#('anonymized' or otherwise)

[ddarker-dreams]

please, please, PLEASE IM BEGGING YOU PLEASE WRITE SOMETHING FOR GOJO THE GOJO DROUGHT(esp writing) IS KILLING ME

warning for explicit not sfw, reader is fem, and yan gojo being questionable as ever.

"You've really been hurting my feelings, y'know."

Gojo whispers these words beside your ear, the lighthearted lilt masking the weight they carry. You squirm, attempting to wriggle away, but he's unrelenting, pinning your wrists above your head and keeping them there.

It's his eyes that startle you the most. He's made no effort to conceal the mania glossing over them, bright blues coruscating like sheets of ice. They pick you apart at a molecular level, feeding him an endless stream of information.

"Ignoring my calls..."

His finger ghosts over the mad pulse in your throat.

"My texts..."

He kisses you there while his hands explore lower—

"How's a man s'posed to take that?"

—And lower.

"Aren't you being a little too cold with your husband?"

Gojo plays with the hem of your skirt, bunching the fabric up along your thighs. You bite your lower lip to suppress the noises dying to leave your lips. He smiles, whistling lowly when his fingers feel the wet patch in your panties. Your cheeks burn hot and you avert your gaze. Chuckling, he steals your breath by tracing lazy patterns against the outline of your pussy.

"Fuck, you're way too cute," Gojo smothers your neck in obscenely loud, wet kisses. "Acting all pouty when we both know you missed me terribly. Poor thing."

"You're so full of yourself," you huff, unable to come up with anything better.

"And you'll be full of me soon enough."

You make a face at him. "That's really lame."

He squeezes your thighs not so gently and tuts. "It's still good enough to get you going. Seriously, you're fuckin' soaked. I should manhandle you more often."

Finally, he pushes your panties aside, rubbing circles against your clit. You try ignoring his wolfish grin when you part your thighs for him. His breath is hot and ragged against your neck, betraying his excitement. He guides your hand past his waistband, groaning shamelessly when you grasp the twitching outline of his cock through his briefs.

"Take it out, baby," he coos. "C'mon. You know how I like it. That's right, good girl."

You stroke him slowly, somewhat amazed by the sheer amount of precum coating his length. In the meantime, he pulls your skirt and panties down, the unexpected roughness almost making you lose your balance. He keeps you steady by lifting you up. You yelp, scrambling for purchase, which you find by encircling his waist with your legs.

"Satoru," you hiss. "If you think I'm gonna just forget and pretend like— mm...!"

"Sorry, what was that?" He questions, all the while rubbing the head of his cock against your entrance. "Mind repeating yourself?"

You shake your head and wrap your arms around his neck.

"You're the worst," you grumble.

He presses a chaste kiss to your temple.

"I know," he admits as he sinks into you. Then again, this time quieter, almost failing to reach your ears. "I know."

[purble-turble]

If art requests are still open, would you draw Shadowpeach from your old "Please Dont Cry" story?

Ooh yes, thank you for reminding me of that old prompt fill, it’s one of my favorites~ …and also extremely relevant to the current chapter I’m working on for A Test of Time hehehehh :U

[canisalbus]

I have a phobia of dogs like can't stand seeing images of them phobia but I love your work so much, I don't know what it is but there's something beautiful about how I can look at it without feeling that phobia. Like being on top of a mountain and seeing the view of the world below or how fire looks pretty close up. Your art to me feels like that scene in fantastic mr fox with the wolf.

Ah, that's both heartwarming and very interesting, I've never heard of any cynophobes liking my work! Thank you!

(I won't bother you about it of course, but I can't help but wonder if it's the same thing for all furry/anthro art you see or for some reason just me, and if it's the latter, what could be making my stuff more palatable for someone who is that intensely uncomfortable with canines. My style isn't realistic but it isn't super stylized and exaggerated either. Is it about the anthropomorphization and the humanlike features, expressions and behavior? When I draw actual dog-shaped-dogs, are they harder to look at?).

[shkika]

Niceeee

I wanna hear more silly facts about W1, but I am curious, how horrifying can it be?

you're actually my inspo for this drawing of the bug [x]

But I'll share the doodle I did before the drawing too!

I think what makes W1 scary is how petty and spiteful it's capable of being. It can hype/rile itself up very easily too.

