet, 2023)

zura is schrodinger's wall (ibid, 2022) *geometric analysis

Algebra (concepts and their operations)

shouyou transitive property (yamameta, 2023)

shogun assassination equivalence poem (kraniumet, 2022)

takasugi&gin (me, 2024)

eye equivalence (kraniumet, 2024)

fs castle (ibid, with tags from transjjester, 2023)

cliff (agroupofcrows, 2022)

poles (ibid, 2023)

Euclidean Geometry (parallel lines exist)

types of symmetry (yamameta, 2024)

angle relations (ibid, 2023)

foils/parallels (ibid, 2022)

utsuro samsara geometry (agroupofcrows, 2023)

spiderweb cycles (ibid, 2022)

illustration of the final (ibid, 2023)

cinematic angles (kraniumet, 2022)

shoukason geometry (suchira with regnigt, 2024)

comedy orientations (regnigt, 2023)

Topology (beyond the parallel)

ouroboros framework (yamameta, 2023) *including sequel (application), original poem and its annotation

spheres (ibid, 2023)

spiderweb cycles #2 (agroupofcrows, 2023) *c.f. path connectedness in toplogy

joui 3 homeomorphism (kraniumet, 2022)

joui 4 topology one (ibid, 2024), two (ibid, with my tags, 2024)

Logic (applications)

time math (ibid, 2023)

takasugi math (ibid, 2022)

final triangle math (joelletwo, 2024)

shogun assassination equivalence (triangles) (joelletwo as joelleity, with kraniumet tags, 2023) *tags belong to analysis

shogun assassination equivalence (relational) (agroupofcrows, my tags, 2023)

shouyoutsuro reproductive strategies (joelletwo, 2023)

sakagin existence theory proof (yamameta, 2024)

sacchan/mutsu existence theory proof (ibid, 2024)

Conclusions:

I think gtma math works best when it refuses to describe with generative structures. that is, rather than generating an unrelated, outside structure and forcing gintama into it, we look at gintama and derive structures from it in cooperation with other knowledge. obviously the entire concept of gtama math already seems generative (who in gintama is actually doing math, anyways?), but i think this actually comes down to axioms and proofs, basis and spaces. gintama is already some unknown space; we first acquaint ourselves with the space, consider its pre-existent properties, and then we incorporate outside knowledge-as-description to reduce it into something knowable. this takes a lot of creativity, and is quite literally the procedure of math.

every single person who engages with any text ever is actually doing this in their own heads. we can never know anything, and yet, when we are related to by something from outside ourselves, we are called to incorporate its shadow into who we are. mistakes come when we generate ideas of what outside things should be and force whatever approaches us to fit those ideals (e.g., never-ending complaints about fanon). in a certain sense, though, it's impossible not to do this, which is why the modern mathematical system exists. logic is about appropriate direction; rather than idea in my head->put thing outside me into my idea->this is what the Thing is, math wants to go in the reverse: I can't know the thing outside me->it enters into me nonetheless->from studying it and relating it to other things, i generate ideas. hence axioms, which put the Thing inside your mind while also telling you, what we're talking about, you can never know, it is and isn't real, but you still have to deal with it.

everyone derives, or, in its proper sense, generates, their own frameworks about everything they come into contact with, whether or not they're aware of it. and yet, it takes a shit ton of thought and creativity to shape the framework taking form in your head into something actually expressible in words. the gtama mathematicians cited here are therefore brave warriors of mathematics, literary analysis, philosophy, and general living. pythagoreas has nothing on any of you.

[whosname]

[Id. Gintama x Taskmaster sketch of Ginpachi sensei wearing a coat, a stripped scarf and a black top hat that doesn’t fit his head. He's standing with his phone on his hand, listening with a weary look to Tatsuma's laugh on speaker. End id.]

Oi, Tatsuma, what's a furlong?

[joelletwo]

[epicdogymoment]

ohhhhhh im so happy to be thinking about dozaemon again. heeeheeeehehehe

[schwirrymartz]

I still stand by that

An addition: they both are parodies of certain types of media (Disney fairytales for Twisted, shounen (mainly Shounen Jump) manga for Gintama) that also poke fun at the behind the scenes stuff (the execution of the 2D department (2D means duty and devotion, of course) in Twisted, several episodes about mangakas and SJ editors in Gintama)

Why Gintama and Twisted by StarKid are the same story:

dick jokes leading to plot twists/being major plot points

this:

Q.E.D.

