#let’s hope it makes sense lol

[buglaur]

sims character page code

hii, ages ago i made a simple but customisable character page to try and get the hang of html and css, so i thought i'd release it. all of the instructions are within the code! the code will look like the first pic when you put it in your page but you can play around with it to get different looks. i tried to make it as beginner friendly as possible so even if you have no code knowledge you should be able to follow it :) but if not, don't hesitate to send me an ask!

preview | download code

[luxaofhesperides]

Can I please have meet cute/weird with mistaken villain! Danny (but really just a engineer and or chem student) and the one being put on investigation cause Danny is a day villain(not really)! Duke

Technically, Danny Fenton is innocent. Technically. 

Duke wants to give him the benefit of the doubt, especially since he’s having so much trouble finding solid evidence that Danny is stealing from a wide variety of people, but he’s been burned before by trying to see people as better than they were. It doesn’t change the fact that Oracle’s cameras keep spotting Danny right before a building on the street is broken into and something stolen. He’s always just walking down the sidewalk; no one has spotted him entering or exiting a building, but he’s around far too often to be unconnected to these burglaries. 

It doesn’t help that strange, petty crimes have been on the rise since Danny first arrived in Gotham. 

So.

Danny Fenton is technically innocent.

Duke is trying to prove that he’s not. 

Maybe I’m looking too closely, he thinks, going over Danny’s sparse file in the Hatch. Maybe Danny’s only one person in a bigger operation.

He could just be the lookout, the runner, the information gatherer who marks which buildings to hit. He may even be the scapegoat, the sacrificial lamb; Danny has no support in Gotham, no family, no job. There would be no one to help him if he got arrested or injured in a fight. He’s a freshman college student from Illinois who should be unprepared for life in Gotham but is somehow managing to survive like a native. 

There’s a lot about Danny that doesn’t add up. 

Duke has seen plenty of different people since he first went out as the Signal. He’s tried to be kind and give people the benefit of the doubt, but it leads to his loved ones being put in danger. Some people are truly evil, some working on a malicious agenda, some are misguided in their beliefs, and some are desperate people who see no other way to move forward.

He’s not sure yet which on Danny is, but he’s hoping Danny is just desperate and needs a little help to get out of a life of crime.

Which leads to the next problem: Duke has no idea what Danny is steal, or why. He hits both rich and poor folks, civilians and members of the mob, and once, notably, stole something right out of Cobblepot’s office. Allegedly, at least, since no one saw him enter or exit the office, not even the security cameras. 

But added to the whispers going around about a new group in Gotham snatching people up from the streets, and some strange green substances found in warehouses often raided by police for the frequent drug labs that pop up in them… 

It doesn’t look good for Danny. Especially when a few of the items he stole were found where people either vanished or where that green substance has been found.

A week of analysis in the Batcave and they still don’t know what it is. 

Both Damian and Jason suspected Lazarus water, but the composition was completely different. By the look of the molecular structure, it shouldn’t have been in a liquid form at all. 

All these findings lead back to one person who may have answers: Danny Fenton.

According to Tim, who’s already broken into Danny’s dorm room and checked over all the labs he has classes in, Danny has some concerning items in his possession. Various inventions and little metal knick-knacks put together by a practiced hand. He was also the one to find all the information that went into Danny’s file when it was first being made: social media posts, school report cards, news articles about his parents… everything. 

And then he had an emergency mission to take with the Titans that swept him out of Gotham leaving Duke to tackle this investigation on his own. 

He doesn’t have Tim’s natural skill in stalking and invading privacy. He hates breaking into people’s spaces and following them around, but needs must and he has to force himself to work through the discomfort. 

It’s a good thing he did, too. Danny’s leaving his dorm after his last afternoon class, hood up to hide his face and something held in the front pocket of his hoodie. He ducks around people on the sidewalk easily, almost as if he’s gliding through the crowd instead of walking. 

Duke follows from above, bending the light around him to hide him from sight. 

He walks for some time, weaving through alleys and streets as if he’s been in Gotham his whole life, leaving behind the university campus to head towards Otisberg. There’s something strange about the way Danny walks, as if he’s moving around people who aren’t there, guided by something Duke can’t hear. Even using his meta abilities doesn’t do much beyond show him where Danny’s going to be in the next few seconds. 

He continues to follow Danny on the rooftops, walking along the edge to keep him in sight. 

Then Danny stops behind an apartment building and tilts his head back to look up at it. He tilts his head to the side, then nods and looks around the empty alley. Duke crouches down, keeping his eyes on Danny in the hopes of catching him in the act—

Danny disappears.

Duke curses under his breath and jumps down from the roof, putting more strength into his abilities as soon as his feet touch the ground. 

The space where Danny was has a faint outline, oddly enough. He’s never seen that before. From it is a semi-transparent trail, smoke-like and a pale green leading into the building. It goes straight into a wall, as if Danny walked through it.

He can’t go in and search the entire apartment, but he can grapple up and take a look into the hallways to see where Danny’s heading. If he was looking up, then that’s where he should be heading. 

It doesn’t take any effort to scale the building. There are ledges and windowsills and plenty of handholds for him to propel himself off of, and paired with his powers, Duke is able to find the correct floor in just under two minutes. 

