#prepers

[skyadv-blog]

[sepiamestus]

This fucking thing

[pocketfullofjoltiks]

MARINA Chikazawa blessing the Joltik nation in these trying times

[maria-is-stupid]

Everyone copes differently. I, as an example, like to draw.

[johnnyshrine]

★ 097 // "Summoning Circle Offering" // Do you want to make the Steel Ball Run anime announcement real on JoJo Day? I'm creating a real, physical summoning circle to will it into existence, and you can help me in my mysticism! Learn more and submit your own offering here!

Reference:

[shitpostingkats]

It's possible I'm reaching a bit here but I find it interesting that, in their boss fights in bbs, Xehanort manipulates the rock and dirt of the graveyard, while Vanitas utilizes the actual keyblades left behind. For one, it's foreshadowing for the characters they're about to fuse with: Xehanort using earth, Vanitas doing a sort of jetstream aerial attack, the preferred element of Terra and Ventus respectively. But also, they're literally each using half of the world against out heroes. Vanitas is the Keyblade, and Xehanort is the Graveyard.

[taccoman]

Prototyping 👀

[faela0]

Vodwatching yesterdays session from Kab’s perspective was so interesting because we don’t often see Kab and Clown interact on Lifesteal

What struck me the most was Kab’s dm to Clown ‘dont sacrifice yourself for them’, ‘they aren’t worth it’

It implies that Kab values Clown life over killing Mane which is crazy because she’s wanted him dead for months now, and shes asked for Clowns help with dealing with him before.

But “they” can be interpreted in two different ways: the Empire and the Blindfold bandits.

Don’t sacrifice yourself for the empire, helping them isn’t worth your life (It’s in a sort of superior way, like your life is more valuable than theirs, save yourself and get away before you die too)

or

Don’t sacrifice yourself for the empire, killing mane isn’t worth your life (In a concern type of way, I want to see you live more than I want to see Mane die)

The difference is very minimal but it speaks to how she views Clown, and either way the message remains the same - get out of there before you die like Zam.

Like it’s a small over minecraft chat interaction but it goes to show how much Kab cares and trusts Clown and gives insight into why she was so insistent that Clown would always have her back even when he wasn’t active on the sever. It’s obvious she cares for him a lot otherwise she wouldn’t have willingly sacrificed the opportunity to kill Mane out of concern for his life.

Question is, is it reciprocated? Kab obviously carries that strong bond she and Clown has into Lifesteal, and I would’ve expected Clown to not do the same so its surprising when earlier in the stream he straight up reveals his big plan to 1v3 them to her since he didn’t have anything to gain by telling her that. But ended up benefitting anyway since Kab offers to strike a deal with Sb for some god apples.

This entire conversation, they acted more like teammates than anything because they just have a weird almost unconditional trust in each other that doesn’t come with being just allies, which is important since we know that Clown is very willing to team with kab “once she proves herself”.

The notch apple thing also made me realise that Kab has a weird thing with helping people. She generally asks if she can help a lot (twice to clown in just one stream, and all those times shes asked Zam) and it’s such a striking difference how she treats Clown compared to how she treats Zam, who she imposes her help on, as opposed to Clown who she offers it to. Especially since she wants Zam to fufill that role of her protector that Clown is usually in.

This was just a bunch of yap lwk, but kab is interesting

[plushpyromoved]

YIPPEE!!!! LIL POOTIS S2 TODAY!!!!

[rpfofficial]

[Lead singer of The National, Matt] Berninger was no different from so many others of his generation, tuned in to MTV, listening to terrestrial radio, borrowing an older sibling’s music, absorbing all that he could. Springsteen, Prince, Madonna, the giants of the time, were seemingly omnipresent, blown up to an unprecedented scale through the increased visuality of popular culture. One day, though, Berninger would be on a stage with his own group, covering “Mansion on the Hill” from Springsteen’s Nebraska album.

