#so i don't like to keep physical notes.

[buggachat]

the "argos is part of the superhero team" thing is soooo funny, because it is so ridiculous and he looks so out of place and I'm sure it's super awkward for everyone involved and very difficult to explain. But it DOES make sense. And I totally believe it. It's just a really funny and awkward situation.

(I mean, what else is Ladybug going to do with him? Initiate battle with him (and by extension, Ryuko) to pry his miraculous from him? And then what? She seems to believe none of the miraculouses should be kept in the same place.... so who would she give it to? Whoever wields it will instantly learn that Adrien and Felix and Kagami are sentimonsters from a glance at their rings. Whoever wields it will automatically become privy to the horrors. Whoever wields it has the ability to murder her boyfriend in a split second if they choose to not value his life. Whoever wields it will have to be given a long ethics class on the treatment and value of sentimonsters and life etc etc etc.... a class that can only be meaningfully taught by like... felix himself?)

but yeah it's pretty funny

[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.

[sciderman]

Me clicking “see all” on the tags of that post on why Nate likes Peter: “Holy shit”

[slumbergoblin]

hey

[medicinemane]

Should make a pain killer that actually kills (or even touches) pain

[hermitsdump]

Yesterday I kept fiending for leaks but now that it's actually up

Suddenly I can't read.

Jujutsu Kaisen never ends if I don't read the last chapter

[carbonbasedmatter]

they should give you a minimum 20 years after coming back from school to rest and process everything that happened

[girlivealwaysbean]

on one hand completely ignoring your emotions is soo good for my mental stability and productivity but man i miss staring at the ceiling and listening to sad songs on loop

[godhasforsnakenme]

BOOK REVIEW 📖

Last year I kept track of the series & films I watched; this year I've decided to keep track of whatever books I read! So this one is for the month of January – I'll share these sometime after the month is over, or if I read more than one book during the month, I will do their reviews as soon as I finish the book :)

[birlwrites]

what's your opinion on regulus/lily? i love them, but i honestly don't like the fics because they often make snape not a bad person, but i digress. i tend to read the fanfic because if you don't get pro-snape things, you don't get anything at all with that ship.

(or, what about, for fun, regulus/lily/evan)

i think regulus/lily can be very cool, AS LONG AS it doesn't turn into 'dramione but make it marauders.' (this is actually a caveat i have with a lot of marauders' era ships - that the potential is there, but the dynamic is often just like it is in a popular golden trio era ship. i'm down for a LOT of ships as long as the characters and dynamics don't feel recycled)

i think if i were to write a regulus/lily fic, it would probably be grounded in the war, because i feel like they need very high stakes to really push them together (see ttdl LMAO) - unless they're in the same house or year or something like that where they naturally run across each other a lot

like (and this is just off the top of my head - if someone wants to take this premise and run with it, go ahead! i already have far too many wips afjlshgskdf), this would be my go-to:

due to various scheduling issues, regulus and lily are assigned to do prefect rounds together (a combination that would normally NEVER fly because they try not to put muggleborns and People With Close Personal Ties To Death Eaters on patrol together)

lily goes into it hackles up, in the direct wake of sirius's disownment, expecting the worst from regulus black

regulus goes into it mildly curious about this lily evans who he has only ever heard about in the context of a) snape or b) potter, but honestly he's preoccupied with Sirius Angst and Family Pressure Angst and lots of things like that

slow burn the fuck out of it. regulus will probably be the one who has to actually break the ice because just b/c lily is no longer expecting him to blow up at her for blood purity reasons it doesn't mean she expects him to be worth befriending

bond over being younger siblings with very complicated relationships with their older siblings

become close friends (and here you get the joys of the secret relationship trope before a romantic relationship even develops, because War and also Sirius)

