#and this has deepen that so much

[bixels]

What did/do you like about Pharah?

Uh, gameplay-wise, I really love characters in shooters who rely on three-dimensional movement techs. Chaining together hover and jump to stay in the air for as long as possible and keep momentum is so satisfying, and picking enemies off from the sky made me feel like a bird of prey. I was a good Pharah main.

Story-wise, there unfortunately isn't much to canonically go off because Pharah is so underutilized and neglected. Her personality's pretty boilerplate "heroic hero" (she's literally inspired by Captain America).

But it's the crumbs/bits and pieces that I really latched onto. Pharah's a confirmed lesbian; her short story with Baptiste implies she harbors a crush on Mercy (fucking thank you.). She's biracial Egyptian/First Nations. She has major mommy issues, having grown up both admiring and resenting Ana. She's the bridge between Old Overwatch, inspired by the idealized heroes who surrounded her childhood, and New Overwatch. She's one of the only inter-generational characters in the cast; someone whose experiences span the gap, which is why I seriously believe Pharah would make a great main character.

There isn't much to go off of, though; she's a very uncomplicated character (she's a soldier for a private military corporation, lol.). But that just means she's a blank slate character, so I've seen fanfic writers run wild and create some really interesting takes on her. My favorite interpretation of her's a dense, herbo gym-bro type (a lot of her liens are about work outs, exercising, and playing sports) who's easily excitable under her seemingly self-serious, armored visage. We see how she tends to gloat and hype herself up when she's on a streak too, so Pharah definitely has a competitive and boastful side under her more professional and militant performance.

Now Mercy? Mercy is a real complex character.

[a-couple-of-notes]

went back to see wicked again and i feel almost as insane about it as the first time.

so, the movie centers (as it should) on elphaba's arc--she's discovering her true power, shedding her need for validation, defying gravity. but this go-around, i kept thinking, what's glinda's arc? like, yes, obviously, her arc across the whole story is a fall and a redemption; she gets everything she wants, hates the fuck out of it, loses what's important, and finally finds the courage to rebuild something truly good. but i'm talking specifically this movie, this part. i mean hey, jon chu, you said you were making part one its own satisfying narrative! (he did, we'll get to it)

and yes, okay, you can say glinda starts part one as a selfish, privileged antagonist to elphaba and over the course of the movie becomes her friend. but i don't buy it. that friendship is solidified by the ozdust ballroom, so there has to be something else.

and i realized: glinda's arc in part one is about realizing she's not as powerful as she thinks she is.

glinda starts the movie thinking she can always get her way through making everybody like her. she thinks she can become a great sorceress if she studies under madam morrible. she thinks she can get the perfect boy if she just tosses her hair.

but then elphaba shows up. and over the course of part one, glinda gets humbled again and again. glinda can't do magic, while it comes naturally for elphaba (notice how glinda is always the one pointing out elphaba's magic/power in this tremendously sad combination of awe, adoration, and jealousy). elphaba earns madam morrible's faith, while madam morrible constantly makes digs toward glinda. elphaba proves herself the better person when she asks for glinda to join the sorcerer seminar, while glinda's offering was initially completely insincere. and elphaba turns fiyero's head (absolutely no one can convince me glinda doesn't clock what's going on, she's far too smart and obsessed with elphaba not to). and over the course of part one, we see glinda move from outrage and disdain at being outclassed to accepting and supporting and loving these things about her best friend, even as they make her jealous.

and like, yeah, glinda needs to be humbled a little. she's selfish! she's a bit of a brat! she says really insensitive things and no one has called her out on it until elphaba! but i think this arc for glinda adds an extra tragic layer on top of the tragedy cake. just as elphaba's mounting belief in herself was always leading to her leaving, glinda's growing humility was always leading to her staying. by the time defying gravity hits, glinda knows in her heart elphaba is more powerful than she is, in every meaning of the word. she knows the seriousness of the animals' plight (look how she shakes her head at elphaba when nikidik says the Lion cub is happy to be in the cage!) and she knows that, unlike elphaba the great sorcerer, she can't do anything. she can only survive.

i'm not saying that the glinda at the beginning of the movie would have gotten on elphaba's broom, but she would have certainly believed she could fly. this glinda doesn't. elphaba, quite fittingly, brought glinda down to earth, for better or for worse.