The green smoke slowly dances through the air of the ninth floor, on the east side of the building. If he’s been counting the rooms correctly, then the target of tonight’s burglary has to be apartment 924. 

The curtains are drawn on the window he makes his way over to, and his abilities don’t show him anything helpful for the immediate future. He hates going in blind, especially to a civilian’s home, but capturing Danny takes priority. Duke picks the lock and slides the window up slowly, making sure it stays quiet, then slips into an empty bedroom. 

He makes his way out into the hallway on silent feet, keeping a wary eye on the thin smoke strands of green, curling along the walls. The rest of the apartment is empty as well, pale sunlight slanting across the floor through the blinds. 

Everything is still and silent. Danny’s nowhere to be found. 

Did he miss Danny leaving, somehow? Was this a misdirect to get him out of the way while Danny stole from another location? Did he know Duke was following him?

But no, his ears pick up on the faint sound of clothes rustling. 

Cautiously, Duke turns towards the front door, where the door to the coat closet is open. He focuses on what’s going to happen in the next twenty seconds and sees Danny panic, then disappear from sight again, but a transparent outline of his body is visible just enough to show him where he runs to. Best not to spook him; Duke pulls at the light around him and bends it to hide him from sight.

Then he moves along the wall, getting around the open door without bumping into anyone or anything. 

A figure in front of the coats, shoving them to the side roughly, flickers in and out of view, almost like a reflection in water, distorted by ripples on the surface. 

Danny pops back into visibility suddenly, scowling at the coats. “Are you sure it’s in here?” he asks the empty air. 

There is no answer, but Danny acts like there is. He rolls his eyes and says, “It’s a favor. That I’m doing for you. I can literally stop right now and you wouldn’t be able to stop me.” He shoves aside another heavy winter coat, then sighs. “Why don’t you look for it, and then tell me where it is.”

He steps back and bumps into Duke.

Danny whirls around, eyes wide, and blast of green light has Duke crashing back into the wall, trying to blink spots out of his eyes. 

“Wait!” he yells, grabbing for Danny before he can run off. “I just wanna talk!”

“Standing right behind me like a serial killer does not make you look like someone who wants to talk!” Danny yells back, slipping through his hands like mist. 

“I just have a few questions!”

“Well, I have a question: why?!”

“Will you hold still, we’re being too loud!”

Danny escapes to the other side of the apartment, next to a window looking fully prepared to fling himself out of it. But he does stop yelling, so Duke is counting it as a success.

“Why is the Signal coming after me?” Danny asks, glaring at him suspiciously.

“Dude,” Duke says, “You’ve been seen outside of every single building that’s had a burglary since you first arrived in Gotham. All the Bats are after you, they just sent me because I’m the only one active during the day.”

“All the Bats?” Danny repeats, losing what little color he had in his face.

He looks legitimately scared, pale enough to be concerning, and Duke drops his guard and tries to relax the tension in the apartment. “I’m not gonna turn you into the cops or anything. I just had questions and you seem like the most likely person to have answers. That’s it.”

Danny still looks wary, ready to run at a moment’s notice, but he doesn’t leave when Duke approached casually, leaning his weight against the couch. 

“So,” he begins, “What’s the deal with all the thievery? It’s rarely something super rare or expensive.”

There’s a long few minutes where Danny doesn’t answer, looking anywhere but at Duke. Then he twitches a bit and glares off to the side, and says, “I taking items that are contaminated with ectoplasm to help ghosts move through the veil and leave Gotham.”

That tells him nothing! That just gives Duke more questions! But at least it’s an answer, the first one any of them have got.

“I think you’re gonna have to explain a little more.”

“Ghosts are real, alright?”

“Yes.”

Danny stops. Squints at him. “What do you mean, ‘yes’?”

“Ghosts are real,” Duke repeats, “There are a few who help heroes or are heroes themselves, but that’s more on the magic side of things so I’m not super familiar with it.”

“Magic,” Danny says slowly. “Sure, alright. Um. Yes, ghosts are real. And there are a ton in Gotham who need help moving on, but they’re too weak to get past the veil. Something about Gotham has made the veil super strong, so they need a little boost to get through. Additional ectoplasm bonded helps with that.”

“And that’s why you’re stealing random things?”

“The ghosts I help can kind of sense ectoplasm-infused things, but they need me to grab them since they can’t hold anything without a physical body.”

Duke nods slowly. “Okay, that’s starting to answer some things. We have found those objects in the last places missing people were seen. Any idea what’s going on with that?”

“Yeah, those people were already dead.”

The way Danny says the most concerning answers as if they’re nothing is really throwing Duke off his game. He was expecting to be calm and serious to keep Danny from freaking out too much and look like a legitimate hero. But as soon as Danny started talking, all his nerves fell away and Duke is left grasping for composure. 

“They were…”

“They were ghosts, yeah. And they needed to get through the veil. But they were also able to possess their own bodies and didn’t realize they were dead until I had to break the news to them, which is why it looks like living people just up and disappeared.”

“Okay… What about the green stuff we’ve been finding?”

“Ectoplasm.” Danny holds up a hand and a neon green light surrounds it. Except it looks more solid than light, as if it can be touched, and it moves on its own like fire around Danny’s fingers. “It’s what ghosts are made of.”

Oh. If Danny has ectoplasm, does that mean…

“Are you dead?” Duke asks, heart dropping. 

