#the illustrators are just doing it on purpose at this point

[scriptstructure]

!! NSFW WARNING !! Hey, I totally understand if you don't want to answer this I've been trying to write smut. Specifically, an orgy with ~15 characters with ~7 of them having more focus. Things are happening at the same time and partners/groups are changed all the time and not together i.e. a single person finishes and just joins somewhere else. I don't know how/when to start switching who/which group to write about or even backtrack to a different group. It's rather jumbled up now.

I think the most important thing to remember when it comes to writing sex scenes, is:

Sex scenes are action sequences

We are developing a series of acts between a number of characters, and we hope to do a number of things:

There is an arc of action, beginning at the beginning point, moving though the action, and a crescendo & denoument

Who did what -/With whom -/and where

Give a sense of mood, theme, and continuity with the rest of the story (or, jarring discontinuity, if that's what you're using it for)

and so on, as with any other action scene

So, as we do with any kind of action sequence, we need to figure out the order of events, the way that we want to feel about those events*, and the time we're going to take to show all of this.

First up, you probably want to think about how central this scene is to your story. Is it a major incident, or a minor incident? ie, do we want to spend a lot of page space and detail on it, or is it something that just needs to be glossed over in a few paragraphs, just so we know that it happened?

This is going to change depending on what you're trying to do with the sex scene, and what your story is about.

Second up, the 'blocking' or figuring out the choreography of the scene. Who is where, what are they doing, and with whom. You can probably figure out a skeleton outline, just so that you can be sure that characters have time to participate in each scenario that you're including them in. (This is also a good time to think about the pace and rhythm of the scene--are there going to be snack breaks, lulls in the action, time for characters to catch their breath, etc)

If you're having trouble thinking of how to shift focus between different groupings, think about when and why the characters decide to move on from what they're doing to join someone else. Or about how what each group is doing might change the vibe of the scene.

Then, we'll think about mood. The mood can shift throughout the scene, eg frantic/ high energy->slow/ romantic->lazy/sated, or nervous->focussed->confident, whatever the emotional beats and journeys that you want to show.

Mood is also something which is going to lend a great deal to the scene in terms of communicating what it is for** in the story. Is this scene a way of showing the group dynamic, or of exploring individual character's psychology, or illustrating a cultural norm, or of celebrating a victory, or any other thing that it could be about. These characters are having sex, why are they doing that, and what does it mean in the context of the narrative.

So now we know that we need to have an understanding of what the purpose of this scene is in the overall narrative, what exactly happens and in what order, what sort of mood we're trying to evoke with this scene, and what other things we might be learning about character/ place/ culture through this scene.

Next, what about some examples of books that use sex scenes with more or less complex staging to develop various plots and themes:

In the Court of the Nameless Queen by Natalie Ironsides->exploration of gender and identity, with both orgy scenes and couple scenes

Exquisite Corpse by Poppy Z Brite/ Billy Martin->this is a horror novel featuring two serial killers falling in love, look up some content warnings if that sounds like it isn't for you

Leash by Jane Delynn-> a classic of lesbian weirdo-erotica, about societal alienation and BDSM

Some posts about plotting and POV that might be useful:

Multiple plots with different character groups [HERE] Multiple plots that converge at the end [HERE] Multiple plots and subplots [HERE] Multiple POV characters and narrative shape [HERE] Third person POV and focalisation 'depth' [HERE] First person POV strengths and limitations [HERE]

I hope that's helpful! If there's anything that needs clarifying, please don't hesitate to ask again!

-Mason

*note: you might think that I'd say that we're assuming that people should read the sex scene to get horny about it, but that is just one option of many, and while it has its place, there are far more things that you can do with a sex scene

**note: I also do want to be clear that there's nothing wrong with writing sex scenes explicitly for the horny factor. That, traditionally, is one of the major reasons to include sex scenes in a story. But I do think that more narrative weight makes a sex scene more memorable and interesting.

[ansjsla]

This song + the latest cafe illustrations 🔛🔝

[unproduciblesmackdown]

maybe i'd have named myself milo without, indirectly, jules feiffer illustrations, but their role can't have hurt

[dresshistorynerd]

Sewing a turn of the 15th century French kirtle in doll scale

Another day, another historical doll outfit! This time it's Late Medieval. This was a popular style from about 1380-1420 France and Alpine area, but I specifically based this dress on French illuminations from the early 15th century, which mostly effects the details, like headwear. As always I hand stitched everything and stuck to historical construction methods as much as I could.

Chemise

I made a very simple chemise. The construction is based on what we know from extant finds, made out of simple rectangles and triangles, like earlier unlaced kirtles. Based on illustrations, chemise was fairly slim but unfitted enough it didn't need closures. I made it from linen, because it's not very gathered and won't bulk up too much, so I don't need to use my very fine cotton voile.

Cote

Cote is just the French word for kirtle, so appropriate here. This is the supportive layer cote, which was sort of an undergarment, but was considered fully dressed, if informal on it's own. The sleeves on this underlayer were always long and either fully fitted or gathered at the wrist. Some fitted sleeve styles had a flare at the wrist which covered the hand. The very fitted look was achieved with buttons. The silhouette was smooth and fitted, the waistline was slightly above the natural waist, though that was not as pronounced in France as in Northern Italy. Abdomen was emphasized, round lower stomach was the body ideal. The cut of the dress left plenty of room there. To fill that room I folded the chemise under the abdomen as a sort of padding. This was common to do with any kind of skirts, primarily to raise the hem when working, but why not for this purpose also? The necklines were fairly low and very wide.

I used cotton because I didn't have suitable thin enough wool that wouldn't have created too much bulk on this scale, but the cote should have been made from. The cotton is tightly woven and sells the look of a woven wool in this scale well enough for me. I didn't finish seems or line it to avoid bulk. I did give the lacing a cording to reinforce it and avoid wrinkling. The cotton was originally white, but I dyed it with iron oxide, basically rust, which at least is very much historical.

Hose

I made the hose from cotton as well for the same reasons as I did the cote. Long pointed style became fashionable around this time, as well as sewing leather soles in the bottoms of the hose instead of using shoes. Though often pattens (wooden flipflops basically) could be used when walking outside to protect the leather soles.

