#op tell him i love him

[bunitivity]

Anyone else always constantly thinking about this scene? no just me? cool

[reineydraws]

🎶 and i know it's hard to tell, but i think i really like you 🎶

started colouring this in-between other stuff to de-stress! smth abt shanks yearning so hard in that particular teenage way that i forget abt my own problems for a little while...

[kacievvbbbb]

Mihawk and Shanks arguing about Shanks sacrificing his arm for a child. And Mihawk just fundamentally does not understand WHY? And shanks in a moment of pure frustration goes

“What if it were me? What if I was dying? Would you risk it all to save me?”

And Mihawk goes quiet not because he wouldn’t but because he realizes that he would despite everything that he believes, everything that has been taught to him, he knows that he would, without hesitation he would risk it all if for Shanks just for Shanks.

And then where does that leave him? The foundation on which he’s built decades of selves on gone, in an instant.

All because he knows that if this man right infront of him should die he might well take Mihawk with him. ,

[beanghostprincess]

They're choosing their numbers for their polycule

[general-cyno]

apparently it's the 15th anniversary of zoro's sacrifice in thriller bark (not sure if manga or anime though) so yknow. time for more zolu of course

one of the many things about zoro and luffy is that despite how their approach to certain situations might differ at times, they're still pretty similar at their core, sometimes to a comical degree (see: their definition of what a hero is back in fish man island arc). and this understanding of how the other works is what leads to moments like jaya,

this little one in water 7/enies lobby,

and follows consistently all the way to wano arc.

and I was thinking the other day about how their childhoods too kinda mirror or parallel each other's in a way that emphasizes (to me, at least) how special zoro's particular protectiveness toward luffy is, and why luffy relying on zoro that way is just as special.

the specifics of their childhood stories are different but both luffy and zoro have a turning point of sorts that's marked with the grief and loss of sabo and kuina, respectively, which leads them to say these:

(I cropped the panels, but luffy's also crying here)

it's important to note zoro and luffy had dreams/aspirations before this, to become the greatest swordsman and luffy's secret thing that we've yet to learn about (that ace, sabo and the crew now know). however, losing kuina and sabo is what prompts them to, on top of that, strive to become stronger for other people's sake. for zoro, it's his way to honor his friend and fulfill their shared dream. for luffy, it's to avoid losing the people he loves.

throughout the story, zoro and luffy end up expressing similar frustration and sentiments due to this. there's zoro innerly chiding himself for being too weak as he trains in the aftermath of arcs like little garden, alabasta and thriller bark, where the crew get stuck in situations in which zoro isn't able to help as he wishes he could (the wax cake, the sea prism stone cell, kuma). there's luffy swearing he won't lose a single member of his crew even if it kills him (the davy back fight) and reproaching himself for not being able to save any of the straw hats in sabaody, with the worst of it right after losing ace in marineford.

(and man do I have thoughts about bon turning into zoro, out of all the straw hats, back in impel down.)

anyway. as to why all of this is meaningful - when zoro agrees to join luffy, he mentions that his goal to become the greatest swordsman is all he has. yet as the straw hats go from journey to journey, and with a certain emphasis in luffy, you can see how zoro's view slowly shifts. he's now driving himself to become strong to protect them as well, to the point he's willing to set aside his ambition and offer his own head in exchange for luffy's, if it means he can ensure luffy's life and safety. that's huge. as mihawk inwardly points out, zoro has something, someone he values even more than his ambitions and pride. and it's through his adventures with luffy and the crew that he becomes closer to achieving that initial dream of his.