I've always headcanoned V2 as very spiteful, but too chivalrous and prideful as a machine of peace to commit atrocities. Meanwhile V1 is absolutely rabid, but kills for it's own survival and satisfaction not necessarily to be cruel.

W1 simply combines those traits in the worst way possible. It can be hateful AND brainstorm with itself on all the fun ways to fuck someone over.

[highdio]

Pleeease, write your thoughts about the musical lol. I really like your Dio meta posts <3

Just a disclaimer: this is really opinionated but I don't like to drag media for its own sake. There were lots of things to like in the Phantom Blood musical, just ... Dio wasn't one of them. Also, Mamoru Miyano threw himself into the performance he was asked for, so it's hardly his fault. It's just always amazing to me that people feel the need to rewrite Dio into someone else when the way Araki's written him is already perfect, complete and a lot of fun.

So, where to start? Basically, the Phantom Blood musical re-writes Dio, giving him a different personality and different motivations through OOC stage direction along with a bunch of original dialog and scenes. What results is a version of Phantom Blood where "Dio" is just a normal guy without charisma who had a bad childhood and spends most of the story being miserable. Dio as he's written in canon has an uncommon charisma and appeal that's allowed him to remain relevant as one of those 'all-time great' villains. Scene after scene in the musical prove that its creative team either didn't read the manga or just really didn't like Dio.

fwiw Araki wrote Dio as thoroughly fleshed-out, with consistent traits and behaviors and consistent motivations behind his actions. He also left a paper trail of interviews and author's commentaries that develop Dio even more fully beyond the manga. So there's really no excuse for media that treat Dio as some sort of empty vessel waiting to be filled by narrative cliches we already know and expect.

It's annoying too, because, along with its OOC content, the musical is peppered with occasional manga-consistent moments. It's like the musical is camouflaging its Very Bad Take on Dio by having Mamoru Miyano periodically re-enact the canon character's most famous panels. The musical wants simultaneously to take credit for bringing Araki's vision to life on the stage, while at the same time completely undermining its most important element: a capital V "Villain" who, according to Araki, "accepts and embraces his evil nature, and follows his dark path without hesitation." This is the biggest change the musical makes to Dio: musical!Dio has none of the confidence that allows canon Dio him to move so decisively and destructively through the narrative.

Musical Dio is introduced by a scene where he's bullied on his way home, before breaking into a song about how terrible his life is, where "everything is always taken from [him]" ("it's hell …I feel nauseated …[I'm] under a cloudy sky.") The song is alternately tearful and hopeful. "I'm going crazy from being robbed!" he laments and then pollyannaishly muses, "hey, Joestar, can you turn my [cloudy] skies to blue?"

If Dio being introduced as a sad sap and self-described perennial loser hoping for any break sounds attitudinally unfamiliar that's because it is. Araki went in the opposite direction: he started his story by subverting the cliche - wide-eyed poor boy victimized by circumstance leaves his sorrow-filled life hoping for a new start - and instead gave us a kid with surprising, even sinister agency. Dio is not just given a hero's upward narrative arc (something Araki crafted very deliberately), he's introduced improbably in his first scene from a position of control. This fact is important because in the manga it's a position he won't lose until four chapters and nearly 100 pages in, when Jonathan finally fights back. From the time young Dio is introduced - reading a book with his back turned to his bed-ridden father who he's secretly poisoning -

- to the time he's systematically broken down his adoptive brother's spirit by alienating him from his friends, taking Erina's first kiss, and of course kicking his dog, Dio is shown as being in control and on top (Erina drinking the muddy water is the only exception). It's OOC to imagine 12-year old Dio feeling sorry for himself because at the time he's introduced, he's already made a habit of getting what he wants. By the time he sets off for the Joestars after killing his first dad, he's already developed full confidence in his abilities and the inevitability of his rise to riches (something Araki has him explicitly state and then underscores with a panel illustration of a steam train signaling the rise of Modernity).

But the writers and director of the musical don't find this characterization interesting enough or something. So they lose the canon entirely and in its place they invent a version of Dio who's despondent. And they didn't get Araki's steam train memo so they miss the Modernity theme (even though Araki's tied Dio so tightly conceptually to the idea of the Modern that he has him "use a 20th century boxing technique in the 19th century"); instead they double down on class difference being determinative. It never occurs to them that Dio is written specifically by Araki with the freedom to move outside of his social status because he sees it as artificial (the "evil elite" monologue later reveals Dio thinks of the whole social contract thing is arbitrary and voluntary).