Cornettes or horned hair

I tied the hair with a tape on cornettes, where the volume of hair was tied on the temples to create a bit of horned appearance, especially when combined with the horned headwear. The sort of fillet which became more of a forehead loop seemed to have been tied into the hair, which I did.

Cotehardie

Cotehardie meant literally "bold cote", and in France that was what the formal outer cote was called. It was basically the same as cote, but made from more expensive materials and often had large hanging sleeves. I went with widening triangular sleeves, since they were perhaps the most popular sleeves at the time. I used fine fulled wool (verka) I had enough scraps left from. White fur was popular lining material, but obviously I can't use fur in this scale, I wish I had some light white velvet, it would have been pretty good, but I didn't. I lined the skirt and the sleeves with white cotton to imitate the look without adding too much body or extra bulk. I decorated the neckline with a simple golden trim. I thought about adding a bit of golden embroidery around it too, like seemed to have been popular, but my local crafts store had run out of golden thread so I decided to go with this only.

Accessories

Unlike the belt used with houppelande, which was below bust, the belt used with the kirtle or cotehardie, was very low, under the abdomen to emphasize it. I went for a silk belt look, which I'm imagining is embroidered/woven with golden thread, since embroidery that small would have been too painful. I had an old broken necklace, which I could use for the metallic parts.

With the pouch I went for the tasseled drawstring look, with simple embroidery manageable in this scale. I used linen for it.

Headwear

I made her a chaperon, which likely was where the escoffion got it's beginning, escoffion being the round tube-like headwear worn on top of the head seen in several primary source images above. Early form of escoffion was becoming very popular at the time, though chaperon's were still seen on women too. Chaperon, as seen below both on the left-most woman and the man in the middle was actually just the hood rolled into a circle.

Because the horned look was popular, the escoffion and chaperon were often worn over the wired horned veil, so I first made that. I made it from cotton to make it as light as possible. It was just a square I hemmed. I just used some wire to poke out the horns from her hair and pinned the veil close from the back and onto her hair from the top.

Then I made the open hood. It was just the regular hood which had become very popular during the last century and which had ever longer narrow tip, but it was pinned and worn open, probably because of the hair style and to again create the horned look. I made if from the same cotton I made the hose, even though it too should be from wool. But it was already too bulky as it was.

And finally I could make the chaperon. Here's first chaperon without wire or veil under it and then with those. The effect isn't as pronounced as I would have hoped because the hood is too bulky, but there is an effect which is nice.

[art]

Creator Spotlight: @jdebbiel

Deb JJ Lee is a non-binary Korean artist based in Brooklyn, NY. They have appeared in the New Yorker, New York Times, NPR, Google, Radiolab, and more. Their award-winning graphic memoir, IN LIMBO, about mental illness and difficult relationships with trauma, released in March 2023 from First Second.

Below is our interview with Deb!

Have you ever had an art block? If so, how did you overcome it?

That implies I am over my art block, but I’m still in it! I think about Kiki’s Delivery Service a lot and how she had to stop doing a thing, and that you can’t really force it, and you have to let it come back to you. It’s a pretty humbling moment, realizing there is more to life than just drawing. I’ve been trying to consume other content like reading or watching movies—anything that is not drawing-related—and to trust that it will come back to me. I think not being afraid to do the small pieces before committing to the big pieces is helpful. Because big pieces are what I am known for, I dig myself into a deeper hole, thinking that each piece has to be bigger than the last one. So yeah! Relaxing and doing the small things before overcommitting to a big piece is the best way to go about it for me.

Which 3 famous artists (dead or alive) would you invite to your dinner party?

I feel like these are all artists that I have second-degree connections with! Jillian Tamaki, Victo Ngai, and Tillie Walden would be my picks!

What are your file name conventions?

…What file name conventions? I mean, I don’t have specific file name conventions, but I actually have a public Google Drive archive! But I usually put “djjl_whatever-the-title-is_final,” and I would always know it’s the final and legit version.

What is a recent creative project that you are proud of?

I did an illustration for the whiskey brand Johnnie Walker. It’s so wild because I only had four days to finish it, and it usually takes me a week and a half if I rush. And honestly, it’s probably one of my best pieces from this year, which is funny. It was for the Mid-Autumn festival, so I made it as Korean as possible.

How has technology changed the way you approach your work?

I only use my iPad to draw everything now, and if I want to pretend that I have a steady workstation, I’ll use my Cintiq. I still am not as comfortable on the Cintiq as I am on Procreate, but it’s still pretty solid and nice. That’s the good part about technology. The bad part about technology is how AI art has been messing things up for me. I’m currently in a lawsuit about AI art as a class rep. Some of my stuff got turned into AI art late last year, so I have to give a deposition at some point. 

What is a convention experience that has stuck with you?

Honestly, they’re all good! I feel like Lightbox Expo has been really nice because it’s truly been a convention for artists. I feel like that’s where most of my audience is, and they’re all around because their purpose is to be better at art. That’s where a lot of original artists do well because they’re getting art they’re inspired by, not so much fanart. I like the Lightbox Expo because it encompasses the pure love of art very well. 

Top tips on setting up an Artist Alley booth?

Use a Y axis, not just your X axis! Take advantage of it! Branding is also something to think about. It is definitely something I’m getting better at. Having an assistant is also very important. I’ve also heard that 8.5x11 to 12x18 inches is usually a good size for prints, but I also provide postcard-sized prints because sometimes people don’t want to commit to a larger size. 

Who on Tumblr inspires you and why?

You know this is so funny. I’ve been following @alicexz for over a decade on Tumblr and other platforms. I’ve followed her work since high school, and we’ve only recently become peers. I found her, and we met for the first time in real life, and she recognized me. And then I found all my drawings from when I was in my Alice phase, back in high school, and I was like, “Yo, this is when I was trying to be you so badly!” and she was cracking up and was like “Wow, this is so good!” It was such a sweet moment. I wanted to take a picture of her holding my drawing up. It’s really nice because now we’re peers.

Thank you so much for stopping by and sharing, Deb! Be sure to check out their Tumblr blog over at @jdebbiel.

