#i need all four boys in

[candygalaxyyy]

Rearranging the Scenes in ‘Never Let Me Go’ Episode 11

Rewatching ep 11 of nlmg felt weird because the pacing is a bit off (and many people have pointed this out across different social media hell-scapes). The content of the episode was perfect but the order of events felt a bit rushed and confusing. Therefore, I have rearranged it in a way which makes sense chronologically and logically (to me anyways). I still like the episode but it’s just not my favourite, and that’s okay. *DISCLAIMER* I am not a director or screenwriter and I do not have a degree in film (nor am I studying for one - I literally do international development and sociology), I am just doing this as an avid consumer of film and tv shows!

Part 1/4: I would have preferred if the first part was actually the end of part 2 instead. It would have been great if they showed them living together again; have them working together and sorting out hotel stuff, like when they went to the market. Just overall boyfriend vibes. The scene where Chopper texts Ben is okay but unnecessary. It would have driven the plot further if we got more interactions with his dad, so we see the point that lead to him pulling out the gun. I mean good on him but I feel like we should have seen his breaking point. And Perth is a good actor so it would have ate down.

They should have also had an in-depth conversation about their strategy of ‘fighting and dying together’ and not letting Kit manipulate them. In all honesty, the mere idea that Palm even considered killing Thanya is so out of character, literally the biggest plot hole EVER in the history of mankind! The fact that he even made it to her hospital room is beyond me. That scene should have never happened. PERIOD.

Part 2/4: So Kit is triggered with them thriving and depending on each other, so he decides to confront Nueng about him canceling his business plans. This makes him even more triggered, thus leading to him kidnapping + threatening Palm. But Palm doesn’t take the bait at all! He pretends to but when confronted by Kit in the bathroom later on he shuts him down. So he decides to order his men to kill Nueng and his mum once and for all. It would have been nice to see him plotting this and have Chopper listening in (and maybe recording too for evidence).

Part 3/4: This parts pacing was good for me. The only thing I would alter is Thanya waking up, Nueng updating her on his life while wiping her hand is perfect and sweet. However I was somewhat underwhelmed :( I think it would have been more emotional if she woke up in the finale after they defeated Kit. Like imagine they just got done with the evil that is uncle Supakit and that second they get a call from the hospital that she’s alive. Almost as if their lives exchanged, he had to die to let Thanya’s soul be free, because with him around she would never know peace. Dramatic yes, but dramatic in a good way!

Part 4/4: This part was also nicely paced, but the only thing that bothers me is the lack of protection for Nueng. LIKE WHAT ARE THE BODYGUARDS FOR, WALKING DOWN STAIRS LOOKING ALL COOL?! There should have been a scene where Kit’s underlines fight off his bodyguards and maybe even Palm. Up the angst there, you know. So we see Palm panic and being so concerned, because he just saw Nueng get kidnapped and he couldn’t save him. So his confrontation with Chopper, that we saw in the preview, carries more weight.

The end. Roll the preview.

To me this is a more satisfying sequence of events and in my head this is the way the episode goes now.

[jetpackgeneratedcat]

It took literal months, but I finished it!!

Top left: linked universe logo

The jojo's lu logo is sooooo detailed. It is one of the things I love about Jojo's asethetic with linked universe. The detail she adds brings so much life and information about the world of Linked Universe. Great example is all the embroidery on the chain's clothing. Let's you know about civilization, that an item may be magical, etc. It is difficult to keep small details in watercolor, but I think I caught most of the main details in the painting.

Middle left: Soulful legend

This was the fourth of the images I did for the painting, and the first image I really started to get into the painting. I think legend is my favorite to paint because he makes composition so easy. The red tunic adds an easy focal point. I did learn from this that I do not like masking fluid and likely won't use it again. It added to many hard edges that I wasn't intending. Very happy with the sky!

