#this probably is incomprehensible but like

[fryday]

trying not to think about why dan wanted phil to send him a photo from his pov anyway despite knowing it wouldn't show anything. probably so he could draw a circle around roughly where he was and send it to him saying "i am here waving" which phil would've responded to with an incomprehensible dnp equivalent of "cool love you" like a paper clip with slam effect or something

[archie-sunshine]

bayverse and knightverse r separate tho? the backstory on cybertron is completely different, bumblebee has a completely different story arc and lost his voice by different mechs, optimus has two opposite idealogies— altho if ur just against drawinf complex live-action robots, thats valid. i just dont understand when ppl group the two continuities together, theyre so distinct to me!! and knight and bay have 2 different visions for what the tf franchise is like. knight's 2018 movie was character driven and the bay movies r action focused. anyway sorry for the ramble i just think theyre v different and i love knightverse but hate bayverse

again if its just "no live action" thats valid and ill sit down

alright alright now slow your roll speedracer theres no reason to get defensive! Its okay, im sorry for not knowing the difference between the two, TOTALLY didn't mean to, i havent often heard knightverse referred to as such

see, my problem with the live action movies isnt their plotlines (i havent seen them except for bumblebee and rotb) its their designs.

so youve probably followed me for a bit, but even if you havent youve seen the way i draw. its all pretty simple shapes and i dont typically draw anything too terribly detailed, right?

And the opposite of that is the transformers live action designs. even the newest movie, ROTB, with characters i know and really like are a struggle. i very rarely draw mirage for that exact reason, there is JUST. TOO. MUCH. DETAIL. I personally find their faces, up close especially, a little bit incomprehensible, so if i wanted to consistently draw them i would have to pare down the details, and stuff would get lost, and jumbled, and they might not end up as recognizeable.

I typically stray away from the live action designs for that reason, not out of any malice.

[nonebinary-leftbeef]

DEVASTATING the lyric you've been mishearing is better than the real one

[nethnad]

thinking about time lords and their fucked up little society again and i just realized how devastating the revelation of the drums in the end of time is in relation to the master's character.

because of all the renegade time lords in the universe, i think it's the master who most exemplifies the philosophical outlook that the time lords have towards the rest of the universe. they're stuffy observers, administrators, yes - but this position is one they've decided for themselves because of this concept of supremacy over other life forms. imposed and upheld this idea that other species that lack a time sense are less-than, primitive. and the master buys into this hard.

and i mean... compared to the doctor, the master is good at being a time lord. he buys into these supremacist concepts, this idea that every other species (and especially humans) is practically a meaningless ant in the grand scheme of the universe. takes it to the extreme, yes, but its the same underlying principle. he's a good student (despite whatever chibnall might think) - that one time lord from terror of the autons (identity forever a mystery) (its brax) even says "he did receive a higher degree of cosmic science than you." the master could play their game if he wanted to. he's remarkably comfortable with being on gallifrey/the idea of gallifrey(in eot/tlotl) than the doctor ever is. where the doctor avoids the subject of the lord presidency like the plague, the master is like "well if you kill the president you ARE the president! and then you have all of gallifrey!" and when the doctor destroys gallifrey (nominally), the master tries to rebuild it in the sound of drums/last of the time lords. tries to emulate their society. honor them in his little fucked up way. he brings them back from the time war!

and what does he get for it? how did the time lords treat him in response?

they decide to implant the sound of drums in his head, stretching back until he's a child. puts this insufferable noise, this splitting headache, in his head for his entire life. all so that they may live while he dies. because he is diseased, because of them. he has swallowed the pill, bought their propaganda, he has followed the rules, he tried to rebuild them he tried. and in response he is chewed up and spit out like trash so that rassilon's god complex can survive while the universe crumbles.

how crushing must that be to someone? to have your whole worldview - that you are better, you are chosen, you are special - come crumbling down in a few short moments? to see the revered founder-god of the civilization you have so desperately tried to revive look at you and say "you are diseased," even though he was the one to poison you in the first place?

and as his heart is torn to pieces... when rassilon says "no more," and charges his gauntlet, the master - who has spent countless lives fighting death with his bare hands - does not move.

part of me thinks he does not want to.