[feroluce]

“-and that's why I ain't allowed in Pier Point no more!” Boothill throws his head back and cackles, somehow completely comfortable on the bare floor of the archives. He's the very picture of ease, his arms behind his head, his legs bent and crossed.

Dan Heng barely looks up from his notebook, not much surprises him anymore after the first few tales of lawless exploits. “So they really have that many laws and restrictions there.” 

“And prob’ly a few more now that I've been through there! Heck, ya think they named any after me? I'm hopin’ so.” There's so much smug cockiness seeping through his voice Dan Heng could bottle it.

Silence settles in, stretches out. Dan Heng doodles pensive circles in the corner of his page.

He shouldn't ask. It's a private matter. It's none of his business. He of all people should know-

Something pokes his shoe, and when he looks up, Boothill has stretched one arm up to tap metallic fingertips against his foot. “Ain't like ya to hesitate.” With his head tipped back on the tiles and gazing at him upside down, Boothill's hair is out of his face and spooling out all over the floor, offering a rare view of his right side. His right eye is sealed over with a pitch-black patch, stark against his skin. Dan Heng wonders what he looks like behind it. “C'mon, then, out with it. Spill the beans, brother, just say it.”

“What does ‘Boothill’ mean?”

The man blinks at him, the crosshair in his cybernetic left eye flickering. Dan Heng shifts, smooths out his long coat. “I tried to look it up once. It's not in any database as a name...other than your wanted posters.” There's a thread beginning to fray near the hem, he should sew it up. “I couldn't find it anywhere.” 

He nearly takes it back, but- “Heh, ya that curious about me, darlin’?”

Dan Heng quickly levels his face into the most impassive, nonplussed expression he can muster, but Boothill has already turned away, head pillowed on his arms and face once again turned to the ceiling.

“But nah, ya wouldn't. Hah, like they'd allow any record of the language, fudgeheads.” One arm sweeps around blindly until it finds the edge of Boothill's hat, sets it back where it belongs on his head. Dan Heng shuffles around, scoots a little closer, but the brim is pulled too low to see his eyes anymore.

“It's ‘cause it's not a name. It's a noun.” All that's visible of his face is a sharp grin, pulled too tight at the edges.

“It's my people's word for a grave.”

Dan Heng's pencil stops.

“It's the kinda grave fer someone who died with their boots on. If ya catch my drift there.” Boothill's foot starts to bounce. “There was a war, and it got reeeeeal intense, yup. Folks started droppin’ like flies, ‘n’ there was bodies faster'n what we could bury ‘em.” A cooling fan kicks on somewhere. Dan Heng is pretty sure it's not any of the Express equipment.

“We lost some real good people there, real good. Mighty shame.” His hidden Vidyadhara ears detect a quiet metallic click, a whir, pressurized gas. Boothill's next words waft steam from his angry circuits into the air. “When I left, I decided to leave my name there, too. Didn't feel right otherwise. The life I lead now is a whole ‘nother existence.” And then Boothill turns his head, raises his hat, and Dan Heng suddenly feels pinned dead center, caught in that crosshair.

“Ya know what I mean, don'tcha?”

Dan Heng swallows.

Does Boothill know? Who he is and who came before him? There had been that moment in the Penacony Grand Theater, after he activated the Jade Abacus… Dan Heng had tried to shoo him out, keep him from seeing anything, but Boothill has the astounding ability to turn up exactly wherever people are trying to keep him away from.

If he did see, does he actually understand it? Does he know what a High Elder is? Does he know about the sedition of Imbibitor Lunae, the transmutation arcanum, everything Dan Feng had done and Dan Heng was punished for?

He doesn't want to explain it all. Not now. Possibly not ever, truth be told.

And it's not the same as Boothill leaving behind his old identity when whatever event happened that caused him to leave home. Not really. But…

But so far, Boothill has slid so easily into Dan Heng’s routine. His presence never feels like an intrusion. He's already figured out what he can push and when to back down. And even Dan Heng finds himself able to roll with whatever punches Boothill throws with baffling ease. They share too much in their methods and ideologies, and sometimes Dan Heng knows what Boothill will do seemingly before even Boothill himself knows.