Bottom left: Evening snack

In this image, I liked the idea that wind and sky don't know what Ramen is because their worlds don't have enough space to produce wheat. So sky and wind are super excited about this new food, while legend has no idea why they are so hyped for noodles. I also liked the idea that four found a green pepper in the ramen as a topping and is a hater (this is from a note that jojo left somewhere saying that the chain will eat anything but four in the Manga does not like green peppers, idk where this note is to link it though....). I didn't end up drawing the Ramen noodles as it was just getting too small of a scale for me to be comfortable drawing the thin lines for the noodles in.

Bottom right: Testudo

I am very hyped in the future when we see more collaborative fighting with the chain and them working together effectively. I absolutely love the scene in shifting shadows part 3 where lenged and hyrule work together with the beam and hookshot.

Middle: Legends storage

This is a reference to one of jojo's earliest works where the chain goes to legends storage for him to pick up some gear. I love that scene and I tried to put as many references as I could. The one thing I need to figure out is how I want twilight to look. I can't wrap my head around it. Need to sit down and just try out a bunch of different faces for him. My Pinterest inspo for twilight is all over the place. I want twilight to look different from time because when Malon was trying to guess who was the descendent, she did not consider twilight (she looked at wars and wind (so I typically draw time, wind, and wars looking similar). For my own personal headcannon, twilight and time are very similar in their manner (the way the walk, stand, etc) and personality (their stubbornness (as seen in sunset pt3)) but not necessarily in looks.

Middle right: Boat boys

The first image I did. I like how the water turned out, but I will not be using masking fluid for the same reasons I noted earlier. I did trace the boat (i think this is the reference [L240632 Hornet Class. J. Arthur Dixon Ltd. Beken and Son]). I do regret not doing anything creative with the boat, but I just wanted to get into painting and needed some confidence by working directly from a reference. I also forgot that legend might not be so keen to be on a boat again based on a comment jojo left in 2022 or something. I think she mentioned something in a discord event back then about legend not too willing to be on a boat again. But that doesn't really matter, I put that boy in a boat whether he likes it or not lol.

Top right: Winter storm

Second image I did for this painting. I did trace most of the horse because I do not care to learn horse anatomy (ref. [Winter Save By David Stoecklein]) Favorite part about this is the lighting on the rope from the lantern. I think it turn out well.

Top middle: Heavy armour

Third image I did for the painting and the one I realized I need to spend more time painting people in neutral or back lite lighting. But for my first time I think it is good. I really want to see what jojo does with the armour sets! I like the idea that war's armour is clean and pristine while wild's armour is rusted and beaten from the calamity. In this painting I played with adding pink to the golden armour and I liked it. In the middle picture of the collage (legends storage), you can see i added pink to time's armour.

That's everything! ❤️

[turtleblogatlast]

I love Raph and haven’t said that enough so to be more specific I love that Raph is a soft boy who loves bear plushies, a gross boy who eats an assortment of things that are definitely better left alone, a smart boy who is more than capable of taking down villains through planning and fortitude alike, a strong boy who is dedicated to training his muscles and fighting prowess, a teenage boy who loves his brothers but is more than happy to tease and roughhouse with them, an angry boy who sometimes lets his anger take a hold of him to cover the fear, a gentle boy who is generous with hugs and affirmations to those he loves, a capable boy who takes on more than should ever be expected of a teenager, a good boy who just wants to be a hero and slowly comes to realize the cost of that duty, a good boy who has no reservations about putting himself in the way of harm coming to his family, a good boy who’s a great brother and son and person and deserves only the best the world has to offer.

[urghblergh]

Some fancy guys. ✨

[respectthepetty]

The Heart Killers' Colors? - Ep. 4

Before I begin my investigation into the fourth episode's colors, in case it was not clear, I find Joong very attractive, and when Fadel was looking through Kant's pockets a little aggressively and very homoerotically, I was rooting for First to add another boy's lips to his roster.

BREAK UP THE SHIPS CHALLENGE 2025!