Instead of looking upset about the question, or even disturbed by it, Danny just shrugs and waves his hand back and forth. “A little.”

“Okay, so let me get this straight,” Duke says, trying to resist the urge to rub his temples. It’s a habit he didn’t mean to pick up from Batman, and it would just look silly with his helmet in the way. “You’re just doing all this to help ghosts?”

“Yeah. Basically. They asked for help man, of course I was going to help them.”

Danny’s a good person. He’s just a good person to ghosts. But this is good news either way, and he can let the others know that Danny isn’t the next Catwoman and is entirely unconnected from any drug production. Everything that made him look like a criminal is just the fault of ghosts. 

“Speaking of,” Danny continues, “Looks like they found what they need, so I’m going to grab that real quick.” He pushes off of the wall and heads for the closet again, moving past Duke without any fear. Duke follows, keeping a few feet of distance between them so Danny doesn’t feel trapped, and watches as he shoves aside the coats again and pulls a shoebox out of the depths of the closet. From it, he takes a single intricate lace headband and holds it up.

It looks normal, if a little old, but when Danny sends ectoplasm through it, the lace lights up and holds the glow. 

He pulls some strange contraption out of his pocket and holds it up to the headband. It makes a few beeps, then Danny mutters, “7.4 millisieverts. That’s enough to get you through the veil.”

Another concern Duke can let go of: Danny’s not creating weapons like his parents have, he’s just measuring ectoplasm through his own inventions. 

Maybe he could talk to Bruce or Tim about getting Danny an internship at the R&D lab in Wayne Enterprises? That way they could keep a closer eye on him while seeing what he can create in some of the best laboratories in the country.

Well, it might take having them meet Danny before they trust him enough for that, but Duke is sure he can make it happen. 

“I better go see this through, then,” Danny says, shoving the contraption back into his hoodie pocket. He gives Duke a small awkward wave, then pops out of visibility. “I’ll see you around, I guess?” he disembodied voice hedges, and Duke smiles.

“I’m sure I’ll be able to find you again.”

“Cool. I gonna go now!” 

He doesn’t see any sign that Danny’s left, but he gets a feeling that he’s alone now, the apartment suddenly emptier than it was before. 

As strange and concerning as Danny and all his bizarre actions were, Duke is glad he was able to finally talk to him and get some answers. Knowing how Gotham pulls people him in, it’s only a matter of time before the other Bats are exposed to Danny’s kind of strange. He’s already looking forward to it. 

For now, though, he has a file to update in the Hatch; POTENTIAL THREAT will be removed and replaced with GHOST HELPER. 

If anyone goes snooping into his files and gets confused, then that’s their problem. Duke’s explained enough. And Danny can take care of the rest, once they go through the effort of tracking him down. Duke's done his part, he's ready for the rest of them to step up to his level.

He can’t wait to see what other kind of trouble Danny can get it into.

[eldritchneuro]

I have a theory that the reason so many people who were introduced to Trigun via '98 dislike Stampede, and vice-versa, is because each text is positioning the audience to view it from a completely opposite lens.

'98 does the same thing that its sister show, Cowboy Bebop does, which is to lure you in with the premise of turning your brain off for some good, simple fun, only to slight-of-hand you into realizing that oh shit there's themes, and now you've got a 15-page video essay.

Trigun Stampede does not want you to do that, in large part because it's a far denser text. There's like 7 different main themes and ideas bustling around and multiple story elements are told almost exclusively through film language (see Tesla, red-blue-purple color theory, and probably multiple more that I can't summon from the top of my head). It wants your brain on and intensely focusing the entire time and then you go on to write a 15-page video essay.

The tricky part is that you have to somehow communicate to the audience that you want them to do this, which is a hard ask because any hints you drop to hey, focus! aren't gonna be obvious enough to picked up by those people without being obtrusive.

The dramatic tension built up in episode 4 is built off of Wolfwood and this game of traitor-or-not that the narrative plays. 'Why is this man alone in the desert in completely inappropriate dress?' 'Why does he have a cross?' 'How is is he not dead?' and 'Okay so he's somehow survived this far but he's also just been hit by a fucking truck!?'. These are all questions that the story wants you to ask, because they help build up Wolfwood as being hella sus.

Enter Roberto, who conveniently has asking questions be his entire job. By having him explicitly point out various things throughout the story like this one, it signals that these are things we should be focusing on, especially since he's set up as someone who's been around the block a few times.

Here's some more examples of Roberto showing us what to remember, all from just the first episode:

This helpless guy they found in the desert has a gun on him. Why does he have a gun on him?

2. Cowardice is a matter of perspective, and perceived cowards may just be under pressure that we can't see (this is clearer in the English dub, where iirc the word 'experienced' is used rather than 'privileged').

3. This one's a red herring! Vash is, in fact, very tough, but this line still contrasts him against being perceived as naive even by someone as experienced as Roberto.

4. Fuck them cops (based)

Of course, the flipside is that Roberto will not live to see the end of this season. But much like how he leaves Meryl with the newfound experience she needs, he also leaves the audience with the curiosity that we will need going forward.

[emblazons]

"Do you not see, Eleven?"