[mbbmz]

Hugs HCS

Takemichi, Draken, Mikey, Baji, Mitsuya, Pah chin, Smiley, Mucho, Chifuyu, Hakkai, Peh Yan, angry, Sanzu, Hanma, Kazutora, Kisaki, Izana, Ran, Rindou, Mochi, Shion, Kakucho, Koko, Inui, Taiju, Shinichiro, Benkei, Takeomi, Wakasa, Hinata, Emma, Yuzuha, Senju, South (hope I didn’t forget anyone)

Sorry about any grammar or spelling mistakes (illustration isn’t mine)

Big huggers

Huggers that will legit crush your bones. Not that they’re trying to, they just like the feeling of you pressed against them too much. They’re always warm and reassuring, perfect when you have a bad day!

Benkei, Hinata, Baji, Sanzu, Senju, Mochi, Shion, South

Warm huggers

Their embrace is so sweet you can’t help but melt in it. They will wrap an arm around your waist or and place their head on your shoulder, taking a few minutes to enjoy your warmth. And of course, you let them.

Draken, Mitsuya, Inui, Kakucho, Yuzuha, Hakkai, Chifuyu

Shy huggers

They won’t hug you until you initiate, even if they want to, and will most of the time let you hug them instead of the other way around. They bury themselves in your embrace, closing their eyes as they relax in the sweet comfort of your arms

Izana, Kazutora, angry, Takemichi, Peh Yan, Shinichiro

"Not just a hug" huggers

Hugging them will always turn into a cuddle session, whether you want it or not. The second you’re in their arms, you’re completely trapped as they push you on the bed or the couch. It happens every time, yet you still fall for it. Maybe you’re doing it on purpose…

Wakasa, Mikey, Smiley, Ran, Rindou, Hanma, Emma

"A hug? Why?" Huggers

Rare huggers, never initiate. They’re not affectionate people per say and don’t really see the point in hugging you (or any physical display of affection for that matter). Yet at the end of the day, will always hug you if you ask them to <3

Takeomi, Taiju, Koko, Kisaki, Mucho, Pah Chin (Pah secretly likes it, he’ll never tell you tho)

[linkspooky]

The Next Gojo Satoru

As you've probably guessed I have a lot to say about this chapter. However, right away I want to start out by pointing out once again that the fandom is taking a mostly gojo-centric view of this chapter. Which I understand it's Gojo's body that's being puppeteered around and dehumanized in the exact same way that Kenjaku one of the sickest and most inhuman characters used Geto's body.

However I think it shouldn't be understated how shocking it is to see Yuta betray all of his values like this. The most human character who represents love in the cast has given up on the cast and betrayed someone he loves. So let's talk about what this all means for Yuta under the cut.

GOJO GETS AN F IN TEACHING.

I understand why most of the focus is on Gojo, because yes Gojo's body is the one being violated here. He's not even allowed to rest in death after fighting on the front lines against Sukuna to the point where his brain was hemmoraging in the middle of battle and he was brutally cut in half.

Considering how much horror Gojo experienced when he saw Geto's body taken from him and made into Kenjaku's pupet. Cosidering the horrible pain that Nanako and Mimiko endured just seeing Geto's body still moving around denied a good death (Nanako and Mimiko were tellingly willing to let go and not try to take revenge against Gojo for killing Geto because of their friendship even though Geto was their whole world, but they'd never forgive Kenjaku for taking his body). Considering that Gojo even went out of his way to say he wanted to kill Kenjaku / Geto on Christmas Eve again in order to give him a proper burial it's understandable how horrifying this update is.

This is also a series where the two main antagonists are parasites who take the bodies, and steal away all bodily autonomy from characters like Yuji and Megumi and then force them to do horrible things they would never do and bear witness to it, such as the slaughter at Shibuya, or the murder of Tsumiki at Megkuna's hands.

It's understandable how people had such a visceral reaction to this chapter. However, I think the fandom has a tendency to paint Gojo like he's the central victim of all of Jujutsu Society when he's both victim and perpetrator.

Gojo is someone who has only been regarded as the strongest his entire life, and been used as a tool to keep Jujutsu Society stable his entire life. Gojo is also someone who never tried to be anything other than the strongest, never tried to empathize with anyone other than those who were just as strong as he is, and who raised all of his students to be tools too.

To illustrate my point here's an incredibly similiar character from Tokyo Ghoul: Arima Kishou. They are so similiar that they're both white haired mentor characters to the protagonist, they're both the strogest in their respective worlds, and Gege straight up copied this section of panels from the Tokyo Ghoul Manga.

Arima is a breeding project, who was bred by the Washuu Family who mxies blood between humans and ghouls through a series of controlled marriages for the purpose of creating hybrid ghoul human children. Arima isn't the ideal hybrid they were looking for, but he was so ungodly talented he quickly rose to being the most powerful and well-respected investigator in the CCG.

However, this is how Arima reacts to the fact that his entire purpose in life was just to be a weapon to kill ghouls.

Arima loathes violence, he loathes being an investigator, he loathes himself most of all and designs his entire political revolution around him finally being killed by Kaneki - to punish himself and also to relieve himself of the burden of living a life where he was only meat to kill others.

Gojo on the other hand loves being the strongest, he lives for Jujutsu. Arima's death is tragic and nihilistic believing his life had no real worth because all he ever was was a weapon to hurt others, whereas Gojo died satisfied.

Arima's last battle against Kaneki is grim, silent, and tragic, he does everything he can to make Kaneki despise him, to force Kaneki to kill him by being the worst version of himself and when Kaneki still wants him to live he just slits his own throat because even if Kaneki forgives him he can't forgive himself. Gojo laughs his head off and has the time of his life fighting against Sukuna, and going out in a blaze of glory.

Gojo dies smiling, Arima dies finally breaking into tears after a life of pretedig to be cold and emotionless. Gojo's dying regret is 1) that Geto wasn't there to say goodbye to him, and 2) that he wasn't able to draw out all of Sukuna's strength. Arima's dying regret was all the pain and suffering he caused throughout his life and how he was never able to rise above his circumstances and be anything other than what he was born to be.

These two characters are incredibly similiar, they are both the strongest, and they were both made into tools by a dehumanizing system they were born into. However, their attitudes are entirely different. Gojo enjoys being strong, and yes part of it is that Gojo himself doesn't realize he's a victim or what society has groomed him into becoming, but the other part is just because it's an ego trip for him. Gojo doesn't see himself as the tragic victim his fandom makes him out to be.