Since I'm afraid that I'm two seconds away from abandoning my efforts to uncover colors in this show so I can turn this into a Joong appreciation blog, let me focus on what I actually came here to do — appreciate Joong Fadel for always being a Black Brooder.

And thankfully Red Rascal Bison is wearing red and blue shorts, but I don't know who the blue could possibly be for since Kant and Style refuse to show their true color!

But back to Fadel being a Black Brooder who just happens to be played by the very attractive Joong.

Fadel is my rock in this show. He never wavers in his color. When all these other boys do wonky stuff like wear red, so I can't figure out their color, Fadel always stays brooding in black.

So I'm holding onto the knowledge that Fadel IS a Black Brooder while I stare in confusion at Style wear red and Kant wear black again this episode which is an inverse of their love interest! And Bison wore blue, but I've previously guessed this is him hiding his true color after attempting to go full BDSM on Kant the night before.

Yet, as usual with Kant, he has a little red on his back. He has had red writing on his shirts before, so is he really in love with Bison already? I think so.

Because as much as I'm upset at Kant for hiding his color, Bison IS a Red Rascal, so Kant having red writing on his shirt multiple times now gives me hope that he is realizing he loves this little demon more than he thought he would especially after Bison noticed what was happening with his brother (and saved the kids from sexual grooming, which is what Bison believes he does for Mother).

So I'll cut him some slack for not showing his true color yet, and I'll keep assuming it is blue since his background is blue while Kant's is red.

But it seems like Kant has a type, and that type is hell raiser.

So even though Bison gave Kant a heart, he didn't get Bison's heart since it wasn't placed over Kant's heart and it's not in Bison's color.

Because Bison would just as quickly kill Kant as he would kiss him, and both of them ending the episode clearly on their own side matching the wall they stood in front of shows that Kant has his work cut out for him.

But considering the boys are wearing couple's shirts with their initials on them next week, I think Kant has some tricks up his tattooed sleeve.

Like sending his best buddie to keep Fadel busy by having sex with him, so he can try looking for more clues, and since Fadel and Style also have incorrectly color-coded couple's shirts with their initials on them, I'm going to assume it's not going to go well.

Because Kant and Style still don't know the guys they are falling in love with if they can't even wear the right color for them. Bison is a Red Rascal and Fadel is a Black Brooder! Two halves of one heart! Get it together, besties!

And now that they think the guy they have been sent to kill had something to do with the deaths of their parents, their emotions are going to be an overdrive.

Especially Bison, who seems to have picked up Mother's color on his journey to become a killer, since he was neutral as a kid.

Yet Fadel, my rock in the color storm, has always been a Black Brooder.

And unlike Bison, who has spontaneous outbursts that could end everyone, Fadel is much more calculated.

So for Style who, according to the folks behind the show, should be a (light) Blue Boy, to be strategic in his plan to annoy Fadel just so he could make Fadel miss him was brilliant.

I want to believe that Fadel is playing Style, but I thought in episode two the reason Fadel hated Style so much was because Style messed up his very calculated plans, which is exactly what he expressed in this episode; therefore, I think this entire conversation was Fadel being honest.

Pretty boy Icarus done flown too close to the sun and got himself a killer boyfriend.

And, once again, I think Fadel's feelings for Style are real because Fadel laughs and smiles a lot around Style.

And my pretty emo boy doesn't smile for anybody!

So these two idiots better get their plan and colors together, quick!

Because Bison stays red . . . dee to commit murder

And Fadel is already too deep (in the blue) to even realize how much he actually likes his (light) Blue Boy.

So even though Style is now trying to be cautious in his yellow and back off, Fadel is coming in hot.

But I'm unsure if it's because he is passionate about Style now that all his warmth has been unlocked or if he will burn Icarus for getting too close.

Or, more importantly, when it comes to Fadel, if there is even a difference between those two things.

[forgetful-nerd]

Sometimes I get just a tiny bit sick of the whole “the team had a falling out and now they can’t stand the sight of each other, but now they have to come together to face off against a new big bad” trope.