[lacerta123]

So I was thinking about Gintama and this one episode where Gintoki and Hasegawa decide to go out and gamble all their money on horse races. Hawegawa’s doing all the horse math and Gintoki’s just guessing since he’s never done this before. And on his last chance to gamble Gintoki bets all his money on the first horse Hasegawa rules out. I love the idea that Gintoki sees Hasegawa as some kind of anti luck monster, that not only will Hasegawa bet wrong, he will bet as wrong as humanly possible. Luck hates Hasegawa so much that Gintoki thinks he can monetize it. (And he’s right, but he still manages to lose anyways.)

Gintoki’s life hasn’t been easy, but he’s never met someone as unlucky as Hasegawa, who started off as an upper crust-ish bureaucrat and now can’t even keep a job or house. But then I thought, Gintoki also doesn’t really have a real job, the Yorozuya barely gets any work, and the only reason Gintoki isn’t homeless is because of Otose.

Otose.

And then I started thinking about Otose. And this is how Gintama gets me. The average episode is high octane comedy, all the goofy hijinks the Yorozuya gets up to on the day to day, and it draws no attention to the fact that Gintoki would be dead without Otose. That this story began when she found him freezing to death on her husband’s gravestone. The comedy is like jangling keys, like haha, Gintoki didn’t pay his rent and Otose’s coming after him again! But it’s only funny because she will never kick him out. Never. Otose being a grumpy old woman is only funny because it’s not true, because we know that her kindness is what saved Gintoki’s life. And what does Gintoki do with that kindness? He gets into ridiculous situations because he will never turn his back on someone in need. The Yorozuya is just a business to justify what Gintoki would be doing anyways: what little he can to help the people right in front of him. Because Gintoki is only alive because of that kind of kindness. Even in the episode that started this thought train; Hasegawa has lost everything, just like Gintoki (and partly because of Gintoki) so Gintoki shows up to at least be his gambling buddy. And when push comes to shove Gintoki will fight to the death for a stranger on the street.

Has anyone noticed that Gintoki never asked Shinpachi or Kagura to join the Yorozuya? That ten years passed after the Joi war before he met them? That after Otose saved him, he ran the Yorozuya alone, wielding his kindness like penance for the longest time? Like kindness was the wage he needed to pay to keep living. His kindness was like suicide, his self-sacrifice so rooted in him Shinpachi needed to beat it out of him.

Gintoki didn’t ask Shinpachi and Kagura to join him. They hamfistedly forced their way into his life. They saw his kindness, the principle he lives by, and wanted to follow him. And they made the Yorozuya. And Gintoki kept caring about every person who passed through the Yorozuya’s doors. Every person he met in the street. And his connections grew.

Now he goes out to gamble with Hasegawa, and knows to bet on the first horse Hasegawa rules out. Because to Gintoki Hasegawa is a guy who drives away luck. And to Hasegawa, Gintoki is the weird guy who keeps showing up, no matter what. And I think that’s beautiful.

[whatsthebestanimeop]

What's the Best Gintama OP?

Tournament 11

GINTAMA STARTS TOMORROW!

I'm SO excited! This is the whole reason I started this blog...bc I couldn't get to sleep scheming this tourney one night thinking about the Gintama series specifically. And now I am again not sleeping bc I am staying up way too late plotting this...all match ups are below.

The tourney for Gintama's best OP will be 5 rounds. Round 1 consists of 10 matches with the final OP automatically progressing to Round 2. As with all non divisible by 4 tournaments, the match ups are a little janky but I think it is most fair, with the first and final OPs prioritised moving to higher rounds initially. Any issues with this feel free to sound out - especially if u r better at maths than me!!!

One match will drop daily for the next 10 days. Round 2 will not commence till 2.5 weeks time.

All OP's ranks will be found...though with these match ups, I can already foresee this is GOING TO ROUGH

Bonus footage of the impending bloodbath:

[joelletwo]

#hopefully its bc they broke the narrative cycle and are their own mathless people free of ghosts

GHSDFG KIND OF LOL. every time i try to consider anything from the angle of his two teenagers it always ends up at. they exist outside this framework u cant use them this way.

someday ill read gintama and find out why gintoki's two teenagers dont show up in your math posts

[lotus-tower]

Why do we talk like that about Gintama?

So this is something I've already talked about a lot here and there, but I thought I would condense my thoughts on the topic in its own post.

We've joked a lot about math zeitgeist, but why in the world are we furiously mathposting about Gintama? Why did I write 28 pages of actual essay for it? Where does kraniumet get all those images from? (I've always wondered this.) Essentially, what's driving us to analyze these themes and motifs over and over again... and why can they be analyzed over and over again?