If you were to transplant him into Tokyo Ghoul Gojo would be happily killing ghouls, and he would think killing ghouls is fun because he's the strongest and best at killing ghouls. This is the complexity that is Satoru Gojo, he has been dehumanized and put on a pedestal his ow life, but Gojo also enjoys being on that pedestal and won't ever step down from it willingly.

I'm not saying that Arima is a better person than Gojo. I think the fact that Gojo doesn't think of himself as a victim is tragic in its own right, because he lacks the self-awareness to actually grow and change as a person. In the end both Arima and Gojo believe they couldn't be anything better than what they were, and their only release is death which is just insanely sad to me because as long as the future exists people always have a chance to get better no matter who they are. To give up on the future, to see an early death as a good thing simply because you can't endure life any longer is one of the most hopeless things imaginable.

Gojo's not sad because he was born to be a tool exploited for society's benefit, he's sad because he was lonely. He doesn't even realize it's his own darn fault he's lonely, because not only has Shoko said that he's not alone she's always been right there, but this chapter we get a repeat of Gojo's students begging him to let them in and Gojo himself decided to draw that line between himself and others and thinking an enlightened, godlike being like himself can't possibly be understood.

All of this to say I think Gojo is the sole victim here, but he's the middle of a chain of of victimhood. I think ultimately the biggest victim here is Yuta, and yes I will not only play trauma olympics here I'm going to win.

If this chapter goes to show anything it's that Gojo has completely failed in his ideals of protecting the youth from the dehumanizing system of sorcerers that takes children and reduces them to cogs in a machine.

A lot of people criticize Jujutsu Kaisen for dropping basically all of its political elements and themes of reform in the second half after Shibuya, and while I understand the criticism I think Gege intentionally shifted away from politics because Gojo's political revolution was never going to succeed.

From the beginning Gojo's solution to reforming Jujutsu Society and it's habit of taking away the youth of children and raising them up instead as child soldiers is... to make stronger child soldiers.

This is Gojo's blindspot and it has always been Gojo's blindspot.

It's why Gojo is completely okay with someone like Mei Mei who at the best uses her brother as a human shield to get out of curse domains and has stolen his entire childhood away to make him own pet little shoulder, and at worst actively molests him.

It's why Gojo is stated in the databooks to have only taken an interest in Megumi and Yuta because they were strong.

Gojo understands that he's being exploited by Jujutsu Society, but doesn't understand you need to deconstruct unfair systems of power and exploitation in order to build something better. Gojo from the beginning only had one plan, and that was to replace the people at the top with his own allies who'd support his agenda. He just thought waiting for them to die out and the children to grow up was the more peaceful way of doing it.

Gojo's political revolution was doomed from the beginning and that's why we see him go back on his word this chapter and just slaughter everyone at the top. His choice of a new leader for Jujutsu Society is hardly better than the elders, the person who executed Gojo's teacher and tried to get all the children to kill Itadori early on. Good choice.

This is what Gojo said would happen though, if he just wiped everyone out at the top no real systemic change would occur because they'd just be replaced with someone who wasn't that differet. Gojo's just given up on the notion of lasting change out of pragmatism.

Which is why Gojo himself is not that different from the elders in the first place, not because he's a bad person but because he was shaped by that same society and he's the pinnacle of that society.

I think the thing is and this point often gets ignored - a lot of the choices the elders make are because of outdated traditions like choosing to oppress Maki and Toji just because they challenge the traditional notions of cursed energy.

However, some of the decisions they make are out of cold hard pragmatism. Gakuganji actually turned out to be right in his assassiation attempt against Yuji Itadori. If they had succesfully killed Yuji, then the massacre in Shibuya would have been prevented and likely Kenjaku's plans would have been pushed back. The elders didn't sentence Yuta to execution just to be cruel, or just because they're superstitious but because he's already had several incidents of nearly killing people because he can't control Rika.

It's easy to dismiss the Elders as evil because they're just faceless entities, but then we witness in this very same chapter the main characters making the same heartless decisions out of the same sense of pragmatism.

Gojo understands Jujutsu Society is flawed, but doesn't understand exactly why it's wrong. He doesn't raise his students to be independent free thinkers because then they might question him, he raises them to be very powerful because that's more pragmatic.

Here are the next generation of sorcerers who are going to bring about the change to Jujutsu Society that Gojo so desperately seeks.

Nobara Kugisaki: Dead

Hakari Kinji: His greatest ambition is to start a fight club

Yuji: Actively calls himself a mindless cog and just wants to kill whatever society points him at and tells him to kill.

Maki: Mass murderer.

Yuta: Just stole Gojo's body and said he had to become a monster i Gojo's place.

Megumi: Begging to be killed.

Inumaki: Tuna Mayo

Panda: Is a Panda

(Joke lovingly ripped off from @kaibutsushidousha)

I understand that fighting Sukuna takes precedence now, but do you think once the dust settles any of these characters are going to do anything to make lasting change?

Are we going to see anything for them at the end of the road other than a mountain of their fellow sorcerers corpses?

Gojo didn't nurture his students to grow into healthy adults, he raised them into stronger child soldiers and yes that's the pragmatic thing to do to help them survive in the Jujutsu World, but the elders make those decisions out of cold pragmatism as well.

MHA is also showing a story where the children are failing to learn from the previous generatio's mistakes, but it's far less frustrating to watch in JJK because it almost seems like that's the point?

Maki sacrificed Mai for the sake of becoming someone strong enough to reform the Zen'in Clan, only for her sister to die and Maki to slaughter the rest of her family failing in both her goals to reform her clan and protect Mai.

Yuji became the host of Sukuna in order to help others, because the total deaths of people in the world would go down if he ate all the fingers. Not only did that decision lead to the death of thousands in Shibuya, but he's even lost his role of being Sukuna's host to Megumi.

Yuta wanted to find a reason to live and a purpose in protecting his friends, and also wanted to pay back the man who saved him, not only is Yuta choosing to die in a way that breaks his friends heart he's also violating his beloved teacher's bodies.