El & 001 + Mike Wheeler & Martin Brenner Parallels see also: Vecna' using El's trauma to manipulate(!) her ⤷ inspired by @heroesbyler & my own commentary (x)

[sleepymrshmllow]

insp 🌸

[butterflysonnets]

yes i'm rooting for m*leven breakup because byler is neat but mostly? i'm rooting for m*leven breakup for the sake of el and mike.

to me, their romance was always a puppy love born out of a combination of social pressures, naïve curiosity, and a lack of true understanding regarding intimacy and romantic love and what it really is. it was real in that they do truly, deeply care about each other and they are close friends, maybe even shared an attraction, but a maturing romance is so much more than that. they've grown up and out of being boyfriend/girlfriend, and that's okay! i think television/film needs to show more often that most of us don't have definite "soulmates" or first childhood loves that we spend our whole lives with. it doesn't mean these relationships meant nothing and didn't impact us, it just means they've run their course and that something else is in the cards, and this is part of life!

i've always felt el was at her best and most confident self when broken up with mike, discovering who she was and what she liked alongside another girl her age instead of just relying on mike for mentorship on how to live in the real world. she deserves more of an opportunity to find herself, her autonomy, and her independence, and to love who she is, and she's made it clear she's felt insecure in the relationship with mike because she isn't being loved and understood the way she wants, needs, and deserves from someone who is her partner.

also, it's okay if mike doesn't love her in "the way he should". he is not obligated to love her romantically and stay in a relationship with her just because she's a girl, because she "needed someone", or because he cares about her a lot. he shouldn't be pressured into a romance if it's not truly coming from his heart. he deserves freedom to find out and honour who he is, too, instead of just staying in his non-functional first relationship — one he got into as a child, essentially — and defining himself that way because it's what's expected when a boy and a girl are close. he loves her in some way, yes, but it's okay if he doesn't feel comfortable or secure being her boyfriend anymore, for whatever reason that is. he's felt insecure too, and that's valid and it matters.

they are their own people and are steadily growing and changing every day. they need time to figure out who those people are, and it's become clear (at least in my opinion) that those people aren't meant to be a couple at this stage.

they deserve freedom. they deserve to grow up and be authentic to themselves and not feel like they need to lie for the sake of a relationship. they deserve to move on from this version of their relationship that isn't making them happy and rekindle the best part of their bond: their strong, beautiful friendship. they don't have to be a couple if it doesn't make them stronger and better and happier people.

i think it would be healthy and wonderful for a show, especially one consumed frequently by young adults, to show a relationship starting, progressing, and ending on good terms in this way. sometimes things don't work out, and that is okay.

[dahliasheep]

yes, absolutely @306saint ! if you're interested in a time period in particular, let me know and maybe i can give you specific advice, but otherwise :

the first thing i do if i want to learn about fashion in an era is to find art by contemporaries of that era, and to identify and compare people by social class and age. what shows up again and again? what do people wear in the street? at home? for my own research into the 1790s, i went to a museum and took a bunch of pictures of people in crowd scenes

if there's a very popular silhouette that defines that time (like the empire waist dress, the miniskirt in the 1960s), i try to identity what it's inspired by, and what comes before it : is it a natural evolution of that silhouette, or is it reacting to and opposing it? what are they trying to tell people with their clothes? comparing an outfit to what comes immediately before it will tell you so much about it, and even more if there's a specific historical event that happened around that time : a war, a revolution, a drastic regime change

usually what i will do is look at some art and draw my impressions based on that, and then i try to refine them in smaller details, that i might not have seen at first glance but will become more obvious to me as i become more familiar with the era. you also start picking up on popular fabrics, colors, hairstyles, accessories. and the thing is that there's really some small but key details that will firmly place your designs in an era, and that's something you will get a sense for as you go

so my concrete advice is to compare and contrast, and get some idea of major events and trends contemporary to the fashion that you're interested in, because that often really makes things click for me

but do beware of the misattributed pinterest dress ! try to find blogs, instagram accounts etc that list dates and creators for fashion. if you google "1880s women fashion", you WILL get a bunch of very wrong results. i would suggest doing research through specific designers or painters instead, or newspapers if these are around, and really pay attention to the years. post 1780s, fashion moves fast and the exact year can be important

also ! beware the treacherous 19th century artist! they will paint historical scenes but use contemporary fashion. it's fun though, i love being able to identify that a painting of marie-antoinette was made in the 1880s because of the shape of her skirt

(art by georges cain and james tissot respectively : james tissot is a great painter for fashion research, the clothes in his paintings are so detailed)

[nightswatchdisbandmentera]

This isn’t really a fully formed thought or anything. But it’s interesting how Sansa, Jon, and Lyanna specifically factor into one of GRRM’s greater explorations on the merits of fantasy. More specifically, there is a common trope that connects these three characters: a princess locked in a tower transforming into a valiant knight/hero. Lyanna and Jon, for starters, are pretty obvious explorations of this. Lyanna is the reconstructed version of this classic trope especially as presented through Arthurian tradition; but the twist here is that the dragon/knight who “locks” her in the tower isn’t actually evil and she isn’t so much kidnapped but rather willingly chooses to go there with him. This princess in a tower directly results in the birth of the hidden prince trope, which is even older than Arthur. So one fantasy classic, Rhaegar and Lyanna, leads to another with Jon being Arthur (a hidden prince and destined king), Percival (a hero who grows up in obscurity but has a great destiny to save the land), and Galahad (a noble hero destined to be even greater than his father, Rhaegar/Lancelot, ever was) all at once.