[starphenie]

whenever i think of how nikki's personality has changed from her first game to her latest i get so emotional.. bring back silly lazy genki girl nik </3

[thermodynamic-comedian]

i feel like yet another reason why count olaf is an interesting villain is bc he is so fucking...unwell.

like, they never once pretend he isn't an absolute mess. that's like. his entire character.

bc i dunno about yall but sometimes i get bored with organized, clean, proper villains. villains that have their shit together are so much less funny than villains that are very obviously at their lowest and will make it everyone else's problem. count olaf was my first experience of that kind of villain, and oh boy, he's a good example of that entire genre of character.

the fact that his plans and schemes suck and never really work out and lead to him having to improvise his way out? that's way funnier to watch than him actually succeeding.

and it's way more interesting that he's bitter and angry and irrational about his trauma, than villains who are given a tragic backstory and then immediately redeemed because of that.

maybe i'm just a sucker for tragedy (isn't every asoue fan?), but i personally love watching him regress into seeking approval the second his mentors show up, or seeing him have that small moment of false hope when he doesn't shoot the harpoon gun, only for it to be immediately tainted by dewey's death. i love it when we get to see just how human he is by seeing just how unwell he is.

i love it when he's sooo messed up tbh. bbygirl i love u for ur tragedy and comedy.

[21stc3nturyd1gitalb0y]

have you ever decided to diy bottle cap pins for your battle jacket and painted one as a record because it’s circular and a simple design and you chose red and black because your jacket theme was red and black and then you post your jacket in various online punk communities not realizing that your pin unintentionally looks like the the t shirt of a homestuck character and now people are commenting homestuck references and you’re super confused so you ask your chronically online homosexual boyfriend who likes homestuck bc of course he does and he infodumps to you about homestuck but apparently there’s a surprising amount of overlap in the punk rock scene and the homestuck fandom so now people are following you and dm-ing you as if you’re some kind of punk homestuck icon and now you don’t know how to come clean that the resemblance was coincidental and you actually don’t know shit about homestuck…?

cause i have

[posletsvet]

Satoru Gojo and the Infinity That Sets Him Apart

Throught the flashback arc that opens JJK'S second season, the story goes to great lengths to make us sympathize with Geto. We are privy to the inner workings of his mind when he faces personal catastrophes of his youth, and it grants us a profound insight into how his mental/emotional state deteriorates in response to a painful realization that later comes to define his entire life. Gege found a way to turn Geto's tendency to internalize his experiences into a narrative tool, the mechanics of his Cursed Technique becoming an apt metaphor for it, and that's one truly astonishing writing.

But what about Gojo? After all, it's his memories that play out before our eye as he daydreams, and Geto is no longer an active force in the narrative, so the arc should be introduced in the first place to shed some light on Satoru's character and highlight certain aspects of it. However, while the narrative goes out of its way to humanize Geto by exposing his interiority to the audience, it seems to bit by bit deny readers access to Gojo's mind until Satoru is entirely closed off emotionally at the end of Hidden Inventory Arc. From that point on, any reading of his words and actions can be as good as the other since personal interpretation is all that is left to us to try and understand what lies behind the appearances (I guess that's precisely why there are so many widely different, conflicting interpretations of Gojo out there). What process Gojo's character undergoes throughout his past arc is, essentially, dehumanization.

Let's take a look at Gojo as he is in the main, present timeline. Pretty much as any other person in Gojo's vicinity, the audience can only observe him from the outside, always held at an arm's length away from his interior thoughts and emotions. Whenever we do get an insight into his mind, it's mostly for a solely practical purpose of keeping the readers informed about the direction which the fight is about to take, with Satoru's internal monologues consisting almost completely of him dryly strategizing against his opponents.

Even Gojo's design is set to dehumanize him, teasing the audience with how much it conceals and how little it allows us to derive from what we see. Plain black clothes, long sleeves, long trousers, high collar. Barely any skin exposed, scarce detail, completely colourless expression. To crown it all, his blindfold -- we do not get to see his eyes. Eyes mirror the soul, they communicate emotion which our words fail to. Eye contact is a primal tool of non-verbal communication because of how much our eyes alone can give away about our feelings. With Gojo's eyes perpetually hidden under his ever-present blindfold, there's an additional layer of protection, another hindrance to our understanding of his state of mind. A simple piece of cloth adds to the distance preventing access to Gojo's direct perspective, as impenetrable as trying to look through a blindfold would be for anyone but Gojo himself. The same could be applied even to his height: people around him are required to reach up with their gaze in order to look him in the face. Once again, this choice in his design strives to communicate one thing: you cannot meet him at his level, there is a palpable distance between where he stands and where you are. Everything about Gojo feels almost impersonal, evasive, further increasing the extent of his alienation.