(side note - much character work for sirius would be necessary to make sure he's not just Regulus's Shouty Dramatic Brother)

and then i don't know where it would go from there but i do really like the idea of them working together in the war. either as an 'they're on their own side' thing or as a 'infiltrated both sides, using them for their own agenda' thing. like let them have a safehouse that lily has stocked with hand grenades, that's my vision

regulus/lily/evan would be A HOT MESS (in a fun way afjslghskdjf i just mean i'm laughing thinking about it) - triple the complicated relationships with older siblings. evan 'flirting is my middle name' rosier vs regulus 'pine until i either have to confess my undying love or fake my death' black vs lily 'historically people have just fallen all over themselves to ask me out and i don't actually know how to demonstrate interest in someone' evans. lots of lighthearted bickering. lily introducing regulus and evan to modern muggle technological marvels (disco ball). they have 'study dates' which are actually just lily and regulus studying and evan being distracting. they have a black and white cat named oreo (evan thinks this is the most original cat name ever). regulus is tormented constantly by lily and evan attempting to invent new household charms whenever the mood strikes. he and oreo often retreat to the library (spare bedroom full of books and one (1) disco ball) for safety. lily has a secret diary in which she keeps track of Definitely Totally Very Real Muggle Inventions that regulus and evan don't know she lied about yet. they have GREAT photo albums

[catkin-morgs-kookaburralover]

if the scales I just used were accurate I'd be on the floor already lol I have not lost nine kilograms in the two weeks since I went to the doctor

[reginaofdoctorwho]

i don't even know if i WANT to finish nursing at this point, like i fucking hate college rn and it's only an associates program but like. please i am so tired professors let me fucking sleep

[paragonrobits]

some important calvin and hobbes facts in case you haven't read the original comic strip in a long time or only absorbed stuff on it from memes and out of context bits on here:

Calvin's last name has never been given, and neither has any of his parent's names. This was actually why his uncle Max only showed up for a brief storyline; the creator of the comic, Bill Watterson, ultimately felt that while it was fine to have him as someone for his parents to talk to, it felt far too awkward to never have Max refer to them by name and he never made a return appearance.

The general tone of the comic is fairly light-hearted, with a big emphasis on goofy slapstick comedy contrasted by clever wordplay and often surprising adult-centered jokes that'll hit you like a slap. A big part of the comedy is, as Watterson put it (paraphrased) "It's really funny to me when people express deeply stupid ideas with really fancy terminology." One notable example you might have seen is that one bit where Calvin asks his mom for money to buy a Satan-worshiping rock album and his mom replies that there's nothing genuine about them and they're just putting on the attitude for shock value, and comisserates with Calvin as he deplores that mainstream nihilism can't be trusted. He concludes that childhood is disillusioning.

There is a LOT of criticism of the extreme materialism and selfish mentality of the late 80s, when the comic was initially written. This may go a long way to explain how its aged so well; much of what it criticizes resonates well with people today.

Bill Watterson views comic strips a legitimate form of artwork, and repeatedly fought to have more space to draw more beautiful and artistic backgrounds, which was a very hard fight and unpopular even with other comic strip artists. He eventually did win some compromises and a lot of Calvin And Hobbes' artwork shows it, with the use of space to indicate time as well as a sharp contrast between the often plain environments of mundane life contrasted by the wildly beautiful imagery of Calvin's imagination (which often sports realistic depictions in an art shift of sorts).

Hobbes is explicitly not an imaginary friend, by word of Watterson himself. We don't know WHAT he is exactly, and Hobbes is apparently unaware of the strange nature of his reality; people look at him and only see an ordinary stuffed tiger plushie, but he has a tangible effect on the world that would be physically impossible for Calvin to do on his own. He's apparently been around for a while, and was apparently around when Calvin was a young baby.

On that note; Hobbes has implicitly killed (notably treated as both a gag and also with the vibe of 'he's a tiger, duh') and while he doesn't do it again on-screen, he doesn't have any moral issues about it. Calvin claims that he's never had trouble bringing Hobbes to school because the last time he did, Hobbes killed and ate a bully named Tommy Chestnut and simply comments that it was gross and he needed a bath. Calvin's tried to repeat this again, but Hobbes was grossed out at the thought having to eat a kid raw and not being allowed to use an oven first, or complaining that children are too fattening.