This princess dies in the tower…but her spirit/ghost lives on through her son, who grows up to look and act just like her, eventually becoming the valiant hero you read in the stories (but again, a de/reconstructed version). Part of how Jon does this is by repeating Lyanna’s actions as the valiant “knight” protecting an innocent from bullies. So by making it out of that tower even though his mother didn’t, Jon becomes the survival and rebirth of the fantasy ideal. You could even make the argument that just because Lyanna died doesn’t mean fantasy died as well because it lives on through Jon, her son. And this is actually is aided by Lyanna’s pleading for her son’s life, so she has some agency in how fantasy is preserved in the same way she had agency in how it’s perpetuated when she protected Howland Reed and when she ran off with Rhaegar. The princess living on and becoming the hero/knight in the stories is thus taken on by two characters here: Lyanna and Jon, mother and son. Jon goes even further into the Arthurian-knight playbook by encountering and eventually killing another vicious bully, Janos Slynt, who was coincidentally had a hand in his father’s demise. Then enter princess in the tower 2.0, Sansa Stark.

Sansa is an interesting case because she’s not martial in the way Lyanna and Jon are. But she too encounters her fair share of knights and villains. Janos Slynt is one of them, and Littlefinger will be another. I’ve talked about this before but Jon becoming the valiant hero Sansa wished for is important because it directly plays into GRRM’s reconstruction and (imo) defense of the ideals of fantasy. It’s not so much that heroes don’t exist - they actually do. They just might be far away, or might be the ones you’d never expect. This is the opposite of the “fantasy is dead, stop believing because everything sucks” reading you might see in some sections of the fandom. This moment may not end up meaning much for Jon and Sansa and their relationship, but it means a lot to us readers who are audiences of GRRM’s conversations with the genre and his arguments for its appeal. But that’s not the only interesting thing because Sansa, unlike Lyanna, does eventually make it out of the tower. But she’s currently in the hands of Littlefinger who, like Janos Slynt, was a villain responsible for her father’s demise. In this scenario, will she have to wait for a valiant hero to come take care of him again? Or will she instead don the knight’s armor (figuratively) by enacting justice in her own right? Based on the GoHH’s prophecy, it looks like it will be the latter; and it’s important to note how often “armor” as a motif is repeated in Sansa’s chapters. Thus, the princess evolving into the hero is told through the arc of a singular character here. Sansa is the princess who makes it out of the tower to become a hero of her own making; important disclaimer though, Littlefinger doesn’t really play into the elements of knighthood but he does count as an evil lord holding a princess hostage so Sansa can still be a subversion of the knight rescuing the maiden - the lesson being that she is her own knight, her own salvation!

It’s a very powerful meta-textual thread that exists between these three characters. They all fit into a wider narrative about fantasy and how it can live on, whether played straight or twisted a little crooked. So Sansa doesn’t have to be an overt in-universe parallel to Lyanna because that’s just not her role in the story. And I personally don’t think any “similarities” they have are actually important to Sansa as a person or to Jon because let’s face it, Lyanna’s primary (and most important) role is to be Jon’s mother and everything else informs on that. But both these women (and Jon) can be meta twinsies based on how they fit into GRRM’s wider narrative goals.

[iwritenarrativesandstuff]

I've been thinking a lot about the one-dimensional kinda fandom interpretations of Dazai and Chuuya in particular - the overemphasis on Dazai's weird brand of mischief/manipulation and Chuuya's anger and tendency to lash out and how it's not like these traits are... wrong, per se - these are their surface level/immediately notable characteristics - it's just that it misses the nuance as to why these traits likely exist.

What these interpretations don't fully capture is their very similar cores deep down - two people plagued by feelings of alienation, human inadequacy and repeated loss. Despite starting from these very similar places, they both dealt with the issue in near opposite ways. Dazai numbed himself to pain (remember: he hates pain! I cannot emphasize this enough!) and rarely gets close to anyone for fear he will lose them - his loss led to apathy, a withdrawal from humanity, a fear that he will always be empty inside - his ability: No Longer Human. Chuuya, on the other hand, refuses to numb himself and instead feels every single emotion in full and values his bonds with others over anything. He wants to belong and makes efforts to be perceived as a part of his group. Underlying this, however, is a kind of tired grief paired with resilience - remember that his ability is Upon the Tainted Sorrow. Not anger, or rage.

Sorrow is what results from this kind of heavy identity crisis and loss - for both of them. Think of Odasaku's read on Dazai as someone who looked close to tears when "acting" in front of the sniper poised to shoot him, describing him to Gide as a too-smart child left in the dark, or the way Stormbringer constantly reminds us that Chuuya is 16 and the desperation he feels in the scene where he holds his own dying clone, unable to help him.

Both characters carry a melancholy, resulting from their respective issues with their own humanity - I know I'm not the first one to comment on how their abilities could just as easily be referring to each other as well as themselves. This reads as very intentional to me - much like Atsushi's story begins as a clear parallel to the short story Rashoumon and Akutagawa sometimes being referred to in more beast-like terms than man, it makes sense that Dazai and Chuuya would reference each other in a similar vein.