There's an interesting connection found between Gojo's technique, his need to cover his eyes and the narrative distance that does not allow us to get any closer to his character. It's precisely when Gojo puts his mind to perfecting his usage of the Limitless that an unbreachable impediment settles between him and the people around, resulting in him and Geto from that point on being forever unable to get through to each other. With his technique taking a toll on his body by becoming more overwhelming to use after such a rapid increase in power, it's also when Gojo starts to wear his shades all the time. And whereas before we were allowed to look past the tanned spectacles and see his eyes, read the emotion in them, now we're denied even that much. It's probably a short after Geto's defection when Satoru switches to a blindfold, indicating how he completely shuts off emotionally. Just as Geto's Curse Manipulation stands as a metaphor for him repressing his feelings till the breaking point, Gojo's mental state is reflected through the physical appearance, too. Him physically distancing himself from everything within the world around him with his Limitless technique sustaining an uncrossable invisible barrier around him and his blindfold hiding his eyes from the viewer is also how his emotional detachment is established on the meta level of the narrative.

Since Geto's defection, Gojo's defenses are breached in the main timeline just once, and that is during Shibuya Incident Arc. It's barely a coincidence that, as the Limitless falls short and the ever-present physical distance is crossed sharply with the Prison Realm reaching Gojo, the emotional distance is immeadiately eliminated, too.

All defenses down and the memories of his youth flooding through the cracks, Gojo suddenly isn't numb to all the hurt of his past mistakes and what it cost him and the people around him; all the ache of losing his best friend not once but twice and being utterly unable to do anything about it still weighs on him. Neither is numb to all of it the reader, not anymore. The narrative 'catches up' to Gojo at this moment. It was an alienating, almost inhumane experience to never get a sight of Gojo's emotions when it mattered the most, at the pivotal events of his life which come to shape him as a character and as a person. We were simply denied that intimacy. But with Satoru's physical body made within reach and his mind suddenly transparent, laid bare, the delayed heartbreak is alive and present as ever. The weakness of his human heart is exposed, but it required crossing the Infinity to get to his heart.

The physical distance is only breached because the emotional one is eliminated beforehand. However, we finally get to catch a glimpse of Gojo's true feelings because something within the world was able to reach him physically, penetrating through his Limitless technique. The two are the sides of the one coin, they go hand in hand within the narrative, ultimately rendered inseperable by it. At the end of the day, the body is the soul and the soul is the body.

I've started writing all this well before the spoilers for the last chapter came out, but what we see in it, at least how I personally take it, speaks in favour of pretty much everything I've been talking about above. It's somewhat notorious how little emotional impact Gojo's fight against Sukuna lands. Until now. Until Gojo's Infinity utterly fails to prevent his body from taking the damage. Once again we gain insight into his interiority the instance he's physically exposed to the world. With Gojo's invulnerability ultimately overcome, the narrative grants us access to his inner feelings and thoughts one last time. Satoru's heart is an aching wound split open one last time.

[moongothic]

...I... I do not know what on earth compelled me to make this nor why, but I will not be taking criticism at this time

[furiosophie]

okay i put this in the reblogs of the "personal nightmare-tester hob gadling" post before but i just thought about it again so

imagine dream after being cut off from ppls dreams for over a century coming back and struggling to figure out what's "trendy" rn, like what do ppl wanna dream about these days? what are they afraid off?

and literally the only person he knows who could reliably tell him that bc he's lived among humans for six centuries and has the context for what the fuck is going on with them is, you guessed it, hob gadling

so dream just shows up at random asking him the wildest questions like "hob gadling what is cbat and why are humans having sex dreams about it" and hob is just standing there like pls it is fucking eight am i didn't even have coffee yet

like hob just graduates from personal nightmare-tester to personal dream-trend researcher, and it's just an endless string of "no dream i will not teach your nightmares how to floss that's not even a thing anymore" and "what do you mean can you confirm if this nightmare Iooks like slenderman pls it's two am" or "no dream i do not know why everyone is horny for that four foot tall zombie woman-- wait hold on why are you getting big oh-- oh yeah okay alright i get it"

[oldworldghost]