whenever people wonder why zoro's as loyal as he is to luffy, aside from all the reasons why luffy as a character has earned that loyalty through his actions, I also remember that one line koushiro said to zoro in a flashback: "the pinnacle of swordsmanship is the power to protect what one wishes to protect and cut what one wishes to cut. a blade that injures all that it touches isn't really a sword." while sure, it works in the context of later power ups like haki, imo it perfectly captures zoro's character growth too and what luffy's given him. the current zoro isn't lost or directionless with only one purpose in mind or to live for, bounty hunting as a means to survive. he has a home to return to, people to cherish, to protect and keep getting stronger for, people who nurture him in turn. kuina's death is something zoro couldn't have prevented, and losing people in accidents like those is something that could happen again, but still within the limits of what's preventable - zoro can protect his friends now.

as for luffy... zoro kinda steals the spotlight when it comes to grand gestures of loyalty/devotion and being the MC of the story means luffy fights for different people (both crew and non crew), carrying their wishes and hopes as if they were his own. he gets help and learns from others as well and all members of the crew are important for luffy to achieve his dream one way or the other, but the way he relies on zoro specifically is so subtly meaningful to me. we don't get as much insight on luffy's inner thoughts, still, we do have context.

for someone like luffy, who is at his innermost genuinely terrified of being alone and losing the people he loves, the fact that he trusts zoro to protect and keep everyone safe (even luffy himself) is so good. as shown above, luffy vowed to become strong in the first place to ensure he'd never go through loss like sabo's again and this vow is all the more renewed after ace's death. luffy has to be strong for everyone but... the fact that he can trust zoro to follow his lead even when others might not understand his reasons to do x or y, that he's so unwavering in his faith that zoro will protect the others when luffy can't, entrusting the people he cares about to zoro, whom luffy also cherishes - it's all pretty special. everyone in the crew has their strengths and zoro may not be the only fighter, but all of them, including sanji, fall under his protection whenever it's needed.

it's not only about raw strength though. zoro's also there to set luffy straight and remind him of what's important when the circumstances arise, like in water 7 or punk hazard. and even when they don't necessarily agree, like wrt vivi's situation after the reverie in marijoa, luffy knows when zoro's right and acquiesces (albeit grumbling a little) because, once again, he's also aware that zoro wouldn't just risk everyone's safety. luffy listens to him. and their reunion in wano too, luffy's sheer happiness at the sight of him again, is a very clear example of how much luffy adores zoro even beyond all that.

although luffy isn't aware of what happened in thriller bark (that we know of), zoro's actions are proof of why luffy trusts, has faith in, and relies on zoro as much as he does and why it's so important for luffy to have him by his side, considering how afraid he is of being unable to keep his loved ones safe. this is more on a speculative note, but I can imagine how comforting that must be for luffy - to not shoulder that on his own.

happy anniversary!

[jezebelgoldstone]

I am genuinely SO CURIOUS about this

[meteortrails]

lowkey losing my mind about the fact that like. even near the very fucking end, when Cora is finally getting ready to pull the rug on this whole operation and to try and take doflamingo down like he’s spent literal years preparing to do, he’s still willing to kill himself so doflamingo can have eternal life if that’s what doflamingo asks him to do. he hears that his brother wants him to eat the op op fruit and is Immediately like ‘well we both know I can’t say no to him so he’s gonna ask me to do the immortality operation’ and like! there’s no hesitation! what do you MEAN you can’t say no to him you’ve been spying on him for literal years!!! but at the end of the day that’s still his big brother. and his big brother is the monster under his bed, his absolute worst nightmare, but he’s also the only family he has left, and so he’d do anything for him. how does that not drive you fucking insane to think about

[moongothic]

Seen a few people too many discuss the concept of Dragodile Baby 2 and my hot take is that there's no way in hell Crocodile would ever detransition just to go through nine months of horrible dysphoria again, let alone go through pregnancy ever again (or allow Ivankov to even touch him, what if they died and weren't able to trans Croc's gender again afterwards? Hell naw, ain't worth the risk)

But this leaves an opportunity for a Funnier Option:

Dragon wants another baby? Sure, but it's his turn to carry it >:)