There's a lot of arcs like this where characters fail in what they set out to accomplish, because like in most tragedies they don't try to grow as people they only care about getting stronger. It's the same choice over ad over again, a decision made of cold pragmatism that brings about their tragic ending.

I think it speaks to why systems like this perpetuate themselves, because it becomes so hard to hold onto your humanity that even trying gets you actively punished all the while people like Mei Mei crawl to the top. However, even if you throw your humanity away purely as an act of survival you're still helping perpetuate that system instead of fighting against it.

Anyway, that's enough hating on Gojo, onto the main event.

THE NEXT GOJO SATORU.

It's almost masterful how perfect the foreshadowing for this chapter's twist was. Yuta sharing a common ancestor in Sugawara with Gojo.

The irony that Kenjaku said out loud that someone like Yuta could never become Gojo, on top of the fact that Yuta's true power comes from detaining his loved ones soul. He's turning Gojo's body into a weapon the same way that he once used Rika's vengeful cursed spirit as one (he even channels her strength into a sword, the same way Maki uses the sword that Mai gave her life to create in battle).

The way that Yuji's first impression of Yuta from his powerful presence and cursed energy alone was calling him someone even creepier than Gojo.

The idea that Kenjaku has been trying to get his hands on the six-eyes for years, which is what led most of the fandom to theorize a possible Kenjaku return by stealing Gojo's corpse. The fact Tengen said the six eyes, himself and the star plasma vessel are all connected and one time Kenjaku killed the six-eyes from a child only for another one to appear right away.

Yuta being told he could never reach Sukuna's heights because he lacks the selfishness of a calamity.

Even Yuta trying to tell a nameless assassin Uro to be less selfish, only to be chastised by her for not understanding because it's impossible for someone as blessed as he is to know what it's like to not have a name, to not have a face, to not be someone important.

Now here Yuta is, not only is he making the selfish decision to use his teacher's body as a tool, he's also most likely in five minutes going to die in someone else's body, having sacrificed not only his name, and face, but also his personal values in order to become a monster.

This arc makes it seem like Yuta's gone against everything he's stood for, making his arc a complete circle from Jujutsu Kaisen Zero and that's kind of the point. Heck, even something as small as Yuta's decision to show mercy to Ishigori was rendered pointless because Sukuna immediately killed him soon after taking Megumi's body.

If Yuta's regressed in his character it's because Gojo's purpose was not to raise these children into healthy adults, but strong soldiers.

What happened to Yuta is a direct consequence of the way Gojo recruits these children, and the underhanded motivations he has behind those recruitments.

Yuta's decision to take Gojo's body is more tragic on Yuta's part then it is on Gojo's, because Yuta is a child, and Gojo is an adult.

It is sad that Gojo is all alone, that he's forced to become a tool to society, but Yuta shouldn't be the one who feels responsible for that. Gojo is supposed to protect Yuta, he's the adult, the teacher, the one with power and Yuta is the child. Yuta is not the one who should be making this speech because it is not Yuta's responsibility to do any of this - but Yuta thinks it is because he owes Gojo.

However, when Gojo recruits people it's with the unspoken implication that they now owe him. He wants them to feel indebted, because then they'll be easier to use as pieces in his intended political revolution. We see this blatantly with the way he recruited Megumi.

I'll make sure you and your sister don't starve but you owe me in the form of labor later on in your life.

Gojo saved Yuta because he thought Rika was powerful and the elders were foolish for executing a potentially powerful sorcerer for THE GREATER GOOD instead of teaching him to control his power out of fear. Gojo recruited Yuji, because someone with Sukuna's power and who could eat his fingers as a vessel had the makings to be an incredibly powerful sorcerer. Gojo didn't even think of Megumi until after Geto defected, and Gojo decided he needed to start making changes to Jujutsu Society.

While Gojo's pragmatism is understandable to a point it also poisons his more nobler intentions. Since Gojo expects payment in return when he sticks his neck out for people, because these children are assets first and children secod.

I think Gojo likes Yuta. I think he gets along with him well. Yuta clearly respects him as a mentor. He did in fact go to great lengths to save Yuta from execution. He was right that it was more ethical to teach Yuta to control his powers rather than execute him for the danger he might represet. He even gives Yuta emotional advice a couple of times.

However, if Yuta was just like a grade 4 sorcerer with no special talent I doubt Gojo would have blinked at his execution. He sees Yuta for his talent first, and his potential to become someone like him. If anythig there are clear comparisons to both Megumi and Yuta. They're both prodigies born with incredible techniques, but Yuta is a lot more receptive to Gojo's grooming than Megumi is who's too traumatized to function. Gojo's not just grooming Yuta into being a powerful sorcerer, but another version of himself.

So it's almost karmic that not only does Yuta basically turn his back on everything that makes Yuta himself (his love for people, his desire to live and be surrounded by others), he also does so by literally becoming Satoru Gojo and transplanting his brain into Gojo's body.

Because Yuta is despite possessing a similiar level of talent as far from Gojo as possible. Gojo is not well liked by his comrades, he's there because he's needed due to his power. Yuta on the other hand has everyone vehemently disagreeing with his backup plan in the event of Gojo's death because they don't want to lose him.

People need Gojo, they want Yuta because of the connections that Yuta has made with them and because they care about Yuta as a person. Gojo is someone who deliberately draws a line between himself and others because he believes the strongest can't be comprehended, Yuta only fights for the sake of being accepted by others because he needs their approval in order to live.

Yuta's now turned his back on those two things, his tendency to put his loved ones first, and his desire to live, both because he feels he owes Gojo.

This comes about because of two factors, number one Gojo helping him with the implication that this help means that Yuta owes him something which makes Yuta desperate to pay him back and therfore easy to mold, and number two Gojo's intentions to begin with to take Yuta and make another Gojo out of him. To make a successor who would carry on the same burdens that Gojo did.

Gojo succeeded one hundred percent in making his successor as opposed to Megumi who turned out to be too different from Gojo i the end. He took what make Yuta unique and ironed out all those wrinkles until he was left with someone willing to make the same inhumane, pragmatic decisions that Gojo was.

I think it's tragic that as much as Gojo wanted to make things better for the next generation, he basically led Yuta down the same road he did, to make the same choice to throw his humanity away along with all of his loved ones. Especially since Yuta started out in such a different place.