I need a healthy dose of overly-attached, traumatized turtles bros to balance it out

[weregonnabecoolbeans]

Julian Blackthorn’s constant awareness of his siblings is both so heartwarming and so heartbreaking to read

[justa-moth]

dead boy detectives textposts pt 6 :D

pt 1 - pt 2 - pt 3 - pt 4 - pt 5 - pt 6

[scrumptiousstuffs]

👀

P’Jojo 🤝 us

Whatever Dorn is doing…it’s working - LOOK AT HIS BICEPS 💪 AND THOSE BROAD SHOULDER

Source: dorn.slpw IG, Jojo and First’s IG

02/09/2024

[raens-art]

[setevulpo]

yknow what i find interesting? the cat king's cat body language. like the way it changes until he shapeshifts back to human in that first meeting? pure gold actually, kudos for the kitty playing the part

the first shot we get of him has our darling king in a pretty calm posture. he's lying down on his side, his ears are forward, he's looking straight at the group, but his pupils are still pretty big. his tail is extended but relaxed. all of that points to him being, at most, interested in the wonder trio, but still showing he's dominating the situation (that's the looking right at them part mostly)

that changes when they actually get closer. we see him lower his head a bit, and the tip of his tail starts flicking. those are both things cat do when focused, and it's a stance closer to the one they use when hunting, but the fact that only the tip of tail is moving also means a little bit of playfulness is involved.

and then! it actually changes again!! when crystal says that "it's just a bunch of cats" and it pans out to the dude's corpse on the floor, the king starts pretty much wagging his whole tail! he is not happy that someone (who may or may not be the one who trapped his cat) decided to underestimate his subjects. a wagging tail in cats differs from the one in dogs cause it's often used to convey frustration or annoyance instead of excitement.

and it isn't a slow wag either (that would mean some form of relaxation still)! that tail is full-on irritation that someone insulted his people!

i am losing my mind over this so it had to be set out there for everyone else to be exposed but! it's so cool!

[huh-1260]

These are all the boys I don't draw that much. I feel bad that I keep drawing the other boys more

[itzrafee]

A thing on Uran and Helena in Pluto

Okay a short little thing on Pluto. Uran and Helena are my absolute favourite characters in Pluto. Urasawa has always had amazing side characters, from Mr. Rosso in Monster to Lee Harvey Oswald and Jackie in Billy Bat to God in 20th Century Boys, but very few have tied off the emotional ends of the story like Uran and Helena.

Maybe I'm projecting here but much like myself I feel like Urasawa is absolutely obsessed with Frankenstein. And he recognizes the influence Frankenstein has on Dr. Umataro Tenma. Or at the very least, the similarities between the two. And so when he made the protagonist of one of his most popular works Monster, Dr Kenzo Tenma, he solidified that connection. Kenzo Tenma calls back to Victor Frankenstein needing to end his creation while also calling back to Japan's other famous Tenma, thus making the connection explicit. Another throughline between the three of them is that all three are father figures to their creations and have obligations to their children, though all three have varying levels of success with them.

I've only read what I like to call Urasawa's "Core Four", conspiracy minded thrillers that are essentially road trips featuring usually two main protagonists that we see the world through, Monster, 20th Century Boys, Pluto and Billy Bat. Though I still haven't caught up to Asadora and that could still possibly fit this mold, Urasawa's Core Four share a lot of themes and ideas. One of the most important being the responsibility for one's creations, whether it was Kenji Endo and the Book of Prophecy or Kevin Yamagata and Billy Bat or Dr. Kenzo Tenma and Johan, all of his protagonists could arguably be seen as someone with the need to take up the responsibility of their creations. So where do the protagonists of Pluto fit in there? That's where Uran and Helena come in.

