#not bc cringe oc

[fantastic-mr-corvid]

Cringe is dead have a jojos oc.

she's not just a jojos oc but that is the world I'm throwing her into at the moment.

Her stand has the ability to change the forces acting on an object, but is limited by amount of force, which is spread across all objects her stand is affecting.

Long nerdy explanation of her stand powers under the cut.

I swear im not a physics nerd, but I do use cad software and suffered through forces in a level maths so I do find this interesting as fuck. Mainly cause its a stand, this shit can be dry as fuck. I'm also not giving a numerical value for her pool of force she draws from bc fuck maths. I just thought a stand that is basically the fusion 360 move tool or that can manipulate those arrows on force diagrams would be cool

Summary:

Objects she is affecting are either actively controlled, which she can constantly affect the forces on and move, which is inside her range, or have been controlled, where she has changed the forces acting on it, but it is outside her active control range, where she no longer can directly control, but still is affected by the forces she changed.

E.g. she can make an object rotate around her arm because it's in her active control range, or she can make it go away from her at a certain velocity and once it exits her range she can not change it, but it will continue until it hits something or air resistance stops it.

Use:

Its main uses are stopping projectiles aimed at her and allys, as well as launching them.

But isn't it? Yep. One issue- stands can only be defeated by other stands [i need to reread part 5 and look closer at how mistas stand works cause they r kinda similar. cant remember if his bullets when used by sex pistols can affect stands] and her stand affects objects. So while she has great defensive and offensive capabilities, she can't defeat a stand, only it's user. At best she can knock back a stand, but her controlled objects do a fraction of the damage when attacking other stands.

Her strategy is to get a close range combat stand to fight the stand while going after its user. She is also extensively combat trained and skilled with weapons even without her stand, so she is much more likely to engage in combat herself with a stand user.

She normally uses her stand to throw projectiles, her throwing knives at first, but ball bearings or bullets work even better. She also uses it to stop incoming projectiles, either by controlling them, or using something she controls to collide with them.

her stand spends almost all of the time summoned but in the weird exactly where the user is double image type thing. bc her stand is skinny af and doesn't have 'skin' [the stand is made up of arrows and spheres mostly, spheres instead of joints and arrows instead of muscle/bone. haven't drawn it get but i have an idea] it isn't that visibly noticeable even to other stand users. it can go outside of her, but doesn't most of the time unless shes feeling really safe, or needs to have active control over something to far for her to reach [e.g. putting her stand in front of a bullet so she can stop it hitting a teammate] as it has few close range combat ability's, and she doesn't want to die herself.

Range:

Her active control range is about a foot from her stand, which she keeps summoned but inside her at most times. This means she needs to be very near the objects to control them, but the effects last outside of that range, meaning while the area in which she can actively control objects is small, the distance she can move an object is based on how much force she uses on it, making her overall a long range stand.

Potential:

Her stand has great potential, with at least two evolution's, one where she gains the ability to 'preprogram' the object with her stand, telling it what forces to apply when, as oppose to just applying them at once, and one where her stand gains sub stands [like killer queens sheer heart attack], so instead of having to be withing a distance of her stand, she can send out these smaller air-born stands to affect objects while still controlling them, massively increasing the range at which she can actively control objects.

When her stand evolves into having satellite stands, she can sacrifice her active control range to send one off so she can actively control an object from further away. These satellite stands are parts if her stands body, the parts that create her range [visually they are the sphere that make up the joints], so she can spread it thinner or leave part of her defenseless.

her stand evolves sub/satellite stands after she is forced to chose who to protect between multiple people, when her 'shoot all the people holding the hostages at once' idea doesn't pan out. [her weakness is machine guns and multiple hostages. she cant deflect all the bullets and she needs to protect herself or one of the hostages but all of them are to far away for her to cover more than one and if she dies then there's no point deflecting them bc they would die after she dies]

[choccy-milky]

🖤 his light 🤍

[amethyst-halo]

"what happened to mom?" "..." "she left." "left?" "she didn't even look at us."

[shyhandart]

🌿 🌸 sweetpea 🌸 🌿

[tearlunars]

the spine of this world.