Throughout the musical, Dio (although it's not fair to Mamoru Miyano since he isn't responsible for writing this mess, let's use mamoDio from now on because it's easier) seems to idolize the Joestars for what he calls their "beautiful blood." Not "beautiful" because usable calories for the vampire he will become but "beautiful" because noble. The Joestars' noble status and the honor that's apparently behind that status become the shining "star" toward which mud-bound mamoDio flailingly, failingly reaches. I don't need to tell you that in canon Dio doesn't have respect for nobility.

"Mud and stars" is heavy-handedly introduced as a dominant theme of the musical. According to the play, Jonathan, noble and bright, looks to the stars while human Dio, pathetic, conflicted and even confused, can only see life as a mud-soaked prison.

Now, the mud and stars thing was only used in Part 1 as a single text element on a Volume 1 illustration but, in spite of its marginality, it's becomes a liturgical text for some fans looking for an explanation for Dio's actions beyond what Araki gives them in the actual narrative. To this sort of fan, a guy who embraces his inner talent for evil and never had the misfortune of developing a moral compass isn't the right type of villain because he's unapologetic. If the villain doesn't have excuses how can you apologize for him? So they need Dio and by extension Araki to give them a "good enough" reason to accept Dio's ever-escalating atrocities. If the reasons Dio has for doing the things he does lie outside of what's considered good or acceptable, they are simply rejected and new reasons are invented in the hope of making Dio much less objectionable.

Now, like I said earlier, Araki's repeatedly told us in his writings that Dio has an upward narrative trajectory, not a downward, "mud"-bound one. The mud and stars duality fails to describe the narrative journey of the two main characters: both look upward to transcend their circumstances and travel along a shonen manga hero's rising path. (In fact, it's Jonathan who needs a good push to realize his potential, something Dio happily provides). And it's Jonathan, not Dio, who Araki first gives a downward arc, being handed defeat after defeat for those first four chapters before gaining his footing and progressively rising to Dio's challenges. "Mud and stars" isn't just a bad choice of metaphor, it's a misleading one.

Back to the musical, mamoDio is the exact opposite. An air of sadness and insecurity haunts his performance. An original scene where George presents the mud and stars dilemma as a lesson highlights Dio's lack of confidence and the depression that lurks behind it, as Dio bemoans how people doomed to "struggle and die" cannot possibly summon the hope it takes to look up to the stars (he's talking of course about himself).

Likewise, and here's where mamoDio's failure as a character really comes into full relief, seven years after this, when Dio's machinations are revealed and he's about to be arrested, before he uses the stone mask, mamoDio drops to the floor and spends the better part of a musical number in tears, bemoaning his sorry life ("I'm trapped in a prison covered in mud… no matter how hard I struggle I'm crushed…") and his lack of noble blood.

(btw this is after the manga scene where Dio fake cries; here, mamoDio is genuinely distraught).

Contrast this to the actual scene in the manga. His expressions in these panels are memorable because of how assured Araki draws him. Dio's entire world - his poisoning scheme, his grab at what one can assume would have been the entirety of the Joestar estate - is about to end but instead of despairing, he launches into a philosophical soliloquy. His body language is haughty: this isn't mamoDio crawling on the ground and decrying his upbringing and lack of noble blood, instead this is a man who apparently, almost irrationally, perceives himself as noble. When he uses the mask, Dio is smiling widely. Metaphorically speaking, he's looking at the stars.

When mamoDio uses the mask? He's on his knees. He's in tears. On one night he interjects, "Mother…" In short, he's conflicted.

One of these depicts Dio. The other does not.

Now obviously the writers and director of the musical must think making these seismic changes adds something to Dio's character. But (and I feel like this is a theme whenever I write these things) I'd argue it only makes him more basic. It makes him predictable and formulaic, someone we've seen in countless other stories.

(Oh! and did I mention mamoDio repeatedly calls himself "useless"!! Because he does this.)