“...Tell me about Talia and the Nailscrap Town.” Boothill must know he's avoiding the topic. He must. But the man just throws his head back and cackles, melting easily back into what they had been doing before, as he speaks fondly of a planet that Dan Heng has never visited.

Not today. But.

Dan Heng inches just a little closer, just enough to nudge his foot against a metal leg. Boothill doesn't pull away.

Maybe someday.

[itspileofgoodthings]

my mom told me I needed to just rest in the fact that I am a good teacher and I don’t need to be constantly on the lookout for improvement at every single second. it really helped tbh.

[diodellet]

i'm all for the trope of jamil holding ppl by the face so he can use snake whisper on 'em, but in my mind, lou - at some point when the loujami relationship gets established, and when she's more comfortable to drop her people-pleaser facade - ends up inheriting that habit too, sort of like this

(👆suggestive warning for the song and its lyrics, but it's technically the girl having a fantasy and taking control of it? bottomline is that it's all in her/grace chastity's head.)

++and the funny thing is that lou is often inside her head too, so like that part of the musical encapsulates her maladaptive daydreaming, i should make another post on that 👀 and her inner thoughts are probably the only place where i can show off her more assertive? dominant? side. even if she's self-conscious and a bumbling nervous wreck most of the time, that's what she's been conditioned to embody, like an acceptable amount of shamefulness of sorts. see, she knows she can be demanding, but has been shamed for it at such a formative age that she suppresses that side of her, at the detriment of her emotional health? emotional expression? anyway, she will have moments where she snaps reflexively and it will be a complete contradiction to the person she's been in the eyes of the NRC cast.

[july-19th-club]

we talk a lot about how the shtriga case was bad parenting and horrible just being-a-person-ing from john back when the boys were KIDS but this time im talking about how . it's also horrible parenting when the kids are adults. like you held the guilt of that night over your son's head in his childhood, you looked at him different, you know? and that was worse. and THEN he's a grown twenty-something and he hasn't seen you in half a year because you're back on your old obsessive quest and you keep him busy by sending him cases to work. you send him this one because you know your son, and you know that when he realizes what he's hunting here, the same child-devouring creature he once left his little brother vulnerable to (although you never told him what he needed to look out for, and never gave him a reason behind the orders, and never explained), and that he will hound himself over it and insist upon finishing it and you allow him to do the job and you allow him to continue to take responsibility for your decisions seventeen years ago, when you left an anxious eight-year-old alone with a preschooler for three solid days to be bait for a thing that would kill them. he finishes this case thinking he's finally righted the wrong from back then, finally made up for his failure (as a CHILD) to protect his brother, to follow the orders, to obey and behave, and he'll never be corrected about this. he will insist to the boy in this episode that it's not that kid's fault, he will insist that it is not really his father's fault, no, dad gave me an order and i didn't listen. don't. don't. but nobody will ever tell him this one wasn't his fault

[longagoitwastuesday]

I am liking Jujutsu Kaisen, way more than I imagined I would, but I foresee it will let me down and it's keeping me from enjoying this as much as I could haha

I think the characters and dynamics are well set, and I think many of them have an incredibly good and deep potential, but I would be willing to bet they'll not get a proper development, enough for them to really hit. A well assembled set of gears is not enough to make the movement go, you have to wind the clockwork.

I think Gojo and Megumi have a fascinating and very complex dynamic, but I doubt it will be given the time and care that imo it needs to actually work. And it is going well enough for now! One could see the intimacy between them was deeper than the one Gojo had with, say, Yuji and Nobara ever since the very first few episodes despite the fact Fushiguro too was a first year. But the pieces forming what they have are extremely complex, and it just wouldn't be realistic if it doesn't show, even if in a not showing way, or if it doesn't have consequences or implications.

It's one of those dynamics that shape one's life, the way one regards the world, the way one establishes or not relationships with other people. It's one of those dynamics that could be full of fondness, gratitude, resentment, admiration, trust, and that imply intimacy, the good kind or the bad, even if in just the knowledge of someone who's been a constant through your life. It could, and would, imply a myriad of feelings, and probably in such a mix it could imply contradictory feelings too. Even the nothingness would weight, even the nothingness would be significant and meaningful.