[armysethos]

My partner asked me to make toge an outfitte... the highest of honors....♡♡♡♡

[tezzbot]

We just goofin we silly out here

[normystical]

ATTENTION ALL ALASTOR SHIPPERS: 

uniromantic 

THANK YOU FOR YOUR TIME. PROCEED

[gayestcowboy]

guy who gets scared by a rat and jumps into gale’s arms, crushing him

[beebundt]

(2016 ➡ 2024) i wanted to compare my first colored drawing of charlie (my oldest active OC) to now for fun but damn. this is kinda fucking me up rn and thought it might be interesting to share my embarrassing kid drawing with you all too. i think it's always cool to see where we start from and i always forget how much ive changed since then

[visionsynth]

hey, I'm writing for the art request call you put out :) I initially followed you for your fanart for No Country for Old Men bc it was so scrumptious. I'd love to see some of that if you're up for it! And I don't really go there but your fanart for Ghost is really nice as well. I'd love to see some for (I think) the fourth Papa and the buff one..I want to say the third Papa? Whether this inspires you or not, you've brought a lot of joy and inspiration to me already, so I want to thank you regardless!!

anon how does it feel to be the sweetest person ever

[luckycl0ve]

durge art inspired by. well. i think some of you may know because we are on tumblr dot com

[mysticalcats]

a cats oc ?!?!

more about him under the cut because i accidentally wrote way too much

. his name is foxglove! (i'm actually thinking about renaming him but this is what i called him when i couldn't decide so it just stuck) he's very chatty, cheerful, and a bit clueless. he's a lot bigger than most of the other cats and is much stronger as well. he seems intimidating but he's just a sweet lil silly billy!

. he looks up to rum tum tugger because he thinks he's cool and really wants to be like him but he would never be able to reach the level of uncaring-ness that tugger has. he is a boy that cares So Much it's just in his nature

. he also looks up to skimbleshanks. i imagine the story of how he joined the jellicles is that when he was younger he was dumped in a box in a train station, and as skimble walked by, foxglove followed him into the train as they departed, and immediately became attached. skimbles initially like "can you Leave" but he probably realised he was abandoned later on, but foxglove still doesn't understand. from there skimble introduced him to the jellicles. seen in the third image, he's always trying to impress skimble, but skimble is just worried he's gonna hurt himself

. foxglove is besties with mungojerrie, they're both annoying little troublemakers who play pranks on everyone. he's also friends with bombalurina because she finds him funny and foxglove is all about being the court jester

. he has a little bell on his collar like skimble does! because the train conductor found him with skimble and was like you're our new little railway cat! so they're two railway kitties, except foxglove doesn't take his job as seriously and just kinda does his own thing. he gets sick on the train and much prefers when they stop

im writing like. way too much. sorry for rambling this guy has been spinning around in my brain for literally ages. love him though he's so silly 2 me

[thisgrotesquedance]

when everything‘s going down the drain, I know making self insert fanart got my back 🙏🙏

[albeolambda]

yeah

[liliaceaae]

back to our regularly scheduled rhea brainrot!

some explanations under the cut ^^

top 5 saddest rhea moments 😹🙀

1. Eating her devil fruit

One night, Rhea finally had enough of being forgotten and ignored by her family and ran away to the forest, planning to never come back. She thought that if she was “gone for good,” it would make them realize their mistake.

Over the course of a week, she sustained herself off of the diverse plant life, and learned survival skills by following the patterns of a family of wildcats.

However, only while watching the mother cat gently care for her cubs did Rhea realize that no one had come looking for her. She had purposefully stayed near the edges of the forest, hoping that maybe someone would find her. There among only the trees, she cried until her chest hurt; unheard, unseen, & forgotten.

She spends one more night out in the woods, running low on accessible food sources in the forest shallows. She spots a new fruit that she’s never seen before, and in a moment of naivety, cuts a piece and pops it into her mouth. So shocked from the bitterness, she instinctively swallows the fruit. Effectively traumatized, she leaves the rest of the fruit for the animals and heads home.

There was no one to greet her when she arrived home, no greeting in the following days, no greeting from even the townspeople. No one had noticed she had even left, and somehow, she felt more unheard than before.