Hobbes became gradually less human-like in body language and more like an actual cat in both body language and behavior; this was due to Watterson drawing more inspiration from his cat, who also inspired a lot of Hobbes' running gags, such as pouncing on Calvin when he got home. Several years into the syndication of the strip, Watterson's cat passed away, and he did a tribute to her with a comic strip of the two of them agreeing to try to dream together so they can keep playing when they have to sleep; Watterson's commentary (if I recall right), remarks on his cat: "We can see each other again in dreams."

[faggotisaacfloofs]

the person who helped today when I fell out of my wheelchair actually did a really great job, so I want to share in case other people wonder what to do. [Note: this is not universal, this is merely a suggestion from one person, every wheelchair user's needs are different! I am a person who uses a manual chair usually pushed by someone else who is also disabled.]

Scenario: you see someone in a wheelchair fall out of their chair, and you have the ability to help.

1. Approach and ask "are you okay?"*

2. Next question if they say no, are vague, or open to continuing conversation** is, "is there anything I can do to help?" Or "what can I do?"

If they say no to help, then that's the end, just leave and go do whatever you were doing!

If they ask for help or say they are mildly injured, ask "what would you like me to do?" And wait for an answer before doing anything! If they seem dazed or confused, they might have hit their head or had another medical event*, or they might just be like that due to regular disability. Be patient.

Do not touch the person unless they say to, or they are like, unconcious in the middle of the road, ya know?? Wheelchair users usually have conditions that mean being handled improperly can severely injure us, you could cause much more damage than the fall.

Some things they might need you to do:

Bring their wheelchair closer (mine went about 5 feet away after it dumped me)

engage the brakes of the wheelchair

hold wheelchair steady if it's an unsteady surface (mud, hill, ramp, wet, etc)

offer an arm for them to hold onto to get up (them grabbing you, not you grabbing them) or move another solid item closer for them to use (i.e. a chair) [only do this if you physically have the ability to!]

If the terrain is rough (i.e. a parking lot), they *might* ask you to push their chair to a more stable area once they are back in their chair

nothing

Something else

Do what they ask, NOT what you think would be helpful. If for some reason you have to do something (i.e. you can't stop oncoming traffic and need to get them out) ASAP, tell them what you plan to do

Keep in mind they might also be D/deaf, have a communication disability, be stunned after the fall, have a head injury, not trust other people, etc. Be patient and treat them as a person with autonomy and agency! They might need to just sit on the ground for a few minutes to recover before trying to get back in their chair. They might want everyone to leave them alone. They might ask you to call someone specific. Their chair might have broken and that can be extremely distressing. All of this is like if your legs spontaneously stop working when you're out and about!

A lot of wheelchair users (NOT ALL) have ways to get into their chair on their own once the chair is close enough and brakes engaged (but it's hard from the ground!). Here's what brakes look like on a lot of manual wheelchairs, in case they ask you to lock the brakes. They're levers on each side and pushing the lever pushes a bar against the wheel to hold it still.

ID: A manual wheelchair with the brake levels circled in red and labeled "user brake levers"

*There is also the possibility of course that a person fell out of their chair due to a seizure or other medical event, so that is why it is important to ask if they are okay. If you saw them hit their head, tell them so. If they had a medical event, follow protocol for that, I'm not gonna get into it here (thought I could).

**sometimes a person will be clear after the first question i.e. "I'm all good thanks" clearly means they do not need you to ask another question, you can just leave them alone. Keep walking and don't stare. A lot of the time people will be a bit banged up but be totally fine and able to manage on their own.

TLDR: Ask the wheelchair user if they're okay, then what they need, and then do exactly that, including leaving them alone. Thanks!

[sortanonymous]

Well this rots

[featherymainffins]

I think that Gortash specifically invokes some sort of selective memory loss in ms because under normal circumstances I painstakingly remember when characters are left-handed or ambidextrous and also when they seem to have any disabilities that I have.

But when it comes to him I, without fail, forget that he seems to be left-handed and I also forget that he uses a cane.