#like man ruined his own life

[hannigramislife]

Can we stop sympathizing with Beast Dazai and start acknowledging the fact that even when the man had been given the chance to rewrite his destiny, he continued to be a manipulative bitch, orchestrating people's lives left and right as if he had any right to, instead of, you know, befriending them and sitting them down for some serious conversations.

Just my take on his supposed tragedy.

[ruffaloon]

Gregory House | Brand New City

another day, another house edit set to a mitski song

[phosphophylight-of-my-life]

oshi no ko aqua is such a fun character bc by most counts he's a more than decent guy.

in his first life he regularly visited hospital inpatients who had no visitors. he was genuinely happy and excited to help Ai deliver her babies, because he wants her to be happy on her own terms. he saves Akane simply because he can, and gets angry at the staff on her behalf. he doesn't stop at saving her life and spends sleepless nights turning around her public image. at that point there was nothing in it for him to keep akane around, she was just a person he was able to help and wanted to help.

by most counts he's a pretty decent guy who steps up when people need him most, except. except he's also a guy who really wants to kill his dad and that makes him manipulate people somewhat often and this is somehow not entirely at odds with his instinct to help others

[gjsxj0]

mindless rambling in tags don't mind me

[white-weasel]

Sometimes I think about just how much of a petty bitch Kristoph Gavin is and I laugh. Like truly one of the top haters of all time

[lulu-the-bugaboo]

Interestingly enough, there are so many different views on why Ace didn't run away in marineford, despite the fact that Oda tried to provide an explanation. It feels like I have barely seen the same conclusion between two people.

[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.

[driftingvoid-155]

Henry who wasn’t all that close with the Aftons after Charlie’s death or really before either. He worked with William and knew he had a family consisting of three kids but rarely ever saw them, especially not after his own child’s passing. So least to say, when he sees Michael show up to apply for the position of night guard in fnaf 6, for a brief moment, he thinks it’s William from the past back to haunt him again. This zombie version of his old friend here to put an end to him once and for all.

[moistvonlipwig]

the thing is like. yes jimmy's schemes to undermine chuck with both the 1261-1216 thing & the insurance thing are not morally right. but in both cases chuck is really the one to actually make things bad for himself. firstly the fact that hhm did not triple-check their documents before submitting them for approval is in fact on them, especially given that they know chuck is working by lantern light in a dark house, but even if he weren't, they should have been more diligent. secondly, chuck's behavior towards kevin & paige in the hearing and refusal to concede he could've made a mistake is what lost him mesa verde, not just the 'mistake' itself. and then with the insurance, the only reason howard considered asking chuck to take a step back was because of chuck's recent behavior and vendetta against jimmy. and chuck made things worse for himself by lashing out at howard and trying to sue the firm. in both cases jimmy lit the spark but chuck, to use an apt if morbid metaphor, actually started the fire. we can acknowledge that jimmy should've made better choices and walked away instead of engaging vindictively with his brother without acting like chuck was some helpless victim of jimmy's schemes whose life would've been just fine and dandy without jimmy !

[spaceagebachelorstan]

seen a lot of people saying that episode 13 is a spider episode, but am i the only one who sees it as a desolation episode? idk it’s just the cycle of the finance bro clawing his way up to ultimate fortune by losing everything else, and at the end of it all he doesn’t even get to keep his riches. he literally has nothing by the end of it, he’s burned every bridge, alienated himself from his friends and parents and completely fucked up his health. all that suffering just for one terrible loss, he got a taste of the top and it was stolen from him right at the finish line. life metaphorically going up into flames.