2. Learning to be selfish

The Whitebeards notice the way Rhea doesn’t ask for things the way kids normally would. Over the smallest requests, she would avert her eyes and bow her head. When shown the barest act of patience or compassion, her eyes would gloss over a little bit.

Marco, being the one she trusts the most, decided to address this. Through various conversations, Marco attempts to piece together the life Rhea lived before setting sail. She would talk about God and punishment, the sea and vengeance, earning and losing love through action. While much of her worries were padded in metaphor, wether from fear of admission or simply the phrases she was fed, Marco could gather that her sense of self worth was too damaged for a girl of 10 years old.

On a day where Rhea was feeling particularly vulnerable, she finally tells Marco about her family. How she was forgotten in place of the new “first son” of the household; how she made herself small so that, maybe, she’d be good enough of a daughter to be remembered. She laughs emptily about it, claiming she understands the pressures of having a second child.

“Well, It’s their first life after all,” She gives her parents too much grace for Marco to accept. “But isn’t it yours too?” That short sentence is enough for Rhea’s world to break.

She’s overwhelmed with all the things she wants but never asks for. “Tell us what you want, and you’ll have it. You can be selfish, you’re a pirate!” Marco encourages. “I want to have my hair brushed,” she starts at a whisper. Her voice grows louder as she states her greedy desires. “I want to be hugged,” “I want to be noticed,” “I want to be loved!”

She’s sobbing into the fabric of her too-big sleeves by the end, and Marco holds her close in comfort.

3. Father

Her struggle to feel worthy is a difficult unlearning process. No matter the words of support that her brothers gave her, it didn’t make the feeling of weakness go away. When you’re surrounded by men as strong as monsters, it’s difficult to not compare your own abilities.

Her feelings of inferiority are especially supported when she needs to be comforted from whispers of battle on the wind. Too many times has Rhea watched images of her brothers’ blood from the backs of her own eyes. Her observation haki forces her to listen to their panicked heartbeats from where she tucks herself away in the smallest corner of the ship.

“She’s just soft,” she overhears Thatch say, after another dizzying afternoon of trying to press the remnants of wounds not her own out of her head. “I know, and that’s why I’m worried.” Marco responds quietly.

She tries to swallow her pain, make herself tougher in order to earn her place in the crew. She fails relatively quickly, lashing out due to the suppression of her hurt.

Whitebeard confronts her when she’s sulking while walking along the railing late at night. He calls her over to his throne, reprimanding her for her dangerous habit. She’s quiet when crawling into his lap, and still while wrapped into his cape.

“Rhea, did you know, I wanted to say yes. The very moment you first asked to fly under my flag.” Rhea was confused, Pops was rarely this sentimental unless he was drunk. “Why didn’t you?” she asks. “On these seas, there’s no guarantees. I could tell you were a child who deserved a long and happy life, there was no guaranteeing that if I had immediately said yes.”

“I don’t understand…” her confusion and hurt grows, “You don’t have to. What matters is now; and now, I see I made the right choice. I want you here, and I’m glad that you’re my daughter.”

The words from Pops felt concrete, they held the truth that Rhea was seeking. It extinguished her tangled feelings of jealousy and insecurity; The words she needed from a father.

“Even if I’m useless?” “You don’t need to prove your value to be loved! Who do you think I am, Big Mom!?” Whitebeard jokes, and Rhea laughs easy.

4. & 5.? Permanence

Rhea holds onto familiarity with desperation. She refuses to let go of things that are long gone, deluding herself that somehow she’ll get it back.

She had blissfully ignored death, convincing herself that her family was untouchable by those things. Ignoring the signs of age and wear on her crewmates. When Thatch dies, and the Paramount war happens, and she can no longer cling onto childish fantasies.

Rhea’s birthday is shortly after the Grudge war. Her brothers ask her over the snail what she wants, promising they’ll get her anything to cheer her up from their bleak loss streak. All she wants is to go home.

She misses the rock of the waves when she sleeps; The old doors that she needed to close with a little more force; The faces of her family and the easy conversations. Now, her heart twists at the thought of the Moby Dick. The ship sits in pieces under its enemy’s water.

She feels nothing but sickness when she turns 21. The thought that she had out-aged Ace haunted her all day. She couldn’t stand it.