#me when character development

[yougyattabekidding]

little au that came to me mwahahahaha (click 4 better quaity :3)

[the-paper-librarian]

Yeah, 'f course.....

... wanna stop by and see the dragons sometime soon maybe..? Sylvia loves it when you come by.

maybe after I Finnish getting everything organized here...

But sure

[eleventh-mugiwara]

[inkedberries]

expanding on the thought of kudou getting the call sign 'hero' and afo getting irked by it for some reason

[rorynni]

i love how when toya is proud of himself for something he has to immediately tell one of his teammates and make sure they saw

[poorly-drawn-mdzs]

Why are you running?

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[teophan]

a fantastic commission from @themetalhiro of my Dungeons & Devil Fruits 5e Sniper Marksman, Vinsmoke “Starfall Gunner” Beretta!

it was an absolute treat to work with you, looking forward to the next opportunity to do so!

[jq37]

I am feeling a way about Aelwyn continually inviting Adane to hang out at her apartment even though it's a disaster area with her ten ornery cats and scattered microwave dinner trays. I know a part of that is Brennan just wanting a reason to show the audience the very funny contrast from, "I came here to fuck!" to "Nooo Hector :(" But there's also something to her being like, "I want you here with me even though it will entirely ruin any possible remaining mystique around my cool girl persona"--something she absolutely still cares about in a general sense as she tells Adaine not to tell Fabian anyone else about what her apartment is like. It's one thing to be nice, but it's another to be vulnerable, especially when you've been raised in such a way that every weakness was used as a future attack--so much so that her entire brand of magic is protecting herself and not being vulnerable.

[canisalbus]

What would adult Machete look like without his signature eye marks?

Like this, more or less? Also intact ears. He'd still have vascular dark circles.

[horrorshow]

DEAN looks at SAM for a second with surprise and then shrugs in agreement.

SUPERNATURAL 3.09 Malleus Maleficarum

[elodieunderglass]

I haven’t watched Dungeon Meshi, but I always enjoy the dashboard osmosis experience and have a peculiar visual memory. Here is what I believe Dungeon Meshi to be mostly about. No complicating experiences with the text, or indeed character references, fed into this extremely clear vision, which I believe I torrented directly from the astral plane at the same time as the creator was logged on

[jessmalia]

JO AND MAL AES IN TV AND FILM: 80/? Doctor Who | Doomsday (2x13)

[lazylittledragon]

What music would your tavs listen to? Like what's their music taste like?

this is a GREAT question thank you so much

dorian - a lot of folk music/folk rock and also lofi/bedroom pop

ashe - 2000s pop punk/emo

cyra - metalhead.

[the-overanalyst]

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

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

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

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

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

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

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

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

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

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

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

[momentomori24]

I may just be insane about this but does this feel like foreshadowing to anyone else. In this scene we see her trying to replicate the skill of someone else (her mother) and failing to achieve the same results that they would. That feels really specific and it's driving me insane.

Like, we see this come back again in the aftermath of the trial. Diana has repeatedly voiced her admiration for Wolfgang's ability to speak and inspire those around him in the darkest of times, saying she wished she could do the same. We see her pour her heart out and give her own speech to inspire the others-- except the reaction that she receives is cold and miserable, far from the newly kindled warmth and hope Wolfgang was able to create every time.

Diana is a chameleon. Her whole thing is to reflect, to replicate and to adapt. Do you think that this small scene where she tries to make a butterfly out of her hairclips-- a butterfly, an animal associated with transformation and change-- and the end result looking nothing like what she wanted it to be is a metaphor for her future character arc? She has declared that she wants to follow in Wolfgang's footsteps, wants to become something new, but do you think that by the end she ends up being the furthest thing from him? Do you think that by the end she will be left distorted, fundamentally wrong? Do you think that if she could see what she will become in the future, the only emotion that she can muster is horror as she gazes at a stranger that's supposed to be herself? That by the end, she won't be able to recognise herself, because there's no "her" left anymore?

[ube-bluebay]

i have a problem

really long rambling in tags