#Ji Oh

[maggstar]

I just need to simp over this manhwa What I decided to die for/My reason to die.

I NEVER SIMP OVER FICTIONAL CHARACTERS...

BUT CHA GYEOL IS AN EXCEPTION.

When I say this man is hot, I MEAN IT.

Plus the tension between him and the fc is insane. 😭😭😭

Mom, I'm obsessed

[ihateamor]

[fashionfotos]

[ara-kani]

This is an oh ye-jin appreciation post. It's kinda unfair that the internet has overshadowed her with her own mentor despite her being the one who set a new world record and won gold at her first Olympics at only 19. Like this woman is cool as hell and people are simply ignoring her because her mentor is hot. I hate it here sometimes. PUT SOME RESPECT ON HER NAME!!!

[linusbenjamin]

Major Character Deaths in Squid Game | Season 1

[canonically47]

what's with squid game and toxic/doomed yaoi and doomed yuri?

[velveteen-vampire]

what the fuck? felis catus?

[jangman-wol]

wardrobe appreciation

CHOI YU NA (SEMANTIC ERROR, 2022)

[loveisactivated]

THE EIGHTH SENSE (2023)

[ishimaru-suprimacy]

MARINA DOMEK RAHHH 🗣️🗣️

[maggstar]

My Reason to Die (ending)

I just finished the manhwa after using a google translator and screenshoting every panel so i could finally end this novel. BRO

I was not ready for the fucking EMOTIONAL DAMAGE. I'm crying as I'm typing this because fuck, I did not expect that!

As a writer, I want to say, the author did an amazing job! The story, plot, characters, all of it was perfectly done. It made me so attached that I'm a crying mess while writing this.

I have a love/hate relationship with bittersweet endings because they emotionally wreck me, but make the story more meaningful and overall have a bigger impact on me.

I just hope these two can be happy in their current lives and enjoy each other as much as possible. I love them with all my heart and they deserve the whole fucking world. Like look at them bro:

JUST RUN AWAY AND LIVE SOMEWHERE WITHOUT THOSE TWO MFS AND HAVE THOSE 3 KIDS AND GET MARRIED, PLEASE.

[placetneplacet]

Why R U Korea was absolutely worth it just for Ji Oh…it wasn’t really Why R U, but Ji Oh was great as a Fighter/Saifah hybrid.

I just wanna have a brief discussion about 2 BL actors right now:

Bright Rapheephong Thapsuwan - Yai in I Feel You Linger in the Air

Lee Ye Hwan - Kim Ji Oh in Why R U? (Korea - the Saifah character)

Look I talk about acting style lot, especially around chemistry. SO if you're watching these two shows here's soemthing

Bright does 90% of his acting with his eyes. His eye work is INSANE. You can see just from the way he looks and Jom how much Yai likes him (and wants him). It's pretty flipping cool. This is relatively rare out of Thailand, another actor who does this in Nanon.

Lee Ye Hwan does 90% of his acting with his body. He is super physically aware of space and proximity, which is very very rare from Korean talent. You can see in the way he moves, tilts his head, his hand gestures, breath matching and leaning in, how much Ji Oh likes/wants Lee Won.

It's just really cool to have two such clear examples of acting styles that are in contrast to the other actors surrounding them in their respective shows.

So I just thought, if you're watching these 2 shows I'd point it out and use them as teaching tools for these two different acting styles.

[chasingm00n]

Some things never change

LOVE YOUR ENEMY (2024)

[usertoxicyaoi]

"There's something wrong with you ..."

Arata Misu In TAKUMI KUN 4: PURE (2010). Kijima Rio In THE NOVELIST (2018). Yoden Ryoji In SEI NO GEKIYAKU (2020). Kusakabe Ritsu In BOKURA NO MICRO NA SHUUMATSU (2023). Segasaki Mizuki In TAIKAN YOHOU (2023). Yamase Kazuma In 25 JI, AKASAKA DE (2024).

[otome-dissection]

Idk man I just think that mizu/ena5 and its progression was really beautiful actually. I just think that the release of the ena5 song was also really beautiful and kind of the nail in the coffin for me and I haven't been able to get the event(s) out of my head all week and that I kind of want to talk about it, actually.

It's about being hurt so deeply and continuously that any kindness that could be offered to you manages to feel like a sin, that it makes you crumble and shatter but for all the wrong reasons, not because of the newfound safety, not out of relief, but something worse and more deeply ingrained in you than kindness ever was. It's about carefully measuring the distance at which you keep others away from yourself, to ensure that it never happens again ("To save yourself the trouble", if that makes it easier).

It's about realizing that the people you've been spending all this time with are drifting closer, that they just might bump up against the unsightly parts of yourself that you've tried to keep locked away, it's about turning around and sprinting at full speed and slamming the door shut and holding onto the handle behind you to stop it from turning, because you're as frightened of the possibility of another wound being inflicted on you as you are of the possibility that kinder, gentler hands will reach out and smooth over the exposed scar. It's about hating eyes that judge and silently condemn you as much as you hate eyes that simply see you and take all of you in without scrutiny, because no matter what they're looking and they're looking at you and they know that your hand's on that door handle and they know that you're hiding something because, as much as you try to keep it shut, they've seen through the crack that you foolishly left open.