Yuta has learned to become selfish like Gojo, because selfishness is apparently now the only way to get by in this world. A cycle that has been started with the elders, and continued on with Gojo, remains unbroken as Yuta becomes just another link in the chain. Yuta's likely going to die in a stranger's body, leaving all of his friends behind to mourn him, but even if he lives what life will that be exactly?

It speaks to the arcs in Jujutsu Kaisen that they're all kind of circles at this point. We have this heartwarming goodbye of Rika telling Yuta to live, and Yuta's whole arc was to learn to try to live without Rika and make new friends, but it's now likely goig to end with Yuta dying a year after Rika finally moved on.

Choso was told to try living on as a human and Yuki even sacrificed her life to give him the opportuity to escape the fight, and he only lived a month longer to die right in front of Yuji's eyes.

Gojo put all of his hope in the next generation, but now not only did he put all the power in Gakuganji's hands but he ended up dying a year after Geto did just like Yuta will likely die a year after Rika.

I think these character arcs are turning out to be circles because the characters aren't actually doing anything to try to break the cycles that they're trapped inside of - they're only trying to get stronger. Which is why they end up resembling the actions of the villains, Yuji becoming more curselike, Yuta stealing Gojo's body the way Kenjaku did with Geto's.

It reminds me of a quote from Critical Role that I absolutely adore.

“I have just taken an audience with the Raven Queen who has snuffed any hope of my redemption, for which I am truly grateful. With new clarity, I can finally see my life as a series of compounding, poor choices.” Vax winces. “There was nothing I could’ve done to save my family, yet I still sold my soul in search of vengeance. Later I allowed Ripley to leave, knowing full well she was a greater threat to the world than the Briarwoods would ever be. I traded the world’s safety for the belief that I could murder my way to peace; that if I could be a greater horror, it would bring my family back. And once this lie was shattered I scrambled to find asolution, to make a deal, to undo my mistakes and balance the scales. I nowunderstand that there are no scales, there is no redemption, and no ledger that judges me good or evil. I am free to simply be myself and live with the terrible mistakes I’ve made."

Especially this sentence: I believed I could murder my way to peace; that if I could be a greater horror, it would bring my family back.

Maki is a character that I have not found all that interesting in a while because she committed such a huge mass murder, only for it to have no consequences in the narrative and never be mentioned again, but this chapter she suddenly became an interesting character again.

Maki who lost everything but gained strength, doesn't seem all that bothered by the loss. People compare Megumi's reaction to losing Tsumiki to Maki's reaction to losing Mai, but Megumi's reaction is much more interesting because it's always better to see a character be weak and fall apart then to be strong and power through things.

However, maybe the reason Maki hasn't experienced any grief at all towards Mai and has instead delighted in her newfound strength and independence is because of this, because she still had Yuta.

Maki is a character who's not really said anything other than exposition the past like twenty chapters, but now she's the most vocally against Yuta sacrificing himself for the greater good. Yet this is against Maki's own ideology of doing everything you can to be stronger, to win. Maki was always about individualism, not about friendship or the bonds between others, she severed her own bonds to be free. Yet, she can't stand to see Yuta do the same thing as her, to become more like her.

This might be the consequence of Maki's continued choice to value freedom and the power to achieve that freedom over all else. Now, the one time Yuta is trying to throw away the same things that she threw away she can't say anything meaningful or convince him to stop him.

Which reminds painfully of this chapter as well.

Mai killing herself in order to free Maki from cursed energy is an obvious parallel to Sukuna devouring his own twin in the womb, but the difference is in this situation Maki didn't want Mai to go, she begged her not to. However, just like with Yuta there was nothing Maki could ahve said or done by that point to convince Mai to stay. Maki has always chosen power over her sister, she's always abandoned Mai, so what exactly can she say to convince her that she cares more about Mai more? That her dream of defeating the Zen'in and having revenge against them isn't worth the price if it comes at the sacrifice of Mai?

Maki didn't want to abandon Mai, or for Mai to sacrifice herself, but tragically her every action indicated otherwise. It all comes down to this: I believed I could murder my way to peace; that if I could be a greater horror, it would bring my family back.

Maki seems to have achieved peace by murdering the Zen'in, but we see the same kind of circular arc that we have for Yuta.

Maki gave up on everything for strength, but Maki's not strong enough to finish Sukuna then and there, forcing Yuta to sacrifice himself the same way Mai did.

Maki can't talk Yuta out of making that sacrifice, or come up with any convincing argument with why he shouldn't because of all the choices she's made before this.

Maki chose to murder her way to peace, but it came at the cost of her humanity and growth and thus she's faced again with the exact same situation with Mai and she's forced to watch her heart be taken from her again.

It goes to show that we think these characters are getting stronger but they're actually sacrificing something vitally important.

These characters are just going to keep going around in circles and you have to wonder just when is it going to stop?

[princessrazzledazzle]

My Random Twisted Wonderland Headcanons

Riddle: Doesn’t only love strawberries because of the taste, but also because they’re sorta shaped like little red hearts and it reminds him of love. The love his parents never gave him, but he dreams of all the time, the love of his close friends, and romantic love. He’s secretly a hopeless romantic.

Trey: The reason he has glasses is because he used to stare into the light thing they have above you on the dentist chair on purpose.

Cater: Was into animation memes and musicals at one point. Still watches them from time to time, especially if ones trending.

Ace: Loves car racing games, whether it be a random free mobile game, arcade game, even on roblox. Used to want to be a race car driver when grew up.

Deuce: Would eat autozone seafood boil, then get collared by Riddle for one, being stupid enough to consume food from autozone of all places, and two, stinking up the entire dorm for 3 hours straight.

Leona: Likes being scratched behind the ears when he’s feeling sad or sleepy, only Ruggie knows about this though as one time he did it just to tease him when they were younger, and REFUSES to let Leona live it down. Leona lets Ruggie scratch his ears in exchange for never telling another soul about it.

Ruggie: Once stole and drank an entire can of whip cream in one sitting and got really sick to the point he was throwing up for days. He vows to do it again someday.

Jack: Secretly loves plushies and would openly collect them if wasn’t so invested in being a “tough guy”. He has a few as gifts from his family members and he cherishes them, he even sleeps with them sometimes.