Gojo took Megumi and his sister under his wing, the son of a man who murdered him, because of both selfish and selfless reasons. Megumi looks like Toji. What does Gojo feel about this? How does Gojo deal with this? How does Gojo go about taking care of Megumi? Would he walk him to school? Make him breakfast? Celebrate his birthdays making him blow candles? Did he take him to the zoo? Does the relationship between them feel professional or is it something more? Gojo appreciates his students, but is Megumi to him just another student? When Gojo faces Sukuna in Megumi's body, did he see the kid he raised, or does he just see Sukuna in one of his students' body? Did he have one faint wavering instant? And how does Megumi feel about this? Is he resentful of him? Resentful of the situation? Of the selfishness behind his actions? Does he feel like a pawn? Is he grateful? Does he resent feeling grateful? Would he rather not? Does he love Gojo? Does he feel nothing about him other than what he could feel about a teacher that sort of annoys him but knows he's reliable in his strength? Does he think it unfair, cruel or unfeeling that Gojo is close, closer perhaps, with Yuuji or Yuta, considering their story? When Sukuna slices Gojo in two, does the remnants of Megumi's soul tremble?

And not just Megumi and Gojo. Yuuji and Nanami, Gojo and Nanami, Yuuji and Fushiguro, Nobara and the boys, or Nobara and Maki, Todo and Yuuji or Yuta, Gojo and Yuta, Megumi and his sister. Gojo and Geto, even! If the pieces are well set, the dynamics are intriguing, interesting, and have potential to be deep, but then the characters have like two plot relevant scenes that punch you hard, but little more, it's not nearly enough. Especially not nearly enough for the enormity that is shonen dynamics and situations. And the potential existing at all, and then not delivering, makes it all the more frustrating when you're left with something mediocre that could have been so good.

The development of dynamics through not only a few plot relevant gut wrenching moving scenes, but also the smallness of life, is important. The friend who recommended this to me said that those things were just unnecessary filler, but I disagree. I think there's a big difference between a large amount of anime-only filler episodes whose existence is based on the fact they had run out of manga chapters to animate, and moments of quietness. The low stakes character-driven moments of quietness can be so telling and so insightful, and they are so satisfactory when brought back later in higher stakes situations. My friend teased me there was no scene of Gojo making breakfast to Megumi, that it would be an idiotic idea, but it would be so telling. How he makes breakfast, what they eat, if he tries hard or if it's all mechanised, if they have personal bowls or if they use whatever, if he just buys them some pastry on the way to school, if the way they have breakfast changes through the years, or if he doesn't make them breakfast at all! All that would be very insightful on their dynamic and its evolution. All that would give a glimpse on how they regard each other and why, even in the present. All that could become meaningful in tense situations and high stakes scenes.

These moments also let the plot breath; if a lot is happening all the time, if every character is always experiencing trauma after trauma, the entire story is so emotionally draining that at some point you don't even care all that much. Besides, these nothing moments or low stakes plot arcs, besides deepening and developing dynamics, also let some in-world time pass, which would make the intimacy and bond between characters more believable imo; between Yuuji eating Sukuna's finger and their last confrontation in December how much time has passed? A few months? Am I truly to believe these characters are so everything to each other in only a few months?

Without some smallness, some repetition, some daily life, some low stakes not plot-centric development, the dynamics don't hit, they don't truly feel fleshed out, and dynamics as complex as the ones Megumi and Gojo have, or as supposedly meaningful as the one Megumi has with Yuuji or his sister, should be fleshed out if they're going to exist at all. Otherwise they'd risk making the writing feel awkward and fake. Besides, if the dynamics felt well fleshed out and realistic, they would shape the way the characters interact and act, and how they deal with situations, thus being plot relevant.

The shonen genre has so much happening all the time, the stakes are so high, the dynamics are so rooted in big events and the relationships carry enormous weight and implications. Yet they barely get developed, and it feels so stupid, so plain, the absence of something so important noticeable like a constant void, a shapeless nothingness present in every scene. It makes the characters feel like cardboard figures. Jujutsu Kaisen is already getting a better job than many, but I doubt it will do enough for what I've heard, and I fear I am bound to feel let down, and bound to feel unmoved.