When I first wrote My Orochi Stood Up, I made it clear that this was an original framework made for the same purpose as all analytical frameworks and models: to enable me to gain certain key insights about the series, to account for all of its innumerable bits and pieces, and to arrange their relationships to one another in a cohesive, legible way. In short, as I wrote in my essay, it provides me with symbolic technology.

In the same vein, when I wrote my spontaneous math post, I said that so much of math is about things that don’t exist and yet become real, not just because they help you articulate something but because they help you arrive at a solution. This is the purpose of things like imaginary numbers--or negative numbers for that matter.

I know that we should never live life in accordance with the fake hater in our heads that we imagine saying stupid things to us so that we can respond to them in smart, cool ways. I'm sure Zura lives like that though, and we all think he's charming, so maybe we should reconsider this idea. What I mean to get at is that I've never once tried to claim that Sorachi literally intended any of what I describe in my ouroboros framework. I don't think he sat down one day and planned to make his motifs compatible with western alchemy, I don't think he had the creation myth of the island of Japan in mind, and I don't actually think he read Barthes.

But what's undeniable is that there is something so bizarrely consistent, coherent, and plentiful about Gintama's thematic flourishes--even though in many, many ways, Gintama is filled with bad, and worse, mediocre, writing. What sets Gintama apart from other series isn't the inherent quality of its writing (which has stark ups and downs). If you'll forgive the confusing and somewhat contradictory wording, what makes Gintama distinct isn't a quantitative difference (as in, more goodness), but a qualitative difference. What does this qualitative difference boil down to?

First is structure. This part we've gone over a lot, so I'll try to keep it brief (or novel?). Gintama is a series with basically just one favoured literary technique, and it uses it again. and again. and again. and again. and again. Parallels upon parallels upon parallels--and there are only a few key thematic ideas that Sorachi is interested in exploring. You can describe it as consistency, or, if you want to be uncharitable, repetitiveness. But it is, frankly, absurd the amount of parallels--or rather, the degree of parallelism--this series contains. What's interesting about it is its effects on how we engage with the story.

By making it obvious that this is a conscious and explicit writing decision (through various means, mainly dialogue), any characters with suitable parallelism to a prototypical character A are all connected to one other--let's call these the A-sided characters. This holds even if they're all a bit different from each other. Imagine all these A-sided characters spread out in line, like hostages tied to each track of a train track or the rungs on a ladder. They lose similarity with each rung, like loss of clarity in a game of telephone--let's call this "reflection lossiness." Even though characters in the top rung and the bottom rung may not have much in common, they may both be within "lossiness range" (<- I just made this up) of a character in a middle rung, and therefore able to communicate indirectly with one another.

Moreover, because the prototypical character A has a foil in prototypical character B, all A-sided characters are also connected not only to any individual foils they may have, but potentially to all other B-sided characters. Since it's easier to identify characters' thematic affiliations through their interactions and dynamics with other characters, the consistency of the A-B foil formula, when combined with the fact that animanga foils are generally made very obvious, helps us perceive these diagonal relationships. Thus, the reader can squint at the interactions of almost the entirety of Gintama's enormous cast with valid suspicion, with less difficulty than in other works with more complex structures. The series' sheer length also ensures that there is an abundance of material to comb through, so much so in fact that this careful inspection, through rereading again and again, becomes necessary.

For instance, the interactions between any given pair of characters may not seem directly relevant to our protagonist at first glance, but once you know the magic A | B schema, you may notice that that pair's interactions resonate with that of a different pair, one involving an A-sided character with less reflection lossiness from the top and who therefore reflects much more of what happens to them onto Gintoki. In this way, the original pair, who are probably just a couple of minor side characters who appear once in a weird arc and then never show up again, can make you go, "hey wait a minute. what if?"

What if?

Let's look at a concrete example. Housen and Utsuro don't seem to have much to do with each other at first glance. However, because we know that he parallels Kamui, and that Kamui | Kagura parallel Takasugi | Gintoki, who in turn can be mapped onto Utsuro | Shouyou, we can arrive at a Housen-Utsuro connection that wasn't previously obvious. What is the utility of this connection? For one, it sharpens our ability to articulate how the hole-sided flee from the things they fear and yearn for by adding Housen's infamous avoidance of the sun into the analysis. It also provides new ground for exploring potential ideas comparing, say, Kamui choosing to leave with the Harusame and walk in Housen's footsteps, with Oboro's resigned embrace of the Naraku and Utsuro. Additionally, since Housen was defeated in Hinowa's lap, this also helps us draw a Hinowa -> Kagura connection, which helps us arrive at a Hinowa-Shouyou connection, which helps to reify that Shouyou is a milf.