[yuridovewing]

like guys i promise im aware blossomfall is meant to be a glass child. i just think she’s a poorly written one lmao

[irregularbillcipher]

“doomed by the narrative” this, “doomed by the narrative” that, literally none of your blorbos are him

[s0fter-sin]

i’ve been watching yannis marshall choreography for like 15 minutes and i’m back thinking about my dancer au

gaz suggests a pole dancing segment for the music video for price and ghost shuts it down hard, saying he doesn’t do pole. gaz calls him selfish, that he’s just saying no to spite him but ghost holds firm; not even listening to soap as he tries to reason with him and reach a compromise

soap gets to practice early like he always does, just to see ghost blasting another life by motionless in white and doing a flawless pole routine. he’s as mesmerised by him as he always is, such beautiful movements contrasted by the seemingly harsh music, and waits for him to break before teasing, “i thought you said you couldn’t do pole dancin’.”

ghost just wipes the sweat off his face with a towel. he knew he was there

he always knows when soap’s there

“i said i didn’t do pole; not that i couldn’t.”

“what’s stoppin’ you?” soap asks, genuine and innocently curious and it’s the only reason ghost doesn’t completely shut him down

“what ‘bout you?” he asks instead. “ever done pole?”

he shrugs and sets his bag down. “enough to get in a twirl or two. ‘sides, gaz’s better suited to that kinda delicate work.”

“now, that i know is bullshit,” ghost scoffs and soap tenses, expecting him to go off on another rant about his best mate (just like he waits through gaz going off on ghost) but- “i’ve seen your competition tapes; you’re plenty strong enough to work a pole.”

soap stares at him. “how have you-?”

“price,” he answers simply, throwing the towel on top of his gear and all but stalks towards him. “i like knowin’ who i’m working with; he sent me your breakdancin’ comps. if you can hold a three-fingered hollowback handstand, you can bend on a pole.”

soap sputters as ghost grips his tank top and yanks him over to the pole, setting his hands in place on the body-warmed metal; bracketing his body with his own. he guides his body through the motions; teaches him how to fall and catch himself in a spin, how to gracefully climb and hold his body in midair

soap laughs as he throws himself into a spin just to bend his legs over his head, twisting his body to latch onto the pole with knee and lean perfectly horizontal with his other leg splayed out; his arm thrown above his head

he tips his head back to catch ghost’s grin and almost drops himself as he jumps up to join him; artfully climbing above him and holding his whole weight on his hip as he flips down to look at him

soap’s breath catches at the scant distance between their faces; so close he can count the near invisible freckles on ghosts skin, his fair lashes and the deep flecks of gold in his dark eyes

ghost is just as entranced; his grin slowly fading as he looks into the light sparkling in soap’s eyes. he tips his head towards the mirrors lining the studio and they slowly turn to look at themselves; fitting perfectly together

“see?” he whispers. “we don’t look all that outta place, do we?”

“no,” soap whispers back. “we don’t.”

[lesbiansanemi]

I am so fucking sick of living with my roommate and his fuck ass boyfriend. Also watching my roommate burn every single one of his (already rather minimal, I might add) bridges for this guy is also kind of painful but also his relationship with me is one of said bridges so I'm almost past the point of even feeling bad for him lmao

[marinecorvid]

also also on tumblr user marinecorvid's official gs playlist We Are Young and Emperor's New Clothes directly correspond to the rainbow festival happening region-wide and a few days of there being no sign of the pinchers and ben and summer cautiously letting their guard down for a night and rand giving them official off-the-clock time to go drunkenly sing karaoke together and fuck around with the rest of oblivia's young adults... and then the IMMEDIATE hard cut to murph frantically phoning summer and ben at 9 in the morning because purple eyes is here and now everything is back to being FUCKED. moreso than it was before, really

[good--merits-accumulated]

god writing the first bits of the italian renaissance au is so gruelling. i feel like putting up a big sign on top of the text that says I PROMISE I'M NOT WOOBIFYING TODD. HE'S A GROWN MAN WHO GETS A NUANCED PERSONALITY I PROMISE IT'S JUST THAT ALL THE OTHER CHARACTERS ARE LOOKING AT HIM WRONG. PLEASE