Had an angsty thought about P falling in love with reader whose staying in the hotel and using that as a sort of motivation to continue to try and become human because lord above he wants nothing more than to actually feel for them, like really feel for them, and he's fairly sure that [for reasons he doesn't quite understand] that the "love" is mutual. But also reader has such unstable attachment issues that don't really manifest in a noticeable/harmful way until P actually confesses his feeling for them and reader just fucking. breaks his newly formed heart because holy shit they cannot do that. Readers so convinced they can't love him in a way that's good, or at all really, and P is so so confused and upset because reader has been acting like what he thought someone in love would act like. And P still feels such a strong disconnect between himself and humans still because even if he is human now he obviously still doesn't understand anything about them and-

[moonlessbeast]

Not to talk about Bugsnax several years after it came out but why the fuck did Eggabell say “Filbo’s… Buddy” like that before they three headed up to the puzzle in Frosted Peak. Were The Journalist and Filbo fucking and we just never knew? Did she think they were fucking?

[icecreamsodaaaaa]

Thoughts on different dragons having cultures and different languages?

[why-the-heck-not]

I miss my dear sweet buddy python that u can just sort of fuck around & find out. With C++ it’s fuck around & …

…”so u have chosen DEATH??”

[sentientsky]

the cicadas are singing somewhere outside and your heart is in your throat and he's looking you in the eyes with something resembling trust and you don't know if you deserve it. your vision's gone all kaleidoscopic and dizzying, the crowd dissolving into fractures of light and cacophony. and still, he's handing you the gun. you feel an oil slick settle under your skin, feel it sizzle and spit in the incandescent heat of a stage turned colosseum, turned hallowed, wretched ground wherever the light finds purchase. you're a demon and he's an angel and neither one of you has ever known the shape of sickness, never felt it settle in the wing-span-bird-hollows of your bones. but you know it now; know the way it slithers, acrid and vicious, carving into the gore of your esophagus. you know it now like an old friend; like the swoop of pale eyelashes against skin; like the slope of his throat, and the way his voice rises at the end as he speaks prophecy into being: aim for my mouth. his mouth—his soft/slanting/beautiful mouth, so far away from your own. fear strings itself between the rungs of your ribcage, burrows deep into aorta and vessel and gore.

but shoot past my ear. and he says it as though you've ever held a weapon with any trace of volition; as though you wouldn't rather face destruction than watch him come to ruin, than let his blood be on your hands (centuries spool out before you, and you're standing in a darkened theatre with a make-believe king and a thane and a ghost. and you can see the woman stained with blood no longer there. you watch the way she tears at her own flesh, scrubs it raw as though she might be made holy once more. the space between your shoulder blades ache). you don't think you could hurt him even if you tried. but the stage lights are so sickly and you're choking back bile and he's a million miles away from you. there's something cracking apart in your chest. the night is heady—the cicadas still sing outside. and you're trembling. you're so close to calling it all off, to pulling him into the wings and out into the amnesia of a heavy night. exit stage right, and all that. but then, trust me. and there it is. it crashes into you with a devastating, inevitable certainty. you'd do anything he wished. you'd rend the sky apart with your teeth. you'd reach into your chest and hand him your all-too-human heart, if only he'd ask. so you hold your breath. you aim. and you pray.

[themidnightwitch44]

This is even more unhinged than my falsettos costume analysis bare with me

The placement and use of and VISIBILITY of actors mics can actually impact the story.

For this I’m using Falsettos and Hadestown to compare/contrast.

(And like… obviously budget and people and a ton of tech factors probably go into this, I’m simply looking at this from a narrative standpoint)

For a lot of big professional productions (like Broadway), the actors personal mics (I’m gonna call them body mics) are in their hair. There’s a few moments in the Falsettos pro shot (I think specifically in act 2?) where you can see them. But like… I only saw them because I was curious about WHERE their mics were placed.

On the other hand, everyone’s mics in Hadestown are SUPER obvious. Like… high school level production obvious. And sure, it could be a budget thing, but I genuinely doubt it.

I genuinely think that in Hadestown, SEEING the mics makes sense, because we KNOW it’s a story.

We are TOLD that it’s a story.

And what’s a good way to show that other than to not hid mics?

And on the other hand in falsettos, everyone’s mics are hidden because one (1), common practice, and two (2), we’re not as much watching a story play out in front of us like Hadestown, watching an intentionally replayed tale, but we’re watching lives, we’re watching people LIVE