(The prominence of eyes in Bake no Hana, specifically eyes looking and searching, and finally landing on you, the viewer, Mizuki, is so fucking. Visceral in my opinion. Every character in the MV stares at the viewer in a deadpan, almost judging way. Even though Mizuki knows deep down that niigo won't really hate them, won't judge them, she just can't stand their kindness either; any gaze directed at her is a loss, another prick in their skin. It screams "don't look at me" while making sure that you know, with horrific certainty, that they're looking for you, that you're being watched. You can't go outside, can't leave your room, because they're searching for you, and while that should be reassuring, to you it's anything but).

It's about not wanting to be dissected, whether it's with hands that want to pull your organs apart or stitch them back together because no matter what they're there, and they're getting frighteningly close to your heart. It's about blinding yourself and covering your eyes to it all because seeing means exposure and exposure means they're taking something from you and you can't do anything about it, much less take it all back, much less have a say in the matter. Everyone's just taking and taking and taking and you wish you could just be alone. You wish everyone would just disappear and you could live in a world all to yourself, for only yourself (but is that really what you want?).

It's about the way that, near the beginning of the Yoka ni Mitoreta MV, Mizuki and her loneliness is represented as a dark, splotchy stain in the shadows. No colors, no patterns, no way to clean it or wash it all away, just raw ugliness marring a blank canvas. It's about the way that Ena reaches out to it anyway, the way she startles when the glass shatters just when she finally starts reaching forward, the way that the rest of the MV/song represents her searching for and reaching only further out to Mizuki, even if the broken shards of glass will only cut her fingers, potentially leaving scars.

It's about how, in every way, subtly, directly, consciously, and subconsciously, Ena shows that she fucking cares.

It's about the way that Ena lets Mizuki have autonomy, despite the situation being so horribly out of their control. And it's such a delicate thing: If she really wants to, Mizuki can take the opportunity to just run away, keep running forever, repeat the cycle over and over, and maybe she'll just destroy herself with it again, but it can't be denied that it's something important to them, something she can't quite live without just yet, their means of survival. Mizuki's autonomy is their identity, it's her tailoring her own clothes and choosing her own ribbons and styling her own hair the way she does. Ena letting them have that is as much about trust as it is about understanding that Mizuki of all people should have this right, when control was something stripped from her throughout so much of her life. She couldn't control how she was born, how people look at her or why, can't control what they think of her; lacking control has only left Mizuki vulnerable to the cruelties of others, has only caused them to suffer, which is why it's so important that it's given to them now.

She had the control to make the choice to see niigo's welcoming love and run away instead of staying, and she has the control to make the choice now whether she wants to keep things the way they are or take a step forward to be at their side again. She has every right to have it, and I think the fact that Ena realizes and respects that, even if it's subconsciously, is really beautiful (there is an entire fucking Verse about this in the new song and just. God Look at this. It's so caring, unconditional, and for fucking What. I think there is something to be said about how much Ena is willing to put aside for Mizuki, and maybe deep down it isn't healthy, but for now I'm just kind of in awe)

It's about how insanely patient Ena has been this whole time. Mizuki says that she basically lied to Ena's face about telling her their secret, even after Ena said with such conviction that she would wait for Mizuki as long as it takes, and Ena is just kept waiting and waiting and worrying like this seemingly indefinitely. It's about how Mizuki danced around it, avoided it, kept the distance, straight up ran when she was finally pushed, but Ena still chased anyway when she saw that she couldn't wait anymore, kept chasing just enough to intervene and get a straight answer out of Mizuki when she really needed to, but still leaving her enough space to leave if that was truly what she wanted. It's about how relieved Ena is the moment that Mizuki finally says outright how much they want to be with her and niigo, how much she wants to try, how much more light Ena's voice sounds when she grabs her hand, relieved, the way that the relief she feels can be felt through the music, throughout the entirety of Yoka ni Mitoreta, the way that warm colors always follow her when she chases after Mizuki, just to hold onto her and stop her from running away completely.

It's about how that careful combination of Ena's directness, Ena's persistence, Ena's warmth, her patience, her bluntness about her feelings, the way she chases and holds on but not too tight and her regard for how unsafe and exposed Mizuki feels actually works and breaks it all down. It's about how she really did reach through to Mizuki, despite the thorns and broken glass shards and nearly-unfulfilled promises, the way that Mizuki did finally let her turn the door handle and step through to see what she'd been hiding all this time, the way that Mizuki's hand, limp, when Ena first grabs onto it, shifts to hold hers back as they cry in the face of Ena's gentleness.

Despite how harsh Mizu/Ena5, and even Ena herself as a character can be (or at least was in the very beginning of pjsk), everything is somehow gentle and warm in the end, blindingly so. And you know what, I think that's beautiful. And what's even more beautiful than that is how Mizuki allows themself to crumble and shatter under that kindness, that warm light, but this time, finally, out of relief.

On a final note, I just want to say that I also appreciate how all that didn't have to solve everything. The scars haven't disappeared, haven't gone away, and Mizuki knows that their desire to run hasn't gone away forever, and maybe it never truly will. But for now they've calmed it, at least a little. She's learning to allow herself to be seen, learning that when someone's fingertips brush over their scars the way Ena's did that it's only out of care, and that maybe taking in that care and allowing herself to feel kindness and safety is okay. They're safe, for now, somehow. They're learning. They're trying. And I think that's cool :)

[goldinrod]

what lies ahead