But first, we should take a look at Pluto's themes. While I could be wrong, at a cursory glance, I feel like the general consensus towards it's themes is that it's about hatred. I don't really think that's what it is as I feel like Urasawa is more trying to show us what it is to be human and what it is to be alive. And in that, he has a hidden protagonist in Pluto. Someone who's influence snakes through the plot and isn't seen much, but without who the story's themes would remain incomplete. Pluto tackles what it is to be alive through many things, such as memory, sadness, grief, hatred, love and parenthood. But none of that works without the realization by Tenma of his own mistakes. And Uran and Helena bookend these revelations and are absolutley key to understanding that.

In my favourite chapter of the series, Chapter 37, Uran goes from person to person as she finds a way to deal with her grief and eventually comes across Tobio's grave, Tenma having left recently. It's an absolutely beautiful chapter that shows Uran's humanity and Urasawa's love for sharing these kind and soft moments. But it also sheds a light on Tenma as Uran realizes someone who was grieving has just left. Without saying much at all we realize that Tenma has finally realized his mistakes. In the process of grieving one son, he lost the other. While remembering Tobio, he let Atom go. His grief towards Tobio is clear in the following chapter, Chapter 38. All of the things he wanted Atom to be; Tobio come back to life, Tobio's ghost punishing him, Atom rejected. And Tenma could only see that rejection, and not what he had, another son.

Uran shows us very clearly what Pluto, the story, is. It's a chapter in their lives. And we've come into a story nearing the end for Tenma. And it's through the humanity of two absolutely amazing characters in their own right, Uran and Helena, that we are able to so fully understand Tenma. Despite being robots, these two characters are the most alive of everyone. They love fully and freely and are catalysts of change. Uran's vibrant and full of life in a way that really sticks out. And Helena has such depth that it's evident in every scene she's in. She's not pointed out to be made by any famous scientist so all the life she has is her own. These two represent the life of robot's more than any other characters in the series.

So it's that much more poignant when Helena finally breaks down after putting on such a strong front of everybody. Grief intersects and she brings out Tenma's sadness as well. They've both been putting up such strong fronts that it's heartbreaking to see them collapse. It completes Tenma's growth and strikes a heartbreaking contrast between the two. Tenma became the way he is through the loss of his son whereas Helena doesn't even get to remember her own loss. It makes you wonder if the grief for her and Geischt's child compounds her sorrow too.

Without these two and their grief, a large part of Pluto becomes inaccessible. Pluto is largely about death so when two characters come in who've never had a hand in the grim work of taking life, you see the world through a lens that's absolutely crucial in order to fully connect with all of the character's and their situations. Death and Grief has scarred the characters in Pluto. Time and time again they've chosen the worst path. They've chosen revenge and hatred. But Uran and Helena are different. Without them, the story is incomplete. They provide an alternative. They provide the path towards healing.

im sorry for this one:

[read-write-thrive]

the dead boy detective agency main four are a polycule on various points of the aromantic/asexual spectrum (in addition to their various sexualities), with the various side characters playing the roles of parental figures or talking stages. thank you for coming to my ted talk

[littletealights]

What makes you think that Arthur is a person of color? :0 just curious.

gladly.

so, at first, i thought it was me projecting but i think the first clue i got was eddie. yall might think i’m being dramatic but eddie was…suspicious from the get-go. in a normal situation like this, there’s actually 0% chance that it turns out the way it did for arthur.

but that’s beside the point. eddie knocks on the door and receives an unhurried response. he walks away to do.. whatever it is he was doing. arthur comes to the door, opens it, looks around and picks up some trash, muttering to himself. suddenly eddie has urgent business inside the office with a. flimsy excuse at best. strike one.

we, as the audience, know that arthur is being shifty because he’s just killed a man. eddie has been told, quite convincingly, that arthur was moving… boxes or something (im looking at the transcript, arthur just says ‘not furniture’ so…). and that arthur is working with sensitive documents. not sure if you know this but private detectives have to work with proper authorities to be allowed to operate legally. that means they work with the police and the courts. when a PI says a document is sensitive, they mean legally. they mean eyes only. they mean ‘come back later or i could lose my fucking license because you got the wrong look at classified documents.’ a building manager, especially their building manager, should know that. strike two.