Now, because mamoDio has no confidence and as a human acts out of desperation, when he becomes a vampire he still isn't Dio. Mamoru tries to make his vampire Dio evil and scary by expending a lot of energy, running about the stage and sticking out his tongue ad nauseum. When you look at how Araki has Dio move physically throughout the manga, it's the opposite of kinetic. Dio is a point of fixity who's charisma draws others toward him (ask me for more on this if you want because there's enough here for its own post).

Now for the worst of the worst: at the very end of the production, after the manga ending that features Jonathan's death and Dio's (presumed) defeat as a head imprisoned in Jonathan's arms, the musical takes an original twist in which, following a finale number featuring most of the cast, mamoDio is lead offstage by Jonathan. You read that right. mamoDio is hunched over, resigned, and Jonathan seems to take on a paternal role. Although the lyrics would have you believe this has something to do with "two fates becoming one," it's clear from the stage direction that any embers of Dio's ambition are being tamed and extinguished as Jonathan takes Dio's grasping hand, subdues him, and leads him docilely into the darkness.

It turns out Dio's vampire arc was just a phase, a hurt and lonely child lashing out and making a mess for attention.

His body language here is obscenely out of character. Consider the following because, as I said in the opening, in spite of what all these re-writes of Dio would have you believe, Araki crafted Dio with specificity and consistency: Araki only draws Dio (with very few exceptions) 1) standing tall, looking down at you; 2) back turned, looking back and down at you; or simply 3) back turned, (performatively?) ignoring you. Dio is never on the ground except when he's knocked down (think, young Jonathan finally fighting back in the Joestar home or, much later, Jotaro stopping time and landing those punches). By constrast, mamoDio has spent an incessant amount of time of the ground, crouching, kneeling,, bowing, hunched down. Who is this guy? So his hunched-down exit in the final moments of the production, literally being led by Jonathan (controlled??), is so amazingly stupid that if I didn't have a gif as proof, you might think I'm just making this stuff up:

There's plenty more to unpack that I won't address here: ghost Dario. The lack of grave-spitting. The complete absence of true joy or leisure expressed by Dio especially during his vampire era: no woman eating her baby, no owlcats, no Poco's sister. No chaise lounge. No roses(!). No fun. Not for Dio. That would be too manga-consistent. That might mean Araki wasn't giving us the appropriate message that bad guys are actually just sad guys.

tl;dr Dio isn't in the Phantom Blood musical. He's replaced by a normal guy who's motivated by a lack of self-esteem and despair that he wasn't born into an upper-class household, or something. He's boring. The result? There can be no Part 3 in this musical's world (and presumably no Parts 4, 5 or 6, no Giorno, no Jolyne, … you get the picture) because mamoDio just gives up. It's a nicely produced little tale about Jonathan Joestar and some random other guy who at some point gets a funny green coat.

[herefortheships]

Lydia: Doesn't dare to even think about her poltergeist bc she's scared of what he might do to her family if he gets out.

Delia: boards up door to the attic. The attic which, even if Beets still lived there, he was never bound to.

Beutelgeuse: ok so I have a haunting at 10am in Ohio, lunch at 12, got 4 hauntings scheduled in NY from 2pm-6pm, gonna lead a spook workshop in Cali at 7pm followed by a bar crawl, sleep that off till 3am, and then follow up with all the clients from this week who are worried bc they heard talk of tv show people showing up. If it's HER show, I'll need to clear up my schedule for when she shows up. If I make the walls bleed and draw little hearts in the blood, is that coming on too strong?

He is unbothered and delusional sure his charms will get him the girl. Love it 😆

In all seriousness, his attempts at making contact with Lydia and courting her, scaring her instead, is one of my favorite things in the sequel. Lydia terrified, meanwhile Betelgeuse out there swooning and sighing over getting to see her again 😂💚. He is definitely coming on too strong, but he so can't see it and it's hilarious.

I'm sure he did help her with the hauntings for her show, too. I hope that one comes up in movie three. No one can take that headcanon away from me. 😌

[aroaceleovaldez]

i honestly wish rr would just write for something that has nothing to do with pjo not the same characters not the universe just go and write something new bc i really liked daughter of the deep and i think he's wrung everything out of the pjoverse yk? he's a good writer but he needs to go do something different

I agree - the problem with Rick's writing is he's heavily reliant on his writing being derivative. He struggles to write original stuff. PJO, HoO, ToA, etc are all derivative from Greco-Roman mythology/history. MCGA is Norse mythology/history, TKC is Egyptian mythology/history. Daughter of the Deep is Twenty Thousand Leagues Under The Sea. And he's not terrible at it! The problem is that can't go on forever. He runs out of material to work from over time and suddenly the quality of the franchise tanks dramatically. Especially as he loses overarching connecting threads to tie the plots together, so it just becomes this soup of throwing references at the wall with no cohesion to see what sticks. And it's bad!

