#but this snapped me out entirely

[madame-mongoose]

I'm out of posts for the day (used the last of them reblogging your art and will do so again tomorrow) but

🫵

I would be very sad if you deleted everything and left, whenever you're away from tumblr your absence is Very Noticeable on my dash and I happen to like you and your art quite a lot, even if I don't say it much, for which I am Sorry.

It's really up to you, I have no say in the matter, but you are absolutely beloved here on Tumblr by myself and others alike, and I'll be damned if I don't tell you as such before you go (or stay. I Hope.)

Actually, your art was some of the first DCA fanart I ever saw here, and was a big part in inspiring me to make my own art. I remember once you did a picture of OOIE Yelling At Sun and I actually busted a blood vessel in my eye over it, not kidding! And then you started to post Wheatley and Marvin the Martian, characters I rarely ever see here but love to death, and it was nice knowing I'm not the only guy out there that really thinks they're Dope As Hell. Your whole thing about Marvin actually being fairly intelligent but kinda quick-tempered was hilarious, I've been sick in bed all day and it made me laugh even though it's painful and nauseating to even pick my head up from the pillow.

Your presence makes a difference, even though you mostly seem like you're just here to enjoy yourself, and I hope if you leave at the very least you take care and stay safe out there in the world, wherever you are?

And I hope this isn't a creepy or weird message to receive, I don't generally go off-anon, nor talk to artists I look up to so casually, and I hope you ignore it if it does creep you out, but the intention of all this is more to remind you that people are fond of and remember you (or, the you that you share with people here on Tumblr, that is. I have no delusions about how people present themselves on Tumblr being different from how they are in real life, but you mostly seem really damn cool) even if you're like, unaware that you've made any sort of positive impression on folks (you have. Wow this got long, apologies!!)

This made me cry. I've been trying to cry all day. This did it. Thank you. Sincerely. I wish I knew what more to say but. Thank you thank you from the bottom of my heart. You don't know what this means to me rn

[sun-e-chips]

Are we supposed to ignore that Sun can do LITERAL MAGIC in help wanted 2!!!

It’s canon

[todayisafridaynight]

[zytes]

7.15.23

[if-you-heart]

heart doodle from last night during a convo about the guy. he reminds me of that azula scene from avatar, you know the one. i am extremely normal about this character. that and i love drawing intense expressions

[violent138]

Next time maybe Alfie. Keep up the good work.

[xxplastic-cubexx]

Can we talk about how fcked up Charles can be sometimes? Can we talk about how Charles can sometimes be actually scary as a person? Like he can legit be nefarious sometimes, but those moments are not as talked about as Erik's warcrimes (aside from the holocaust visions from TAS)

girlfriend i promise we're all very aware about how wack charles xavier can be and i assure you his nefarious moments are talked plenty from what i run into. like outside of this inbox most times you breathe charles' name to someone they'll be prepared to start swinging

[wonderarium]

imagining a world where i can hyperfocus on drawing the same way i hyperfocus on pointless hobbies

[clowndensation]

there’s a question to be asked i think about to what extent “getting out” can be conflated with “being saved” in this show, and what freedom actually means to any of these characters.

like you can argue that shiv saved ken by voting against him on gojo, but what if your intent behind saving someone is to inflict a worse punishment than if you’d just left them trapped? can a child weaned on poison survive on milk, or are you just sentencing them to a death by inches, starved of the only thing they know? and if you save someone specifically because you know that being saved is the worst thing that can happen to them, is that kindness or cruelty? at what point does a good thing become a malicious act?

and you can say that roman is finally free, but what exactly is he free from? the company? his father? does unlocking a cage mean saving a dog, or are you allowing him out on the street knowing there’s a kill shelter nearby? if the driving anxiety behind roman is that he’s an idiot and a failure—that he’ll never amount to anything, and trying will only lead to pain—and he’s finally cut loose once all of those anxieties have crystallized into cold hard fact in his mind, what has he actually escaped from? if the cage is in your mind, is it even possible for somebody else to unlock it?

the fundamental truth of a tragedy is that even being saved can be a death sentence, if the characters are incapable of escaping the thing doing them the most harm (themselves and their childhoods)

[akkivee]

we have three people who’ve been affected by the true hypnosis mic and two of them, nemu and kuukou, have physical items that represent their bonds, kuukou’s matching bandana and nemu’s aohitsugi bracelet

sasara’s the odd man out so i wonder if it’s smoking that represents the mcd bond????? but the fact that sasara’s trying to quit instead of already sober is striking me as strange, like the bandana and bracelet are notably missing but sasara’s is still lingering???? 🤔

[skateintoawall]

sometimes I think about Q and their design and skill and how I think I could make an argument for them representing many characters childhoods and how the trauma from when they were kids impacts them as adults.

[articskele]

“...Wrong? Why would anything go wrong?”

