#manga scenes

[ayatherandom]

Selling art courses for £5 per month on my patreon gonna upload close to 100 videos, previews on all my content^^ patreon.com/AyasAmazingArtTutorials also follow me! Just started out on this app would love to have some followers ty!

[taikerou]

[ruporas]

don’t worry about me. goodbye, big brother

[mychemicalbrromance]

Guys ive been reading peak

[kensatou]

quick question: when will she ravish me.

also... the music. the little wet noises... so good...

[iztea]

don't shoot corpses in vain

[eightspringdays]

This was animated flawlessly.

[hinamie]

I'm always pushing you away from me / but you come back with gravity / and when I call, you come home

[bixels]

It's crazy how Dungeon Meshi's manga can feel more cinematic and emotional than the anime to me, even when they're practically the same. Compared to the anime, this moment is such a heartbreaking gut-drop. The way Kui uses negative space and flat compositions to create a sense of horrific stillness is so key.

The way the text (Senshi's monologue) is sequestered to an empty corner of a panel or huddled away from the edge of its text box is not only a great way of showing Senshi's headspace (fearful, isolated, dissociating), but creates a visual representation of pause, as if you hold your breathe after each line. The first panel puts us directly in Senshi's perspective too (compared to in the anime, which puts us as an outside observer over Senshi's shoulder). The detail of the door and bricks so effectively implies that he stared at it for so long, waiting and hoping, that its image is burned in his memory. The wood grain, the brick arch, the number of rivets. The lack of dialogue in the second panel shows a moment of realization too –– "he's dead" (also a great example of the Kuleshov effect). And it's that pause that creates a beat and sets a great rhythm to his headspace, like a music rest: "He never came back." (oh god.) "I'm all alone." Finally, the third panel's negative space, cropping Senshi, shows how truly alone he feels. Without his family, the world ceases to exists. Under shock, he traps himself in a 1-foot radius, too scared to even perceive a world outside its boundaries; a world that can hurt him, kill him, make him disappear with it. There is only his body, the stone beneath his feet and against his back, his thoughts, and that awful bowl of soup.

Even though they're a series of flat images, there's an implicit reading of silence in Senshi's realization and horror. Kui influences your experience to slow down and take your time.

Compare this to the anime, which fills every shot with dialogue. The pacing is fast; we never get to sit in silence like we do with the manga. The horizontal frame allowed the boarders to add Senshi, turning the composition into an over-the-shoulder shot, which takes us out of Senshi's POV. They also added a zoom-out in shot one, which adds unnecessary energy to a very somber scene. The tightening on Senshi as a close-up reaction shot also dulls the moment. In the original panel, Senshi stares ahead at the empty space to his left as a shadow surrounds his mind. It not only shows how Senshi's senses are dulling and his world is shrinking (setting up panel three), but shows how terrified Senshi is of what's in front of him, how the air itself becomes pitch black and opaque, how Senshi is surrendering himself to fear. The pacing is understandable and necessary; this episode packed a lot of story content together. It's just a shame because it really (imo) deflated one of the most nauseating moments in Dungeon Meshi.

[poorly-drawn-mdzs]

You keep telling yourself that Namari.

[decoysatrn]

a conversation/realization Hori and his editor had about Bakugo and the final chapter

[taikerou]

[computercreature]

something i see a lot in the dungeon meshi fandom is attributing izutsumi's personality traits to her being a cat. and while ryoko kui definitely gave her cat-like traits intentionally, she's a talented enough writer to also give her a backstory with reasons for those traits. for example, her tendency to only do and eat what she wants.

izutsumi's character arc revolves around freedom. she grew up caged in a circus. and although she was fed enough to survive, this was only because a living catgirl attracted more customers than a dead one.

[id: first image is izutsumi as a child framed behind bars and standing on all fours, making it clear how skinny she is. a hand in the foreground holds out a bowl of what appears to be kibble. narration says “thrown in a cage and given food every once in a while… is that what you would call ‘being raised’?” in the second image she is now sitting on the floor of her cage and eating a rat. end id]

look how skinny she is! we see her eating what appears to be... kibble? oats? and then a rat that she possibly caught for herself. she had no choice but to eat anything she could.

[id: part of the dungeon meshi manga. a slightly older izutsumi is tied to a post and tade sits next to her to say "we've got a roof over our heads, beds, food, and clothes. they've got everything here. is there someplace nicer than this out there?" izutsumi thnks for a moment and says "i hate that someone's already decided what i'm going to eat tomorrow. my name, the clothes i wear, where i sleep, where i go next... here, all of that's been decided by another person... even though, come tomorrow, i might want to eat something else instead. that's why i'm leaving." at this, tade cries out in shock. end id]

when she's taken into the nakamoto household they begin to treat her much better. she's on about equal footing as tade, who also had a rough living situation before being taken in, and tade loves it there! they get healthy and tasty food and they're not sleeping in cages. but izutsumi still isn't free. she can pass off her chores and vegetables to tade and disobey in any way she can but she can't leave. maizuru even put a collar on her, further dehumanizing and trapping izutsumi.

when izutsumi joins laios's party, she's finally 'free', but it's not the kind of freedom she wants. she has to eat even more food she doesn't want or else she'll starve. but the difference now is that she's can leave at any time, and if she stays, she's treated as an equal. they're not feeding her monsters because they see her as inferior. they're all eating the same food so they can reach their goal(s). and this is part of izutsumi ultimately learning that in order to do what she wants, she has to be willing t do the things she doesn't want to

[shigayokagayama]

seeing the "if you cannot get into paradise when you die you can always stay with me" line get reposted on those like aesthetic quote accounts drives me insane because not only is it a hauntingly poetic line out of context but WITHIN its original context it is DEVASTATING. its being said by a ghost to the guardian of a child because they are trapped in a situation where it is almost certain neither of them will make it out alive and this child's guardian is trying to convince him to sneak out and get help. he knows help will not arrive soon enough, he knows that he is going to die alone in there trying to protect this kid that his actions have endangered, and this ghost is telling him that no, he's not gonna die alone, because he still has him

but the ghost looks like this

[whathorselegs]

Story-wise, I do not want Dazai to just show up and save the day again

Emotionally though, I want Dazai to show up and beat the shit of Fyodor for what he just pulled with Atsushi

[rugwurm]

smells like hell