he also asks for arthur’s partner, peter yang (who is, i can only assume, an east asian man). i should hope that i dont have to remind you that this is massachusetts in the 30’s we’re talking about, and what that means logically. but i will. america hated asian people the most they ever did until COVID in the 30s through the 60s. the only people they hated more were black and brown people. no matter how shifty and suspicious arthur was acting, eddie would’ve been… let’s just say ‘incredibly unlikely’ to ask for peter instead of the white man. strike three

there’s some little bits about subvocals and tone that i could say, but it’d be a lot and i don’t fully understand it enough to explain well why eddie set off alarms for me. because i dont have to. it takes 5 minutes (from 11:48-16:09 on spotify, so nearly exactly) for eddie to go from inconvenient, to annoying, to suspicious, to violent. and he ends the conversation with a very real threat of violence that essentially boils down to ‘don’t come back to the building again.’ eddie is a maintenance man. he did not have the power to evict anyone. unless, of course, they were a poc. so why was arthur worried about eddie when sneaking back into the building?

but, like i said, i thought i was projecting. projection and being-on-the-lam can easily explain arthur’s hesitance when delivering the baby and asking for a ride. or the gunshop in part 6. but the lighthouse? no, what really solidified it for me was the end of part 8.

here’s what officer collin knows so far: a visibly disabled man has stumbled, confused and upset, away from a lighthouse and a body that CANNOT have been killed by a human; and it is dark outside. that’s it. using this knowledge, he then proceeds to beat said man. brutally. repeatedly.

in part 9 they learn he is blind and when that timid little fucker (mitchell) expresses doubt, collin says this

this is something we like to call coerced confession. arthur did not kill that man (the lighthouse keeper). officer collin knows that arthur didn’t kill that man. (dont play, he knows.) but because it is convenient to say that he did, they’ll threaten and torture him until he says that he did.

now, friends, i’m not going to lie to your face and say that white folk are safe from the cops, youre not, i know. but what im also not going to do is pretend like there os any world in which this happens and arthur is visibly white. not in the thirties, not in america. despite being forgotten or unmentioned they are in the midst of the great depression, the exact last thing these small-town cops need is the arrest of a blind white man on their hands. regardless, i have never ever heard of a cop speaking this way to a white person unprovoked. i, on the other hand, have been spoken to this way myself.

this is already quite long and it doesn’t even cover the sheer magnitude of people who feel comfortable calling arthur (at his grown ass age of visibly-an-adult) ‘boy.’ or the wicked and downright racist way that larson says it, (genuinely. it sounds like he’s a middle school boy who discovered the word ‘fagg*t’ for the first time the way he says it. i couldn’t tell you how many times that word (boy) drove an ice pick through my fucking skull this season.) but i hope you can at least get the picture.

original post is here

[violetregrets1837]

Okay so like while I still have the idea rattling loudly in my brain,

For my fellow x reader enojoyers, have we thought about meaner soulmate connections for the boys?

Like of course soulmate aus can have a variety of flavours, to sweet to spicy to oh my goodness I'm crying

BUT BUT BUT!!! I HAVE IDEAS FOR SOME MEAN SOULMATE CONNECTIONS❗️❗️❗️

Four: You can only see each other through mirrors >:)))))

It would always be a lovely little thing for the hero to see his soulmate, but after having to shatter that mirror, he wasn't sure if he could bring himself to take a single peak anymore.

Legend: You only meet each other in your dreams

I feel like this is obvious on why it's mean to Legend specifically. I love Koholint angst. What can I say?????

Wild: You gain the others injuries

Wild could easily guess the reason why he'd never be able to meet his soulmate. He was kept in the shrine of resurrection for 100 years following his death. But when he somehow gets a memory of when he finally learned about his soulmate connection, a papercut on his finger that he can't remember getting, a pit opens in his stomach as he realises. His soulmate didn't die just because of the calamity. They died because of him.