[nebulairis]

ive been reading kavetham fic lately and sometimes the dialogue is too direct. it's important to keep in mind that alhaitham is a cheeky asshole and says things to force kaveh to defend himself, while kaveh knows alhaitham well enough to perceive his emotions and actions and be very annoyed by them

for my own indulgent writing i am using the following formula to good effect, this can be well observed in canon dialogue if you're obsessed like me

another thing to consider is that alhaitham wants kaveh to be living with him, it's just that kaveh feels guilty for existing, so as long as kaveh feels like he's doing something to earn living there he can accept it without spiralling into guilt and self-loathing. and alhaitham is being annoying on purpose because again a bit of a cheeky asshole

another thing is that a big reason for kaveh being a bleeding heart is because of his guilt, which alhaitham dislikes because he doesn't think kaveh has anything to feel guilty about. alhaitham telling kaveh this is the big thing that caused them to separate in the akademiya btw

leading up to that was them disagreeing about "genius" as a concept, kaveh believes it doesn't exist because anyone can achieve and learn with support, whereas alhaitham believes that some people (like himself and kaveh) are smarter than others. nahida says that she has a special preference for kaveh because of his perspective so maybe his opinion on that is a part of it

and kaveh actually has a greater understanding of the inequality in sumeru because, despite the whole lion keychain "this is sumeru where even healthcare is free" it's not free everywhere per dori's backstory and people still obviously have to pay for rent and food and housing so if you can't work, then what?

this ended up longer than i thought it would but hope you enjoyed

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[hercarisntyours]

greek mythology nerding out over the connections with elita and orion (they aren't good ones in greek mythology terms but still indulge me)

so like obviously Elita combines into Orthia yada yada yeah BUT ORTHIA AND ARTEMIS HAVE CONNECTIONS IN GREEK MYTHOLOGY (there's a lot to it but in summary Orthia = Artemis blah blah same person) and I'm sure everyone knows that Artemis is Orion's (supposed) lover

SO BASICALLY ELITA IS ORTHIA WHO IS ARTEMIS WHO'S LOVER IS *ORION*

[mailamoon]

Chill, just don't care!

As long as we’re together everything��s fine.

Mad o you boys ♥️

(Closer view under the cut)

[strawberrycamel]

hey psst c'mere... no a little closer... a little closer- there we go

Loop lips are part of a racist caricature of Black people. Stop drawing Black characters with loop lips. I don't care how they look in canon, it's racist.

okay that's all you can go

[ingravinoveritas]

I had my post-op appointment today. The doctor said I am recovering beautifully and that “I wish I could take what you have and bottle it and give it to my other patients.” He also said that my cysts were 5 cm and 3 cm, respectively—about the sizes of an orange. Which freaked me out, but also affirmed my belief that I did the correct thing by having them removed from my ovaries. I am just feeling so, so relieved right now…

[general-cyno]

I've been musing about it for a while, thanks to some posts I've read recently too, and honestly... one of the (many) fascinating aspects of zolu to me is the way they share parallels/connections and or similarities to important figures in OP's world. spoilers for the most recent arcs and reveals ahead!

perhaps the most blatant and one of my personal favorites, are luffy and zoro's similarities to roger and rayleigh. as OP's mc and someone who's on the road to become the pirate king, luffy's own similarities to roger have come up a lot throughout the story and they've been acknowledged or pointed out by other characters like shanks, rayleigh himself and yamato, for example. from the goofy parts of their personalities, to the strength of their wills, and their dreams, luffy and roger's parallels are consistent in OP,

and as seen in rayleigh's brief memory of their first meeting, the straw hat luffy received from shanks was originally worn by roger back when he was young.

albeit the circumstances are a little different - with them stumbling upon each other by chance vs luffy going out of his way to meet zoro after learning of his name and reputation - this first meeting is still reminiscent of zoro and luffy's, with both ray and zoro initially rejecting roger and luffy's invitations to join them in their journey.

as for rayleigh and zoro, there's also a bunch of parallels between the two!