And if that was the end of it, then we would expect that deep sorrow to shine through in both characters, but it rarely does except in pivotal moments. That's because the both of them have had to constantly deal with external threats - they believe they cannot afford to show vulnerability.

So, what you get instead is Dazai taking a kind of twisted ownership over his inhumanity and using it to make people afraid of him and to control everything so that he is never blindsided and hurt again, in the process, further alienating himself and making his issues worse. He inflicts fear so he doesn't have to be afraid. He can relax and be as silly as he wants - so long as everything around him is completely according to his predictions. There's a bonus to his foolish demeanour as well: hardly anyone can read him well enough to get close.

Then you get Chuuya, who feels so strongly and so much that it has no choice but to boil over, and due to never being able to or feeling comfortable with being anything but "the strongest", he hides moments when he is touched, or worried, or grieving, with anger and violence and defensiveness. As such, he is always seen as more weapon than person, a cut above the rest, forever standing out to others no matter how much he tries to integrate. The closest he came to true belonging was wrenched away from him before he could have a chance to know what that would actually feel like with the death of the Flags.

These surface traits are defense mechanisms. And the amusing thing to me is that likely means these two would love if that's all most people ever saw of them. (Of course, they clearly do want to be seen and accepted, but defense mechanisms become automatic over time because they often feel much safer. Likely another reason they clash so much - they see each other, and it is deeply uncomfortable for them both.)

So, you have Dazai defending himself with his two-faced nature, making jokes and/or manipulating everyone in the vicinity, and Chuuya defending himself with intimidation and anger, never letting any vulnerability show through because anger is easier but at the core of all of this is that loss and that grief and the sorrow and fear that pervades from it.

[stevebcks]

Okay so I haven’t been able to stop thinking about episode three and especially Ed’s plotline in it (and the final scene of course), so here’s a not so short messy analysis of what I’ve been thinking.

MAJOR SPOILERS JUST IN CASE…

As a short background, we start with Ed almost dead after he has basically been begging the rest of the crew to kill him. First Izzy, when he gives him the gun, then the rest of them when he sails them into a storm, trying to get them and himself killed, but instead still getting what he wanted when they turn against him. We get our final hint at how this is what he always wanted when he says “Finally.” as Jim lifts the cannonball.

And we start with Ed now in this purgatory state. I would assume this entire place is created by Ed since it is so deeply connected to him. And we learn that he also creates Hornigold as a representation of himself, of the subconscious parts of himself talking to him, and he hates this guy deeply.

This place puts the cards on the table for Ed.

“So if you hate me and I am you, then…”

“I hate myself.”

He gets to understand the hate he feels for this guy is really what he feels for himself. But it’s not only that, we see the reaction he has when he first sees Hornigold. He fears himself, what he is capable of doing to others, disgusted by the stories of what Hornigold has done (like Felix’s death) in the place of what he has done.

Everything Hornigold says, is really just his most hidden inner thoughts coming to the surface.

“You’re not very good with people, are you, Jeff?” His biggest fear, the one he has only ever been able to admit to Stede is displayed right there for him. How he believes every bad thing he has ever done is the reason he is unlovable, why he doesn’t have any friends.

“Maybe you wanna strangle me like you did your old dad.”

“How the fuck did you know that?”

“Grown man covered in tattoos. Ay? With daddy issues.”

“I never told anyone about that.”

“But you did, though, didn’t you? And he left you.”

“Fuck you.”

“And it all boils down to this. You’re afraid you are unlovable.”

Not only that but he believes that is also the reason Stede leaves him. Stede leaving puts salt in a wound he was only starting to heal. He once again believes he is inherently an evil person, unworthy of anyone but even less, of Stede.

“You gotta move on, man... or you blow your brains out.” But to some degree, he knows what he has to do in order to continue, he knows that if he really wants to live, to truly live, he needs to forgive himself of the past things he has done. It’s either that or… or what he did which is getting himself killed.

His choice is final (or so he believes…) when he is on the edge of the cliff. Hornigold, or really himself, has tied the rock to his waist and is ready to throw it. And as he said it with the pros and cons list, “I don’t think anyone’s waiting for me.” so there really is no point for him to go back.

“I’m not lovable.”

“And you’re scared to do anything about it. But old Hornigold, he ain’t scared.”

Ed knows, he knows "doing anything about it" is going back to life, face what he has done, fighting for Stede and for the person he wants to be. But his subconscious, his fear, is stronger.

“You’ve made your choice.” Hell, not only is this admitted by Hornigold, we literally see him at the beginning of episode two throwing himself, or really his little cake topper, to the water from the window. And Hornigold, or really his subconscious, throws the rock.

Then Stede finds him.

And when Stede finds him all it takes is for him to remove the towel from his face for him to open his eyes as he sinks in the water.

Him feeling Stede’s presence sparks something in him in this purgatory. And he starts fighting against the rope that he put himself in. But this is a world he has created so he still has control over it, and subconsciously, he still believes he is unlovable, unworthy, he is still not sure he deserves to be untied.

And then Stede starts asking HIM for forgiveness, and he fights and he fights, and he wants this so badly that in the real world he starts fighting too, tapping his fingers against the wood and begging Stede to keep talking, to keep leading the way with his voice. And he does.

As he takes Ed’s hand, he literally also shines a light and illuminates the surface. In the midst of this world of self-hatred, there is the voice of a person who, seeing past everything, loves him.

