bokunoherokomikuko

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Do you ever think Aang wakes and forgets he isn't a hundred years in the past...

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Warning: Not A Gamer

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I have finally watched naruto at the tender age of 25

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The typical RG experience, as always :')

"so excited to watch RWBY volume 9" I exclaimed with joys! I was then shot 57 times

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They are the cuties ever

gah babies..

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Naruto to his kids: Yeah, so I went to the moon to save your aunt Hanabi and then me and your mom got together

The Kids: ???? What even is your life??

Naruto: Yeah I don't know, I guess it was because I was a child of prophecy lol

Kids: Wait. "A?"

Naruto: No yeah, they uhhhh kinda dropped the ball on that one. A lot.

Kids: Is there anything else we need to know??

Naruto: Chakra's from space?

Kids: Okay now you're just making shit up

Naruto: But it is! It's like alien space tree juice, and the ancient people ate the chakra fruit and then we had chakra and also some guy married the alien it came with, and she was sealed on the moon, until another tree that sucked out the chakra from people unsealed her from the moon and me and your uncle Sasuke beat her by being sexy

Kids:

Kids: ....

Naruto: ....

Kids: .....

Naruto: .....

Kids: Okay but what ab--

Naruto: Your uncle Sasuke has his older brother's eyes in his face

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If you hear loud and distant sobbing, that's me

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And every time he gets into some wacky new shenanigan, people put the onus on Guy like he's the reason Kakashi does anything remotely silly, but it's the way that anyone who has come to know Kakashi just understands that no he's just Like This™

And Defend that silliness of his is the weird yet heartwarming part

Mans is old, tired, and wants to get into some krunk shit, and we thank him for it

After retirement, Kakashi becomes the Snoop Dogg of the Naruto world. And by that I mean, universally beloved icon with a maybe shady past who is always doing the randomest stuff.

Just side-quest after side-quest.

He's at a political summit in Iwa one minute, the next he's on a cooking show. He's a commentator for international sporting events, he's organising disaster relief efforts, he's making cameos in B-list movies, he's a member of the hokage's cabinet.

And who's going to stop him? Man speedran his shinobi career, he's done - he's finished the game. He can officially do Whatever the Fuck He Wants. You try telling war hero, soldier-since-he-was-5, and former ninja prime minister Hatake Kakashi he can't go on a hot spring world tour or invent ninja WWE. That's right, you can't.

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i love them ( based off this https://x.com/yaimmajunhaya/status/1872062824379506867 )

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thinking again about TvTropes and how it’s genuinely such an amazing resource for learning the mechanics of storytelling, honestly more so than a lot of formally taught literature classes

reasons for this:

basically TvTropes breaks down stories mechanically, using a perspective that’s not…ABOUT mechanics. Another way I like to put it, is that it’s an inductive, instead of deductive, approach to analyzing storytelling.

like in a literature or writing class you’re learning the elements that are part of the basic functioning of a story, so, character, plot, setting, et cetera. You’re learning the things that make a story a story, and why. Like, you learn what setting is, what defines it, and work from there to what makes it effective, and the range of ways it can be effective.

here’s the thing, though: everyone has some intuitive understanding of how stories work. if we didn’t, we couldn’t…understand stories.

TvTropes’s approach is bottom-up instead of top-down: instead of trying to exhaustively explore the broad, general elements of story, it identifies very small, specific elements, and explores the absolute shit out of how they fit, what they do, where they go, how they work.

Every TvTropes article is basically, “Here is a piece of a story that is part of many different stories. You have probably seen it before, but if not, here is a list of stories that use it, where it is, and what it’s doing in those stories. Here are some things it does. Here is why it is functionally different than other, similar story pieces. Here is some background on its origins and how audiences respond to it.”

all of this is BRILLIANT for a lot of reasons. one of the major ones is that the site has long lists of media that utilizes any given trope, ranging from classic literature to cartoons to video games to advertisements. the Iliad and Adventure Time ARE different things, but they are MADE OF the same stuff. And being able to study dozens of examples of a trope in action teaches you to see the common thread in what the trope does and why its specific characteristics let it do that

I love TvTropes because a great, renowned work of literature and a shitty, derivative YA novel will appear on the same list, because they’re Made Of The Same Stuff. And breaking down that mental barrier between them is good on its own for developing a mechanical understanding of storytelling.

But also? I think one of the biggest blessings of TvTropes’s commitment to cataloguing examples of tropes regardless of their “merit” or literary value or whatever…is that we get to see the full range of effectiveness or ineffectiveness of storytelling tools. Like, this is how you see what makes one book good and another book crappy. Tropes are Tools, and when you observe how a master craftsman uses a tool vs. a novice, you can break down not only what the tool is most effective for but how it is best used.

In fact? There are trope pages devoted to what happens when storytelling tools just unilaterally fail. e.g. Narm is when creators intend something to be frightening, but audiences find it hilarious instead.