We started seeing it in HoO, also in part due to Rick trying to combine too many disparate inspirations to the main plot to begin with and didn't know how to make them mesh well (Seven Against Thebes, Gigantomachy, Argonauts, Odyssey). TKC and MCGA were okay because they're only three book series, so that's plenty of mythology to draw from with stuff left over, and the majority of their companion novel stuff is ghostwritten anyways. The shorter series span means less filler required so less mythology is used up and there ya go. In the longer series, Rick has to spend those five books filling in the gaps of that overarching plot and he runs out of material fast - that's why by the end of HoO it was just turning into blatant Marvel references. Now that we're getting into a fourth installment in the main series collection, even though it's only a three-book series, Rick has basically written himself into a corner because he doesn't write anything else. He ran out of places to go with the franchise like two series ago! So now he's just throwing literally anything he can think of at things (literally just plucking random mythological figures and pop culture references or tropes), or if he can't think of anything, apparently just blatantly lifting stuff from the community.

At this point the only possible Greco-Roman series I think he'd be able to do without it being total garbage would be a 3-book Roman series set during SoM-TLO/The Second Titan War. I don't think he should do that and I don't want him to, but based on everything that's probably just what would have the best likelihood of success. It just seems like the only place he can go. Anything else he'd have to do something actually original, and he's shown time and time again that he's not interested in doing that and isn't very good at it anymore.

[tio-trile]

I need to know, how the crew reacted to the Nublar 6 new designs? Did you laugh? Felt like something was off? Did you all liked their new design? Had to have your own time to be used to it?

Yes I'm asking specially bc of Kenji's chin (why is it so Chad like? Lol)

I think overall the reception was positive -- also keep in mind not all of the crew on Chaos Theory have worked on Camp Cretaceous (there are even people who have never watched Camp Cretaceous. Not naming names.), so to some, these aren't grown-up versions of existing characters, but new characters. For the crew that knew their old designs the reception was also generally positive I think; Big Ben was the biggest (heh) hit that we all thought was hilarious, and all-pink-themed Brooklynn getting a pixie cut and also death was also exciting to see.

When we first saw the designs, they were William Nichols's 2D drawings, and we (storyboard artists) were working off of the character designs for quite a while before we actually saw the 3D models -- and there are definitely slight differences between the 3D models and the 2D designs. Kenji's chin didn't stand out to us in the design drawings -- but we did make comments about it in early animation we got back, particularly in season 1 episode 5 lol. But that's nothing in the designs that genuinely bothered us, otherwise we would have reported them to the team along with several things that did get reported, such as Ben's eye color and Ben's FIERY RED LIPS at the start of the show. (Why is it always Ben)

[requirings]

Thoughts on Lee with long hair??

i only like lee with long hair if it's depressing

[septimusmoonlight]

You doing ok?

hi

[arealtrashact]

Homelander Confession: I think one of his hottest moments was when he was trying to catch Hughie during the ice skating shows and he kept growling like some feral demon. Then when he couldn’t find Hughie and gave one final frustrated snarl before taking to the skies. Argalkbsjaksjjs.

[ingravinoveritas]

I just wanted to tell you, I remembered the red bikini post as well as your offer of dinner and dessert.

At the time, for whatever reason, it felt “off” and kind of creepy that Neil responded the way he did. Never in a million years, thinking something like this would happen.

One of my first thoughts after the allegations came out about him was, “some of Gods greatest gifts, are unanswered prayers.” With a nod to Garth Brooks who has had his own demons to face.

I’m glad Someone kept you safe. ♥️

(Grouping together due to similar themes/ease of answering.) @amagnificentobsession and Anon: Thank you so much...this is very, very sweet of you both to say and I truly appreciate it. ♥️

One thing I do want to make clear is that I am in no way trying to equate my experience with Neil to the absolute horrors his survivors went through. But it felt relevant to mention because I do think it gives us a glimpse into how he operates--how purposeful he is, how deliberate.