Azul: Had a itty bitty crush on Ariel when he was little, he used to read picture books of the benevolent Sea Witch just to look at the illustrations of Ariel.

Jade: Likes to debone animals for fun, whether it’s a land animal, sea animal, big, or small, he’s gonna catch it and he WILL debone it. He’s slightly ashamed of this hobby however.

Floyd: Slightly jealous of Jade because he’s seen as the “sane” twin, and even though most people avoid both of them like the plague, he can tell they feel more at ease with Jade and it makes him sad. He tries to control himself and act “normal” every once in a while, but he can’t help but to be a weirdo, he doesn’t know how to mask himself like his twin does.

Kalim: Had a pet viper that he found in his back yard one day and decided to keep because it reminded him of Jamil. He would even dress it up to look like Jamil and everything and swore it could talk, claiming it sounded just like Jamil. The snake ran away btw.

Jamil: Hates most cartoons because Kalim used to and still does force him to binge watch them with him. When they were little, Kalim used to cry if he didn’t, so now he has slight ptsd.

Vil: Accidentally gave himself a weak stomach due to his strict diet of only healthy stuff, and can barely eat a ice cream cone or a cheeseburger without getting bad stomach aches.

Rook: Was one of those people that had two costumes for halloween so they could go around the neighborhood twice and get more candy. He went as Neige first then Vil every year till he got enrolled in Night Raven.

Epel: Collects horse figures, not mlp just regular horses, He keeps them in a box where no one can find them because they’re “unmanly”. He doesn’t really play with the horses, but he does have names and personalities for them.

Idia: Likes magical girl animes, but too afraid to admit it to anyone, even online. He knows that if he does he’ll get called a gooner, he kinda is and he doesn’t need even more people thinking that about him as half of NRC already does. He genuinely likes those animes and loves all the cool weapons and transformation scenes, though he finds them a little repetitive.

Ortho: Is really into pokémon because he wanted to watch anime just like his big brother as something to bond over. Occasionally he’ll beg Idia to somehow install pokémon go into his programming, Idia always says no.

Malleus: Likes having his horns petted and wishes he could have them pet more often. The only people who would were his mother, grandmother, Silver when he was little, and Lilia. Lilia is the only one who still pets him from time to time, mostly when he’s had a bad day or falling asleep.

Lilia: Really into those mlg memes, the doritos and mountain dew shit, and will randomly yell “OOH BABY A TRIPLE” or “MOM GET THE CAMERA” to spook people. He thinks it’s hilarious.

Silver: A really good singer, but only Lilia, Malleus, and Sebek know because they caught him a few times on accident. Silver is incredibly embarrassed of it and made them swear to never tell anyone else.

Sebek: Has a secret passion for art, he’s not very good at it and most of his drawings look pretty goofy as if a first grader drew them, but he’s proud of them, Despite that, he never let anyone go near his sketchbook, especially his liege, claiming it’s just a book about how great Malleus is.

[vroomvroomwee]

Aziraphale's vest

I'd like to take a second and talk about his vest because I think it's a really good metaphor for Aziraphale's internal feelings.

At first glance it's obvious the vest is quite old. Really old in fact if you note the way it's practically disintegrating.

And it got me thinking a bit. The way the white practically bleeds from the edges of the neck, shoulders and buttons, going further and further, one day if he's persistent enough to wear it, it might even take over the entire vest. You could say that that, somehow, mirrors Heavens influence over Aziraphale. Slowly, slowly, biding their time, until it has completely ridden him of any colour. Until it has completely washed him of his identity, of his originality, of his character.

Take a look at his clothing when he's up in Heaven.

Completely and utterly white. Every piece of clothing he's wearing is pure and untarnished white. Upon entering Heaven, against his own accord, it has stripped him of his uniqueness, of anything that might distinguish him from any other angel who blindly follows orders and who's sole purpose is to do Heavens bidding.

Now, he could miracle the white patches on the vest away easily. But he doesn't want to.

The thing is. He likes the imperfect. He likes partaking in human activities and pleasures, like food, music, etc. Likes to indulge himself in earthly things Heaven would label as sinful or "sullying." And as someone who bas been on the receiving end of Heavens ridicule and passive aggression for millenia, as someone who for centuries has been told that he's underperforming and needs to do better, as someone who is all too aware of his own impurity by the standards an angel should hold and of the quite frankly unholy behaviour in performing immoral temptations and directly going against Heavens orders no more than a few times throughout the eras, it's no wonder he finds comfort in the imperfect.

He keeps the deteriorating edges because they are a perfect representation of his own internal feelings and image. After all, there's no rule that says he can't. And a big kudos to the costume department, for the patches perfectly encapsulate his religious trauma. Without it, he would probably be a very different person. He wouldn't be the same Aziraphale we know and love. The same way he likes being old-fashioned with his clothes and how that is a part of who he is, his trauma is a part of him as well, along with Heavens influence that has shaped him into who he is today, whether he likes it or not.

Every part of the vest illustrates Aziraphale's character and internal feelings, which brings me to another point I want to draw attention to, and that is the BACK of the vest.

It's DARK. And I don't think I'm mistaken when I say that most of us didn't expect it to look like that from behind. We all just assumed that it would be the same beige colour as the front, which is in tune with the rest of his attire. After all, seeing him wearing a dozen different outfits all throughout history, all of them some shade of white, it was the logical conclusion.

But no.

It's not white. It's a dark, slightly viridian or a dark blue colour. "Dark blue suggests a more mysterious depth or ominous quality. Power and authority: Dark blue signifies power and responsibility. "

Not what we would have expected that colour at all. Similarly to how one wouldn't expect an angel to perform temptations or be gluttonous, or envious, or slothful, or hedonistic. Not at first glance anyway.

Not unless you look carefully.

Not unless you know him.

The coat almost acts like a cover. The light over the dark. Almost as if it's trying to hide something. The only times we see Aziraphale not wearing the coat is in his bookshop. Which is logical, of course. You wouldn't wear a coat indoors, obviously. Except he DOES. He wears the coat when he and Crowley are drunk, he wears it when he's reading Agnes Nutter, he wears it when Gabriel and Sandalphon pop in, he wears it when he's talking to the Metatron, he wears it when he's listening to Shostakovich, he even wears it at the Ritz where it would be custom to take off your coat while dining. And it's worth noting that during the events happening (at least in the first season), the season is summer. Which would make it quite ridiculous to be wearing so many layers everywhere you go and therefore risk boiling. But he still wears the coat.