After all, if not enough time and care has been given to develop a dynamic, I am not going to feel pressured by the high stakes; if not enough time and care has been given to develop the dynamic between Megumi and Yuuji, as good potential as it has I am bound to feel little for this last confrontation between Sukuna and Itadori, and his effort in getting Megumi back.

[ratatatastic]

[kuromi-hoemie]

i am once again thinking about The Boy

not the movie lol

[lizzibennet]

the thing about each pjo book is that each of them is uniquely the best in what it sets out to do. each is so monumental in what the story ends up amounting to, picking a favorite is almost like pointless. you could not have all 5 work so well if one was missing

[aizenat]

I’m returning to my craft in 2025.

[dragmirc]

hc + 🧼 for a hygiene-themed headcanon hc + 🏠 for a home-themed headcanon hc + 😃 for a happiness-themed headcanon

Thematic Dramatics || Accepting with @gloryseized

Hygiene

Surprisingly, for living and operating in a place where necessities like water is scarce and therefore considered sacred, Ganondorf keeps himself and his charge fairly well-cleaned. During the dry season (and yes, there is a season where the desert is drier than usual), water found is rationed for drinking purposes only. Bathing is not completely forgone, but it is lessened to once or twice a week to preserve what is found for survival. The only time this rule is overlooked is when visiting foreign lands, as the King of Gerudo does attempt to present his best, as does any entourage he chooses to bring with him. During harder times, scented oils are employed to try to mitigate any unwanted bodily odor, soaked into textiles daily during dustings to try and prolong the oils' fragrance until the next bathing period, where clothing is also given a thorough-enough rinse. The wet season sees an increase in communal bathing and laundry, as the dry riverbeds finally deliver what he and his people need the most. It's taken advantage of, the necessity of water rationing put aside for the most part to enjoy a little of the leisure and luxury having running water gives. At least until the dry season starts swinging back around and they have to travel to follow known water sources all over again.

Home

Home is a strange subject. While most would think their home as a static building or place, Gerudo are nomads. They have no real roots in one place or one structure, and given the harshness of the desert lands they were given, they are forced to travel to follow the sources for things necessary to survive. As a result, Ganondorf does not see a place as his home so much as he sees his people as home. He sees their hardiness and their fire against a place as hostile to them as their neighbors are. He knows when he witnesses their tattered banners flying and their colored lines that he is among friends and family and they are all safe. To him, surrounded by those he honestly tries to care about, that is home. even if later on, he forgets that for a half a second

Happiness

Happiness is a lot of things. It could be something as simple as the night sky over the desert, that feeling of knowing the infinite expanse above is a new world just waiting to be known. Or the experience of trying to know and understand the people he was born to rule, to know the little tidbits that make Gerudo who they are. And these things are happiness, certainly. But these are not the happiness he sees for himself. What brings this man true joy is the approval of his mothers. The witches who brought him up when he was so cruelly abandoned by his own mother, who saw the latent power within him as something to tame and refine into the sorcerer he would become. To be the King they told him to be, the spark of the circlet on his brow they made and crowned him with. To hear and know them coo and ring as they tell him how to save his people time and again. And he knows it will bring him more pleasure to achieve that goal, to rewrite the world and be praised for it. Not just with the witches, he dreams of those he is trying to save singing such acclaim. Because that is how it is supposed to go. And that is all he lives for.

[mekatrio]

oh maya fey...

[nyan-bynary]

Ppl really sleep on jjk0 suguru like if you think gojo's a weird child man at age 27 here's his ex who is the same age, jojo posing on random children and batting his lashes and putting on so much boyish charm to get everyone's guard down. He can't control his random mean and menacing facial expressions to the point where someone points it out. He watches yuuta make out with a curse and his first comment about it is calling him a womaniser gjfjfjf they have become the same person it is so sad and so funny

[itspileofgoodthings]

I mean I’m obsessed with crash landing on you because it’s like if a hallmark movie was good and that is fascinating to my brain and healing to my heart.

[aria0fgold]

OCs in the brain again, actually it's just Alec and Ray in the brain again. Just thinking bout their friendship and suddenly I wanna chew on the sun.