My default response tends to always be to blame myself--either for not knowing better, or in this case because I took certain actions (sending him that photo of me). And I'm fully responsible for that. In my mind, I know that he worked very hard to come across as someone safe, someone that I would feel comfortable sending that photo to--but in my heart, it still hurts so much. Not because I was such a huge fan of Neil's, but because it's yet another instance of me being a terrible judge of character. It's something that's happened in my life on multiple occasions--usually romantic relationships--where I've incorrectly thought guys felt the same way about me that I felt about them.

It's a funny thing, though, because in several of those cases, it turned out that those men were using me to feel better about themselves. To boost their own fragile, pathetic egos. Obviously, this is not an identical situation, as I was not in a relationship of any kind with Neil, but the playbook still feels eerily similar. And like those situations, I'm left wondering how I could have not seen what he was, and how I could have been so wrong. Especially because in the years since those relationships, I have definitely encountered more than my share of creepy guys, so I thought for sure I would know what to look out for by now.

But despite that, I didn't clock Neil's responses as creepy, or think that something like this would ever happen. The things he said were so calculated to be what they were--goofy, funny, sweet, harmless--that I was blinded to reality. He weaponized being Neil Gaiman, wielded it with surgical precision, and I fell for it. And it fucking hurts.

As you both have said, though, it does feel like direct corroboration of what we now know, and it seems like I did ultimately did dodge a potentially terrible experience. I only wish the same could've been true for all the women he hurt...

[the-final-sif]

The qsmp being investigated by the French government for labour laws infringement was not on my 2024 bingo card

Currently I don't believe it's the French Government, currently it's the Solidaires french labor union, but shockingly they have actually apparently gone after minecraft servers before for poor labor practices and taken them to court, although my limited searching hasn't resulted in the outcome of that case. I don't want to talk too much about the qsmp because it's not my business, but legit there's a huge amount of exploitation in youtube spaces that is probably illegal but gets brushed over. Creators are so often removed from it to the point of plausible deniability so it never really gets addressed properly. You see it with merch companies delivering awful quality products, having huge wait times and massive delays, missing people, not staying in contact, mistreating employees, scamming fanartists and underpaying them (look into youtoonz for some of that stuff), etc.

It's part of why I respect Dream so much for building out his own merch company and not going with one of the crappy ones. I love ordering merch from his company because I know I'm going to get what I paid for, it's going to be comfortable as fuck, and if there's any issues the company goes out of it's way to make things right. That sort of company set up takes time and a lot of care and effort to build. When you just half ass it, and don't supervise or actually run your own company, that's how you end up breaking a shit ton of labor laws, exploiting a number of people (at least some of which may be teenagers), and potentially end up getting sued.

I honestly do hope Quackity gets taken to court over this not out of any malice, but because these sorts of creator practices can't be allowed to continue. Creators at his size and scale are getting millions and millions of dollars and they can't be operating like a twitch channel with 20 viewers. If cases get brought to court, even if they aren't won, it will scare a lot of creators off from doing labor exploitation and push them do things more like Dream, where people are paid properly and fans aren't end up getting shafted at every turn.

[canisalbus]

Machete has parents?? I'm not familiar with their actual lore, so I've been imagining Machete as a desolate victorian orphan boy

Everyone has parents, he didn't materialize out of thin air (or evolve from a crumpled napkin).

But he lost contact with them early on and doesn't remember much of anything about them. Machete was a sickly kid and his family was going through a rough patch at the time, they were constantly struggling to find the time and funds to care for him. Child mortality was high and it was starting to look increasingly likely that he wouldn't make it. He was around three or four when they left him at the closest monastery that accepted foundlings and he hasn't heard of them since.

[myymi]

shadow takes tails out first in fights because he knows he's the biggest threat

[qhockeysacrament]

They [hockey admin] should create a form where fans can leave [anonymous] support for the players of struggling teams [the Kraken] that admin actually relays to them. And it should be promoted where the queer fans hangout [tumblr ] because we have generally been to therapy and know shame and insults are not motivators and know the power of whimsy and spite.

I just want to give those boys a hug and a nice big helping of "you're still awesome and I believe in your ability to fuck them up with flair"