By inserting one or two blatant instances of foreshadowing and parallelism early on in the series, instances that are impossible to pass off as coincidence, Gintama primes the reader to suspect that similar nuggets might be hiding anywhere, to check every garbage can we encounter from there on out like in the Pokemon games.

Whoops. In attempting to explain the math zeitgeist I succumbed to using math in my explanation. It's irresistible.

But that's structure. Let's move on now to something arguably even more important: motifs.

It's undeniable that for a shounen series that's half gag-manga, Gintama has a strange amount of analyzable motifs, and a clear loyalty to them. Regardless of how extravagantly people on tumblr dot com may want to overanalyze their favourite Shounen Jump series, their efforts are usually restrained to theme and characterization. Their ravings do not usually resemble the ravings of the Gintama Salon. If you've read this far, I don't think I need to explain this to you, or what Gintama's most prominent motifs are. But why is Gintama so motif-ful? The sword's importance is obvious, expected even, but what differentiates Gintama from, say, Bleach, where the characters' swords also literally represent their souls in a way?

In the end the answer is what I already discussed in My Orochi Stood Up, the foundation of my entire framework, in fact its very title: the dick joke.

Sorachi's immature sense of humour is the glue holding the entire thematic and narrative structure of Gintama together. Why do we search obsessively for meaning in the flotsam of Gintama's less narratively charged moments? Because, quite frankly, many things are phallic. The sword is no longer simply a sword--by being imbued with the spirit of the dick joke, it becomes not only valid but textual to associate it with the head of the nation (shadow juice squirt), the motif of the dragon (thank you Elizabeth), and castration. What I mean is not whether the sword can be read as a dick--obviously, phallic logic has been prominent through all of human history--but the way in which Gintama's sexual humour gives us--and itself--an impetus to equate motifs in the first place.

Comparing very serious things to dicks is funny--the more abrupt, the more shocking, the more mood whiplash, the funnier is. Therefore, for Gintama's toilet humour to be as effective as possible, tone dissonance is ideal, pushing it towards the intermingling of comedy and tragedy that we know it so well for today. This in turn validates and reinforces the meaning-making role that these phallic jokes play in the story as a hole. It is not only that we cannot separate the dick jokes from the serious delivery of the plot, but that in many arcs important information is given to us through ridiculous gag devices (ball gags?).

The logic of basic sex jokes is extremely simple, intuitive, and easy to understand. The prominence of the pole necessarily implies the presence of the hole. I've talked about that enough in my essays, so I won't go into detail here, but the reason that I wrote my essays in the first place is because of how easy it is to map a procreative framework onto a series filled from beginning to end with phallic gags. As much as I may joke about it, the underlying logic of "the pole and the hole" is powerful and compelling, providing connective tissue to seemingly disparate motifs with ease. When combined with the "sorting" power of the A | B structure, the ability to associate any particular character with any particular motif easily gives us the ability to analyze how a given set of characters interacts with a motif; equally, where the motif sits in Gintama's playing ground of phallicism can inform a given character's dynamic with others.

I've already written at length about the role that wordplay plays in this as well. To save on time, I'll just quote from My Orochi Stood Up:

Gintama’s insistence on wordplay enables interesting meaning to be derived from these dirty jokes and their interaction with other motifs in the story. After all, the name of the series itself elevates the spirit of the balls joke, even if unintentionally, to the same level as the other metaphor in the title: “silver."

But perhaps the singularly most important example is the -tama in Gintama, with its plethora of potential meanings, each of them just silly and dirty enough that you have to take it seriously. Beyond the obvious joke on kintama (balls) and the “silver soul” meaning, we’ve seen that tama is also easily conflated with atama (head), and even with tamago (egg). This is clearly demonstrated with the series’ fixation on beheading leading to the salvation of the soul, and the bodyswap arc hinging on the pun between soul and egg.

In short, it is the comedic aspect of Gintama that fuels the series' own willingness to conflate and play with its motifs, and that validates--provokes--our mad efforts as readers to draw unlikely connections and dig through dirt. Though it may seem more ridiculous on the surface to be taking such a magnifying glass to such a profoundly silly series, it is in fact more justified for Gintama than it would likely be for a more serious series, one where the paths between motifs are not pre-paved, let alone lubricated with shadow squirt juice.