due to his previous time as a bounty hunter in the east blue, zoro made quite a name for himself and as OP progresses, his renown as the pirate hunter and the straw hats' swordsman is only second to luffy's. he was also the 2nd straw hat to get a bounty, and he's usually right behind luffy whenever their bounties go up. similarly, rayleigh was (and still is) considered a legend second to roger himself, strong enough that garp still views him as a powerful foe the marines can't easily defeat and managed to scare blackbeard away from amazon lily without an actual fight, despite the latter's strength.

there's other stuff too: the eye scars, both zoro and ray being greatly skilled swordsmen, their love for booze, being users of all three types of haki and even their epithets! from what I've read from other OP fans in discussion threads and through some internet search, rayleigh's title of "dark king" in jp is actually the name or word for pluto (the god of the underworld, roman mythology's equivalent to hades) in said language. in comparison, "enma", the name of zoro's most recently acquired sword and the "king of hell" title that he claimed after defeating king in wano, are a direct reference to the buddhist deity of the same name in jp mythology, also known as yama - a god of the underworld in charge of judging souls.

from the most recent flashbacks of the god valley incident, too, you can see the physical resemblance between these duos:

(as a bit of a side note, I think it was nice that rayleigh not only took it upon himself to mentor luffy, he was also the one who protected zoro from kizaru in sabaody and after the timeskip, during the straw hats' reunion in the archipelago and as they bid their farewells, zoro went out of his way to thank him for everything too.)

all in all, considering how close roger and rayleigh were (to the point roger called him "partner"), their strength, reputation and their overall journey with the roger pirates crew - the fact that luffy and zoro share more than a few clear similarities/parallels to them is really good imo, and it speaks both of the importance of their relationship and of the kind of figures they're bound to become, or are already becoming, in OP's world and ongoing history.

although it'd be sweet to have zoro and luffy directly refer to each other as partners as well (which kid and killer, another captain/first mate duo, have done too) I'm not sure it'll happen, if only for the sake of keeping the relationships between luffy and the crew balanced, so to say. still, like I said, knowing how close luffy and zoro are and that they share parallels with other captains/first mates, I think that says a lot about them regardless and the importance they hold for each other and the story as a whole.

another interesting resemblance between zolu and characters who are connected to one another involves, of course, shanks and mihawk - both of which are not only acquainted with each other, as rivals and friends of sorts, but also served as luffy and zoro's mentors/guides at different points of their lives and presently stand as their eventual foes to face in order to reach their goals of becoming the pirate king and world's greatest swordsman.

aaand last but not least, because it's yet another favorite of mine: joy boy/nika and shimotsuki ryuma. I sort of talked about it in another post, and I find it pretty cool. nika and ryuma come from different eras and don't exactly have much to do with one another but luffy's DF awakening and defeating kaido led to "joy boy" (since luffy refused to take credit for it directly by name) being hailed as a hero to wano that's comparable and only rivaled by ryuma, who in the past defended the country and was considered a legendary swordsman, whose sword shusui (that zoro wielded for a while) is a national treasure even.

since the hito hito no mi: model nika is a mythical zoan and vegapunk's speculated that devil fruits come into existence as manifestations of hope and wishes (or a potential for human evolution someone's desired), among other things, nika's existence as an actual god is kind of a subject of current debate in the fandom BUT. the fact remains that whether real or myth, he's still mentioned in old texts and his story has been shared among those enslaved by the WG, as a call for hope and freedom. in addition, even though he was human, ryuma also became revered as a savior figure and a sword god by the folks of wano.

so when you have luffy embodying the sun god of joy and liberation,

and it turns out zoro is none other than a descendant of the shimotsuki (frost moon) family, who resembles the former daimyo of ringo and the god of the blade ryuma,

well. those are some crazy parallels luffy and zoro share outside of their equally kinda crazy and meaningful relationship, as individuals and crew.

[annyandheronepiece]

Some Sanji sketches, my babygirl <3

🌀🌀