And the rope unties itself, in this moment his whole self fully believes that he is worthy of love, that he deserves this and he deserves Stede and that he deserves to live. This is Ed allowing himself to have this.

The flashbacks start, Ed remembers these moments and sees what he can still have, thinks “Maybe someone IS waiting for me.” as Stede keeps begging him to wake up.

And then, through the light, he sees merman Stede. And oh, how important this is. He has been seeing Hornigold, the person he hated the most in life, during all his time in purgatory, but now, now the reflection of his subconscious becomes the person he loves the most. Stede, Stede as a sea creature coming to save him. Stede, as a reflection of Ed’s subconscious telling himself, you are worthy of this, you are lovable, and you can love yourself.

The kraken, this fearful sea monster, is saved by the merman.

Stede is finally right there, and when they are finally face to face, Ed reaches for a kiss, and in that moment, he opens his eyes.

[welcometogrouchland]

Hello, another doodle compilation post of everything I haven't posted since the period of May to now that I didn't hate but didn't like enough to post on its own + fanart i made of @catboymoments's fankids Azura and Hyacinth! I'm not normally a fankid person but these guys are a whole moment unto themselves I love them sm. ID in alt text bc it was getting lengthy! Let me know if there's any issues

[oshiawaseni]

Japan’s concept of confession and why Ochaco might not confess

“Confession” is a big deal in a country as subtle as Japan. Not all people have the courage to confess, but when starting official relationships confessions are often expected. This is what I know confessions to be like in the world of manga: Person A talks alone with Person B and shares with them the secrets of their heart. “I like you please accept my feelings.” This usually ends either with them going out or A being rejected by B. The usual reason for the rejection is “I like someone else.”

I’ve been having some more ideas about the day Izuku fell into Kacchan’s arms and how what Kacchan did for him was almost confessional in a way. He told Izuku what was in his heart, why he bullied him and that no matter how much he tried, he just couldn’t escape him. He called him “Izuku” and we saw the impact this had on Izuku’s face. 

Izuku just couldn’t believe that Kacchan was calling his name properly for the first time in 12 years, it completely shocked him, and after apologising for everything, he told Izuku, “Come home, let’s do this together. We need to help each other in this fight against AFO.” 

The conclusion of this confession was that Izuku acquiesced to 1-A’s request for him to return, but it was only really possible because his attachment to Kacchan triumphed over his motivations to stay away. It was Kacchan who broke down his walls with his apology. It was Kacchan who filled him with hope that things would be better, and Kacchan who finally hammered into Izuku how important it was for him to be part of the collective. That his inclusion was very wanted and needed, and that he in turn can rely more on everyone as well. That together, they can push forward, trusting in and helping each other.

I think what hurt Izuku the most during his solo arc was being away from his friends, but especially Kacchan. Because that day in the rain, he literally gave up on his solo vigilante mindset for him. After hearing Kacchan’s unbelievable words he had patiently longed to hear for years, it was impossible for Izuku to stay away from him any longer. As he passed out, he stumbled a few steps towards Kacchan who, without missing a beat, caught him in his arms and gently held him. This embrace told us “From now on it’ll be different. I’m gonna be here for you, Izuku.”

So to recap all of that... Kacchan became vulnerable and spilled what was in his heart, Izuku accepted his desires, with it all culminating in them becoming closer. Which is just like a successful romantic confession!?

I think after watching this all go down, something inside Ochaco clicked. A lot of the class are rushing over to Izuku when Kacchan catches him because they’re just so worried about him, but a few of them, Ochaco included, stay standing back. It doesn’t make much sense at all. But we’re given a zoom in of her without knowing any of the thoughts going through her mind.

They got Izuku back, but she doesn’t really seem all that happy. Momo says to her “this is just the first obstacle we aren’t done yet” and she agrees. Ochaco knows that there’s still more they as a group need to do for Izuku to make his return happen. But the fact that there’s a few panels dedicated to zooming in on her staying put, her almost emotionless face (mirroring Shoto’s) while she’s watching Kacchan save Izuku and his new unbridled intimacy he has with him - could be telling us that there’s something else she’s processing.

Is this moment somber for her because she realised the person Izuku needs the most is none other than the person he has openly admired since she first met him? The very same person who always bared his fangs at Izuku because he was scared him getting close?

Was Ochaco witnessing the beginning of something new between them and suddenly finding herself sidelined as a contender for Izuku’s affections?

Somehow… this could be what it was all about. And that’s why I think there’s a good chance Ochaco gave up her crush on Izuku for good when she witnessed Katsuki return his love and embrace him after that emotionally-charged apology. After this, a more defined distance between her and Izuku appears visible in their next scene together. A respectful distance of Izuku’s own choosing.

It was like a definitive line had been drawn out that can’t and perhaps shouldn’t be crossed. Maybe they both understood that the person Izuku wanted close by his side has always been Katsuki. That desire wasn’t simply a pipe dream to Izuku anymore, it had become reality. And who is Ochaco to get in the way of that?

And then it’s almost like she is bookending Katsuki’s confession to Izuku with a confession of her own about Toga, putting a close to the Izuocha chapter and she makes a comment which feels double in meaning. “I guess that means we are the same.” or You love a boy, just like I might love a girl. (To put it bluntly)

And Izuku remembers this line again after he gets separated from Kacchan and Ochaco is telling him to go. Go back to Tenko. Go back to your Kacchan.