I was recently introduced to a theory of comedy where comedy was posited as an interplay between excess and lack. How this maps on to Gintama is obvious; but one thing that comes to mind now is how easy it would be to characterize our scholarly efforts in examining Gintama, a series one could humorously characterize as "lacking", as a kind of excess. Which is to say, I think Gintama has pulled its penultimate trick on us (because it's still coming out with more stuff for the anniversary. I believe it.) by making us part of its comedy.

[mhell]

Fanfic Gintama Seven Day : Sakata Gintoki

Day 1 / 04

The silver-haired man’s shouting didn’t stop from the car ride all the way to the interrogation room. His voice echoed so loud throughout the Shinsengumi headquarters that everyone in the building turned to look.

“I didn’t do it, dammit! You can’t just arrest me like this! If you wanna arrest someone, go arrest that girl instead!”

“Well, well, if it isn’t the jack-of-all-trades,” Kondou greeted as he entered the room and plopped down in the chair across from him.

“‘Well, well’ my ass. Why the hell am I even here? I didn’t do anything wrong!”

“I’ll let you go,” Kondou said. “But there’s a catch.”

The moment Gintoki heard that, his expression darkened with frustration. “A catch? Are you serious? I’m already exhausted, nearly got myself killed, and now this? You guys are nuts! Count me out!”

Without a word, Hijikata set a laptop in front of him and turned the screen around. It displayed some sort of data in English—none of which made any sense to Gintoki.

“What the hell is this? What am I even looking at?”

“The people you encountered were members of a group called Elite. They originally started in Detroit, U.S.A. At first, they were just a small-time gang, hunting down and stealing the corpses of alchemic mages to sell on the black market. But eventually, they grew bigger and expanded globally—including into Japan.”

“Alche-what now?”

“Alchemic mages—people who use alchemic magic to transmute materials into weapons or objects.”

“Wait a minute, Ogushi-kun, are you saying these Elite guys are hunting down alchemists just to sell their powers on the black market?”

“Exactly.”

“Are you kidding me? What, did I wake up in some kind of Fullmetal Alchemist crossover? Should we go drag in the Elric brothers to take care of this or what?”

“Enough with the crap, already!” Hijikata snapped. “Bottom line: you’re helping us take down the Elite.”

Gintoki slammed his fist on the table. “Are you freaking insane?! Who in their right mind would risk their life over crap like this?! Just working enough to pay rent every month is already killing me. Now you want me to go up against people who can blow someone up with magic in a blink? With just a damn wooden sword? You’d have to be a total idiot!”

“Five million,” Kondou offered, his voice calm.

Gintoki squinted at him. “Five million yen? For risking my life? Yeah, no thanks.”

“Five million dollars.”

That currency change brought everything to a screeching halt. Gintoki froze. His mind spun. He raised a hand, doing some mental math. Five million dollars… that’s 761,424,990 yen.

He stared at the air for a moment, imagining the mountain of cash that figure would become. Then, after a dramatic pause—

“Heh. You think you can tempt someone like me with that kind of money, huh? Hah! As if I’d fall for something like th— Alright, fine, I’m in! Only an idiot would turn down that much!”

“Great,” Kondou said, handing over a stack of documents. “Here’s the contract. You’ll need to sign it.”

Gintoki took the papers. They were all in English. Not that he couldn’t read it—he could, just enough to get by. He squinted at the lines.

Official Employment Contract

Detroit Magical Police Department, USA & Shinsengumi Police Division, Japan

I, Sakata Gintoki, hereby agree to enter into an official employment contract with the Detroit Magical Police Department, United States of America, and the Shinsengumi Police Division, Japan, for the mission to track down and capture members of the ELITH organization.

The agreed-upon compensation for this task is $5,000,000 USD.

Contract Duration: One month.

If the terms of the contract are fully fulfilled within the specified time, full payment will be issued immediately.

Failure to comply with the terms will result in immediate termination of the contract, and no compensation will be provided.

In the event that the contractor is injured or deceased and can no longer carry out the mission, a compensation package will be provided to the family:

Injury compensation: $1,000,000 USD

Death compensation: $20,000 USD per month for 40 years

Signature of Consent: _______________________

After reading every single line, he realized the contract duration wasn’t long, and the compensation was more than reasonable. If he survived, he’d receive a whopping 5,000,000 dollars.

He picked up the pen, signed the contract, and handed it back.