On that note, TvTropes is also great in that its analysis of stories is very grounded in authors, audiences, and culture; it’s not solely focused on in-story elements. A lot of the trope pages are categories for audience responses to tropes, or for real-world occurrences that affected the storytelling, or just the human failings that creep into storytelling and affect it, like Early Installment Weirdness. There are categories for censorship-driven storytelling decisions. There are “lineages” of tropes that show how storytelling has changed over time, and how audience responses change as culture changes. Tropes like Draco in Leather Pants or Narm are catalogued because the audience reaction to a story is as much a part of that story—the story of that story?—as the “canon.”

like, storytelling is inextricable from context. it’s inextricable from how big the writers’ budget was, and how accepting of homophobia the audience was, and what was acceptable to be shown on film at the time. Tropes beget other tropes, one trope is exchanged for another, they are all linked. A Dead Horse Trope becomes an Undead Horse Trope, and sometimes it was a Dead Unicorn Trope all along. What was this work responding to? And all works are responding to something, whether they know it or not

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OP, you could just kill me, it'd be kinder than this AGONY

I'm losing my mind.

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Excuse me while I

Okay, can we talk about the fact that when Ruby thought she "killed" Oscar, that is when she broke. She just lost it after that. She fell over and you could feel the weight when she hits her knees. It just shows that Ruby really does care for him and if something happened to him, she probably wouldn't be able to go on....

Love and grief are two sides of one coin, and Ruby's fatal flaw is her grief. It is the force that both spurs her to action, and that which is her greatest weakness. This doesn't simply manifest as fighting for those she's already lost (her mother, Pyrrha, Penny, etc.), or fighting to protect those she hasn't lost yet (per her silver eyes: the preservation of life). These aren't just goals or missions; they are the reason she became a huntress in the first place. They are what Ruby Rose is. Except, after all that she has been through by the time she arrives in the Ever After, these foundations that she built her self image upon have withered.

Ruby's desire to honour those she's lost and protect those she hasn't has twisted into a much more insidious thing. A belief that she must save them, that she alone is responsible for it. Except, with every lost friend, with every failure, those fears have taken on greater power over her. They've shifted into the belief that - not only can she not save anyone - but that she is directly responsible for the deaths of those she's lost. That every time she tries to do the right thing, she will just cause more harm than good.

It is a fear so paralyzing, that she becomes unable to lift up her weapon - an extension of her self; a symbol of her identity - at all, lest taking action bring about what she fears most once again.

And then Neo goes and proves her right.

And of course she uses Oscar to do it.

In the Dojo Scene in V5, Oscar is the first - and for a while, only - person to get Ruby to open up and be vulnerable about her fears and the weight of her burdens. He is the only one to see through the façade she puts up before it's too late. That scene kicks off their relationship as something unique, showing us that Oscar is close to Ruby in a way that differs from the rest of the cast. A closeness that only grows with every show of mutual support between them, with every instance of Oscar noticing Ruby struggle where others have failed, and with every moment where their attachments to each other are tested. Also, it's no coincidence the core issue that Ruby bonds with Oscar over in the first place is his fear about the merge: a curse that slowly strips away Oscar's agency, autonomy, and identity.

I think I've said before that technically Neo could have used an illusion of anyone's death in the Tea House Scene, but that's not really true. To anyone paying attention, you know what's going to happen before the cane drops. Because Ruby is closer to Oscar than she is with others. Because Ruby is fighting desperately to save those she loves, while being terrified her actions might be the very reason she loses them in the first place. And while Ruby is wandering around the Ever After looking for a way home, Oscar is a world apart form her fighting with a curse he feels he is losing himself to; a fate that Ruby has no power to protect him from.

So of course it was an illusion of Oscar's death at her own hands that pushed her to her breaking point. He is the embodiment of her attachments (her greatest strength) and that which she fears losing the most (her greatest weakness), because he is the one she is most likely to lose if they can't win this fight.

It was always going to be Oscar. It was only ever going to be Oscar.

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Does OP know they've taken out every WK shipper within an Earth-sized radius?

I don't ship White Knight but the idea of a complete reversal from the dynamic at Beacon is DEEPLY funny to me.

Like cause to one side you have Weiss who has just discovered that Jaune is the fairy tale hero she crushed on her entire childhood, the literal legendary knight who she would play pretend 'saving' her from her lonely isolation. And on top of that she has discovered that he will also remain SMOKIN well into his forties and show a superhuman level of caring and devotion to those he loves. Of course she wants to Get Up On That, and hey it's been an appropriate amount of time since his last girlfriend died and he was SUPER into her back at Beacon. This will be easy.

But then you have Jaune who is still dealing with the fallout from spending decades trapped in a fairy tale/divine nursery on top of abruptly being seventeen again. He no longer has arthritis but he also no longer recognizes the person staring back at him from the mirror. He keeps trying to pay for things with good stories and cool rocks he found, and one morning when he wanted to sleep in he tried shooting down the sun sort of expecting that to work. The urge to reason with sandstorms and help unionize farm animals is Strong In Him. And he knows it's all wrong, that he's not in the Ever After anymore, but he's having to overcome decades of brain hard wiring in his efforts to adjust. Jaune barely has time to work on re-bonding with Nora and Ren never mind dating. He doesn't even have the extra brain power needed to recognize that Weiss is flirting with him, and when he does it's easy to convince himself he's just imagining it, or getting an inflated ego again. She's Weiss Schnee, of course she has better thing to do then flirt with some loser she shot down already, and he's the Rusted Knight now, he has no business dating at all. There is a WAR on.

The rest of the Becaon crew is incredibly divided because on the one hand it's a little sad to watch, on the other it is VERY funny to see Weiss make a fool of herself the way Jaune used too.

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‼️ Spy × Family X Miraculous Ladybug ‼️

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Princess Mononoke AU

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RG SHOULD FUCK