The concept of “knowing how someone feels because you love them and always watch over them” comes up from time to time in manga. In a way, that’s also a reason why Kacchan and Izuku understand each other as deeply as they do and they aren’t afraid of showing it off. They were always watching each other from a safe distance and learning things about each other in this way. I think during chapter 322, this concept is what was happening to cause such a realisation in Ochaco. (And it’s also for this reason Tsuyu, who never had feelings for Izuku, still doesn’t get it.)

It was hard for her, knowing everything she does about Izuku’s deep attachment to Kacchan, to learn that Izuku’s affections for him weren’t one-sided and they were now closer than ever before… That’s why I don’t think she’ll want to get in the way by confessing anymore. If Kacchan’s apology was intended to be compared with a romantic confession, then Ochaco is probably aware that Izuku already “has someone he likes”… and that person isn’t her.

[carnivalcarriondiscarded]

Any tips possibly, for drawing Barnaby’s ears and making them floppy? I find that with how fluffy I like to draw them (similarly to you) it’s hard to show gravity laying them down on his shoulders and such. (Also if you see this I REALLY REALLY LOVE YOUR ART, YOUR HUMOR AND YOUR WAY OF TEXTING AND SUCH AND YOU ARE SUCH A BIG INSPIRATION TO ME IN MANY WAYS!! 💙💚)

i can sure as hell try!!! my scribbling process is very much a Subconscious thing so let me know if all of this is too vague / doesn't make Any sense, cause trying to translate it is Tough

okay so

the first Important thing is to visualize Barnaby's ears as physical objects. they have weight, volume. im just now realizing i could have used Clown's ~official site~ art to help clarify, oops. we'll have to do with my own scribbles. they'll mold to whatever manipulates them - not to the extent of water, but they're plushy.

personally, i view them as beanbags, or half-stuffed pillows - or water balloons. thick, and having a specific Shape but not solid. i always start with the basic shape before adding the fluff, as shown below. the "meat" of the ear, the heaviest part and the most affected by gravity, will distort the most when manipulated, and the volume will distribute

then when adding the fluff, keep in mind that the fur/plush folds with the grain. like if you have a pet, and you press your hand to their side, their fur will kinda bend and be "pinned" under your hand.

also! it helps to test this out yourself. if you have a beanbag, or a water balloon, a pillow with depleted stuffing - mess around with em. study how the shape changes and how the volume distributes. if you have something fluffy (a pet, a funky pillowcase, etc) mess around with the fur/fluff! a strong visual inventory helps So So much with art

speaking of weight and distribution!

i split Barnaby's ears up into two (technically three) parts - the anchor, where the ear attaches to his head, and the ear's weights. the first weight is attached to the anchor, so that one doesn't move much. it's mostly just affected by the ear's main weight, which is So Much Fun to play with.

honestly, the second weight is a beanbag all to itself. it really molds to fit the form of whatever presses against it. like shoulders! idk if the white lines are showing it well, but the ears' distribution usually flows off of the first weight and hits the second, where it kinda "bounces" on or falls around the solid surface blocking it

& the space between the weights (blue circles) is just connective. like, it still has stuff in it, but Less, yk? i think this thin space is good for portraying gravity/weight through how much there is - more = stretch, less + squish.

here's some additional visuals for weight, volume (shown with mesh), and gravity

so just.... yk... keep in mind that his ears have Volume and will fold over itself, bunch up, the basic shape is just Very malleable! his ears are beanbags attached to a fixed point on his head - other than that point, they can swing and squish however!

[herefortheships]

The lack of confirmation of Nobara's status leads me to believe Gege has something planned for her as the end of the Everyone vs Sukuna battle Aka the "Decisive Battle" draws to an end. This situation totally reminds me of the "Enchain" plot thread. It felt for a long stretch of the manga like Gege had even forgotten about the Enchain binding vow.

Except he hadn't.

The hush-hush around Nobara might be due to a similar situation. It might mean that she will be a key player to defeat Sukuna. OR she might be part of the conclusion of the story in a different way like bringing a ray of sunshine and hope to the fandom with just the confirmation of her survival, after Gege breaks our hearts one last time before the manga's end lol.

[puhpandas]

ideal ggy reveal for me right now is some sort of game whatever format theyd use (for example sb vs hw is very different storytelling) about vanny killing dr rabbit and it leads up to the beginning of sb at the end

[bleue-flora]

i didn't remenber cdream had a parrot. Now o need to rewatch. Cdream has a curse or something bc why alll his pets die or are killed

Yea… for real. And most of them have really tragic and strange deaths. :’( It’s no wonder he has such attachment issues, only furthered by the death of his horse then later endangerment of his friends and blackmail…

Here’s the link to the parrot stream

Time stamp for finding the parrot: 2:23:21

Time stamp for the death of the parrot: 3:18:02

Here’s the link to the memorial (which I actually mentioned in my recent Dreamcatcher blooper)

Though to truly understand how tragic it is you should watch the whole section of the stream where he has his parrot, because he really goes through so much trouble to bring the parrot (and Spirit) back home with him.

“I loved him like a son he was a like father to me.” — Dream —