“Happy now?”

“Good. Here.” Kondou handed him a photo.

It was a picture of a woman with sharp features, black hair with white inner highlights, and striking gray eyes—so beautiful she almost didn’t seem real.

“This woman’s name is Saya Richelle. She’s currently being hunted by the Elite because she possesses immense power—both in weapon magic and transmutation alchemy. Normally, people can only use one type of magic. At most, they can wield one or two magical weapons, and as for transmutation magic, only one element per person. But Saya… she’s different. She can use an unlimited amount of both weapon magic and transmutation magic.”

Hearing that, Gintoki furrowed his brow. What the hell is this? Am I in some fantasy world like Fairy Tail or something?

“So she’s that strong, huh? Then why do you need me to help her?”

“Saya’s always worked alone. If someone helps her take down the enemy, things will be faster and easier.”

“And what about you cops? Why don’t you help her yourselves?”

“We can’t get involved directly. You know as well as I do—they’re high-level mages. If we go up against them head-on, we’ll all die for sure.”

“And what about me? I’m just a regular guy, man! I’m alone out here. If I go up against them, I’m dead meat!”

“Who said you’d be fighting?” Hijikata exhaled smoke from his lungs and gave a smug smile. “Someone like you? You’re the perfect decoy.”

“WHAT DID YOU SAY?!?!”

[reductionisms]

math yaoi - ring theory from yaoizine 5!

[neorukixart]

Hi! Text post jump scare (?) Apparently I ran out of my queue reblogs of my things, the proof? is this very post that is the last thing on the queue.

As I'm typing this, by the time this gets posted it might have been a month, or 2, or 3... idk I forgot how many posts the queue will cover but it will probably be a while so I don't know if I'm already able to use nightshade to continue posting my art here; I also don't know if I'm doing more stuff but I did promised I will be posting watermarkless and unglazed illustrations and rkgks on my ko-fi for you to see so you can totally keep an eye on there (can't access to old illustrations, so can't guarantee ALL my illusts will be there as those have been posted here already).

I want to thank you guys for following me all these years, I don't know if by the time this gets posted I will be freed from the 4k followers and if I hit 5k but decided that I want to make something for those tiny users that are still active and no, I'm not deleting my blogs. I might want to do something big or tiny things for you so I would like it if you could help me decide.

This is your chance to request something!

Go to my ask box and tell me what you want! It can be a character, ship art, group art, silly crossovers... anything you would want me to draw (you can send more than one)! Then I will choose the requests/prompts I like or the most requested ones and put them in a poll for you to vote and the top 3 will get done and arranged for you to download a HQ watermarkless version of them! (finished pieces will be posted glazed and hopefully nightshaded in SNS but you will be able to download the clean files via ko-fi)

It's been a while since I "opened" my ask box like this so a part of me is anxious if I will get flooded or not, hopefully I will get enough to have a poll with 12 options xDD.

As I'm lazy to calculate when I'll stop accepting prompts, I will leave this poll do the math for me meaning I will be receiving prompts for a week so, go go!

If you choose the third option, first auch, second, let me reintroduce myself: I'm Greissel, neorukix (signing art as GREiMらくがきズon the works!), a freelance digital artist who draws stuff for my different daily hyperfixations; Digimon, Gintama and Dragon Ball being a constant presence living rent free in my head but have space for other freeloaders. Lately I don't have the energy to spend time on SNS and am busy in real life but I try to do my best. To this day, idk what I might be most known for but yeh, I draw and I have a neat pinned post with things I've drawn so please check it out if you are still confused why you followed me.

Thank you for your attention, have a nice day/night/week/life m(_ _)m

[agroupofcrows]

i need to brush up on those higher maths posts where my learnèd mutuals do elegant gintametaphysics because i KNOW that one of those posts articulated the 2D 🔁 3D inside joke of gintama way better than i ever did

but initial thoughts:

mask - severed face - 2D (rengokukan arc, red spider arc)

skull - severed head - 3D (memory loss arc, shinigami arc)

yaemon skull mask - synthesis

takasugoboro- ultimate shoyutsuro skullmask of winning strategy

[camofrogadier]

what's happening in gintama. why is there math

.

[beaulesbian]

this is just like the “when you’re gay and can’t do math” vid, even with the “we’re gonna die here” moment at the end lol

[renamusing]

heaven knows everyone is miserable now ch9: ffnet | ao3

a toshi chapter for a toshi birthday. plus more beloved characters :)) i swear toshi has a good time on this one (kinda?)