“I didn’t actually hear Nebraska until a couple of years after hearing Born in the U.S.A.,” he went on, “maybe freshman year in college. But out of sequence. That’s when I think I was like, there’s more to Bruce Springsteen than this cultural giant I’m seeing. I mean, Born in the U.S.A. was this Madonna-level thing. The discovery of a record like Nebraska, after the ubiquity and endless singles of Born in the U.S.A., was particularly striking.” In the process of taking in the superstars of his adolescence and then learning that some of them, like Prince, had prehistories, Berninger also learned that there was only one artist with a record like Nebraska.Nebraska wasn’t some obscurity from an earlier point in the artist’s career, a collection of outtakes or relics, nothing like that. It was Springsteen’s sixth official release, the follow-up to his first number one album, The River.

“To hear Bruce Springsteen in such an intimate way, no drums, very simple instrumentation, was surprising,” Berninger recalled. “It was like, ‘What? What is this? Can you do this?’ It wasn’t just the fact that it was a magical record in terms of its scenes and characters. It was the idea that a major rock star could make something just in his bedroom. It exploded so many of my received ideas and told me that, maybe…maybe I could be a musician.” Berninger wasn’t the only one who took it that way. However different in scale and effect, Nebraska did for some what the Beatles’ appearance on The Ed Sullivan Show in 1964 did for so many at that time. It said, “You can do this.”

“I think Nebraska set so many bands on their way,” Berninger insisted. “Every band that went after a lo-fi, DIY kind of thing. Pavement, Silver Jews, Guided by Voices, all the early indie stuff. I think Nebraska was the big bang of the indie rock that was about making shit alone in your bedroom.

— Deliver Me From Nowhere: The Making of Bruce Springsteen's Nebraska, Warren Zanes

[lucica-stuff]

Klaus: I just realized I haven't died this week.

Ben: It's only Thursday there is still time.

[senatrosims]

Ohh, this SRWE method for screenshots is MUCH better!! ◝(ᵔᗜᵔ)◜

[shadowmiilk]

app is avalible for update in the google play store (unsure ab apple store, ive got an android) update your apps !!!!

[auko-teatime]

[ Cowboy, hi!!! Lets swap hats!!! Pointy hat for you :). ]

[ Got any outstanding opinions and-or 'teas' on your fellow shopkeepers? (That's how the slang works right?) What's a cowboy doing in a jungle anyways? Or is it just a style thing? ]

"Oh? How stylish!" "Opinions? Tea? Hmm, nothing exactly comes to mind. Tulip is my main supplier, and me and Tai are good friends. Everything here is pretty tame compared to when I, uh, lived in Plainstown." "I... Came to Turitopolis not too long ago. Plainstown wasn't always very, er... quiet... when I lived there. It emptied out after some, uh, 'things' happened."

[pockethep]

Now that JJK 271 is out and had...an ending...I have one issue and question.

Why are people trying to force a narrative that most Shonen endings are bad?

Haikyu!!, Slam Dunk, Assassination Classroom, Mob Psycho 100, Dororo, Gurren Lagann, Zatch Bell, the ending of Chainsaw Man part 1, Trigun, Ashita no Joe, Gintama, the JJBA endings (especially Steel Ball Run and Stone Ocean), Golden Kamuy, Azumanga Daioh, Beck, Pandora Hearts, Great Teacher Onizuka, and way more than I can list all had great endings.

Heck, Full Metal Alchemist, a manga that many hold in especially high regard, is widely regarded to have a perfect or near perfect ending.

I have my own issues with the jjk ending, but some of them stem from issues I've had with the manga for a while so it wasn't surprising for the issues I've been having to crop up at the finale, especially given the rush to get there. But there are so many people quick to bash the entire category of manga. The examples of bad, mediocre, and/or controversial shonen endings are often just very well-known series so of course when they end people are loud about it.

As unsatisfied as I, and many people are, with this ending I feel like it was almost inevitable. Gege's health took a steep drop towards the latter half of the series and even more during this final arc. (I still swear by the fact that most manga, especially jjk, should be on a monthly format instead of weekly).

At the end of the day, endings are hard. You have to wrap up multiple threads in a succinct and satisfying way, and this is even harder when its a long running series or a series with a LOT of expectations. Coupled with the deadlines, restraints, and meddling most mangaka face when writing its a difficult task to wrap up hundreds of chapters in just a few.

Anyway it really has been our Potential Kaisen.

[koszmarnybudyn]

Slightly changed my d00d design recently.