Without further ado, a stimboard for @ask-the-biggering-onceler!

x|x|x x|x|x x|x|x

[kandicon]

Actually I really wanna write a role reversal gerrymichael au and let me be so, so transparent when I say it is literally just bc I wanna fantasize about the tall, gangly blond man beating monsters to death

Everyone else has the same roles. Mary Keay is still Mary Keay in all her abusive and obsessive glory; Gertrude is still the Archivist.

Vaguely spiral aligned Michael who Does Not Like It. Pretends his connection is a hell of a lot looser than it is.

The only benefit (that Michael thinks of the Spiral) is how he can move around the Institute with relatively little interference and watch, after all, it is hard to behold something that is both nothing and everything and never was all at the same time.

Gerry ran away from home really young and actually succeeded. Spent a few years fucking around and learning what kind of benches are best to sleep on before applying to the Magnus Institute because that's what his dad did. He lied to hell and back on the application, but was hired quickly because of how thoroughly touched by the entities he was (thanks Mary) and Gertrude was running low on assistants. Gerry also felt completely justified in faking stuff and that he was perfectly qualified bc he grew up in a bookshop and how much different could it be (very different, as it turns out).

They first meet each other when Michael is prowling through artefact storage like it was a shopping mall, and pocketing everything he saw that didn't immediately mesmerize him. He was nervous and jumpy as all hell, even though this was not the first time he's done something similar and he's fairly certain Gertrude doesn't care, so when Gerry first spotted him from behind, he was immediately suspicious even before he saw Michael try to shove a lamp into his jacket pocket. This led to an altercation that eventually led to the lamp being accidentally turned on, Michael smashing it to pieces with a hammer Gerry had not realized Michael had, and Gerry suddenly being a lot more consciously aware of the supernatural than he was.

Gerry's mother was still obsessive over Lighteners, and she didn't make an effort to hide what she did, but she didn't actively try to educate Gerry on anything to do with the Fears. So he is fairly knowledgeable on the supernatural, but he doesn't know anything concrete about the Fears themselves and their categorization. The role of a stand by sacrifice instead of an errand boy and heir.

Michael still trusts Gertrude, but this time he knows he shouldn't and hates himself for it. Gerry wants to trust Gertrude, and she does hide him from anything Fears related and behaves around him like she did Michael in cannon, but he just feels something off about her and doesn't like it. She's just a bit too much like his mother for him to let his guard down.

Michael gets referred to by "it/its" pronouns once by Gerry as a teasing joke before Gerry fully knows what he is and is absolutely terrified by how happy the pronouns make his feel. (He thinks, maybe, that the Michael of his childhood liked something similar, too, but everything too far back is all twisted and he doesn't know what has been touched by the Spiral and what hasn't, so he doesn't trust any of it). He/it Michael ftw

At one point Michael just started putting black lipstick on himself because some of Gerry's always stuck to him when they kissed anyways n this gave them plausible deniability. Michael will never admit to the little spiral thrill it gives him when people do a double take upon seeing his face, the black lipstick contrasting literally everything else about his style.

Gabriel attempted to track Michael down exactly once, a few years before he joined the institute. He had heard about Michael's unsavory... Hobby... (<- reckless destruction of artefacts and throwing himself at all monsters and avatars he sees with a murderous rage regardless of their affiliation) but spiral avatars capable of holding a conversation are so few and far between and the Great Twisting was almost prepared, so he thought a meeting would be worth it. He showed up at a cafe Michael frequented one day expecting lovely, but tense, conversation, only to promptly lit on fire (mostly) in the back alley behind the cafe after he introduced himself. Gabriel survived, but some of his clay body still hardens unexpectedly or shows signs of firing from time to time.

Occasionally Michael's eyes will change colors and shapes, so he likes to put contacts in (he used to just use tinted glasses, but after one time of Gerry getting lost in his eyes in the far too literal, not at all romantic, sense, he decided to invest in smth a bit harder to take off and forget about). Unfortunately, this sometimes means other, very much not his original eyes will pop up around his body and in his hair as protest when he puts them in. It's not very fun to have to chase off eyes at 6am, but he does it regardless and complains the whole time about how he shouldn't have to deal with eyes when he very clearly isn't of The Eye.

Gerry: Oh hey you were running pretty late. I was starting to get worried.

Michael, not about to admit he spent an extra thirty minutes to get ready yelling and brandishing a lighter at a door that was following him around like a lost puppy: Ummmmmm I forgot my wallet. :((

[martyrbat]

habeas corpus – detective comics #1086

(ID in alt!)

[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.

[sparkly-skies]

@reserved-fruit thank you for the link to this video with Kris' heart ring (goes perfectly with Keep Me Grounded, Keep Me Calm, just saying 👀 do you like friends (Bojan and Kris) comforting each other and jokingly proposing while still being deeply serious about how important their friendship is? Go read this!).

Here's some screenshots to look at with me, why? Because I'm a touchstarved bitch and scream and cry at any sighting of physical affection. Thank you Bojan for providing enrichment in my enclosure.

Also this one. Because I see a mention of friends spending time together because they love each other and love spending time together, I scream and screech in missing my friends noises.