The only times he doesn't wear it is in the first episode after the sushi, when he's all ALONE, and in season 2 at the bookshop when Crowley comes back and in 1941.

And there's something oh so personal about that.

I don't think it's a coincidence that the darker part is specifically the back of the vest. There's always been this natural human instinct to protect yourself by never ever turning your back on a foe. And I don't think this is a conscious effort on Aziraphale's part, but rather genius writing, directing and costume design, and anyone who's watched and read Good Omens knows that almost nothing is coincidental.

Note this is probably the first time Aziraphale has called Crowley his friend, seeing how uncertain and doubtful he was to even say the word in this scene and how quick he was to deny their friendship in the Shakespeare scene. And the camera immediately cuts from Crowley to Aziraphale, who is turned away, whose back is turned to Crowley oh so casually without a care in the world. Just before he calls him his friend. His back is turned, and so is the dark part of his vest.

The dark part he only shows in his bookshop, when he's alone and there's no one there. The part that he now only shows to Crowley as well. Crowley who knows him so well and who's been with him through everything. "I won't tell anyone if you won't." And "you said trust me""and you did". Just this small motion of Aziraphale depicts exactly how much trust he has in Crowley not only that he'll keep him safe and protected but to accept him just as he is, to not judge him, to not demean him for his imperfections as an angel. Practically mirroring Crowley's self-protection mechanism that is reflected in his motions to hide his eyes with his sunglasses (there's a wonderful meta on this by @simply-brightly-zee here )

And it might just be clothing, or it might just be genius symbolism, but note how self-aware Aziraphale is of his looks when Gabriel pops up.

The desire to impress is almost unconscious in this scene, and how does he go about doing it? By making sure he looks presentable. Presentable, despite the white patches and the vest that is falling apart, he doesn't even realise it. Therefore, it's clear Aziraphale puts thought into his clothes, whether consciously or unconsciously.

I personally dont think any of this (the coat, the patches, the way he turns his back, when, where and around who he's most comfortable) is a deliberate and intentional act on Aziraphales part but rather creative brilliance from the directors and producers. So him being shown to expose the back of the vest only in scenes with Crowley (and the one in s2 infront of an amnesiac Gabriel with the intelligence and awareness of a squirrel) is a master move on the costume department's part. The symbolusm being so small and imperceptible, but holding so much meaning. This small metaphor shows how much Aziraphale trusts Crowley and how comfortable he is around him. Crowley who knows about Aziraphale's transgressions, sins, unholy behaviours, lack of interest and dedication to his job, and overall "incompetence" as Aziraphale might put it and how he's "just enough of a bastard to be worth knowing". Crowley, who will accept him and love him no matter what. Not despite those things, but because of those things.

They have found their "own side".

Edit: Not that important, but I just want to mention how, despite being tattered and falling apart, the vest is still in perfectly good condition. No matter the white seeping in and draining its colour, the vest doesn't have a single seam torn, not a button lost, perfect as the day it was bought. No matter what it's been put through, it's still kicking, whether by miracle or sheer willpower. Very much like the person wearing it.

[glowettee]

the secret to taking notes that make you want to study ✧˖°

hey lovelies! mindy heree <3

for this post i'm superrr excited to share a guide on taking notes that make you want to study ✧˖° trust me, i know how overwhelming it can get when it feels like you're stuck in the middle of endless textbooks and dry lecture slides (honestly, we all have those days). so, let's transform your note taking into something delightful, empowering, and totally reflective of your unique self.

✧ finding your vibe first things first, bestie: the key here is to make your notes feel personal and inspiring. rather than sticking to a rigid system, i suggest mixing a little structure with a whole lot of creativity. here are some steps to help you set up your perfect note taking vibe:

choose your medium: even if it’s a cute pastel notebook, sticky notes, or a digital app with fun themes, pick something that sparks joy and invites you to open it up. i personally love notion + remnote + coda

establish sections: break your notes into clear sections. introduction, main points, and summary. this not only boosts organization but also gives you a gratifying sense of progress every time you finish a page.

add your signature touch: doodles, small illustrations, or even a decorative border can make a note feel less like a chore and more like a mini art project. i love using aesthetic symbols for my digital notes <3

✧ creating a study ritual i believe that great notes come from a relaxed and focused mind. try integrating these rituals into your study sessions to set a positive tone, this is really important if you want to make note-taking fun:

begin with a short breathing exercise or a moment of gratitude (think of it as your pre-study pep talk).

play some light instrumental music or your favorite lo-fi beats, or playlist. something to keep your mind in a creative zone without distractions. (i have a great playlist i made that i use for tackling assignments here: 𝒸𝒽𝑒𝒸𝓀, 𝒸𝒽𝑒𝒸𝓀, 𝒶𝓃𝒹 𝒸𝒽𝑒𝒸𝓀! <3)

grab your favorite beverage (i’m a fan of herbal tea or a cute iced coffee) and make sure you're comfortable. a little self-care goes a long way!

✧ structuring your notes for clarity a well-organized layout makes reviewing notes less daunting and more interactive. and obviously so much more fun, consider using this format for a balanced + demureee approach:

start with a title and date: it grounds your notes and gives you a quick reference.

write a brief summary of the topic: in your own words, capture the essence of what you’re about to learn. just summarize it as best as possible

list key points: use bullet points, numbered lists, or even headers for different subtopics. tip: use cute symbols for bullet points

highlight examples: it can be a quote, a definition, or an application concept, mark these with a star or a cute icon.

close with a reflection: jot down any questions, what you found most interesting, or even a mini action item related to the topic. this is your space for self-talk and reflection.

✧ turning notes into interactive canvases (cause we need it) notes aren’t meant to be static pages floating in an endless binder. make them interactive to truly boost your study sessions:

include thought-provoking questions: ask yourself things like “what would elle woods do?” (lol, we love her <3) or “how does this connect with real life?” to spark critical thinking.

add mini quizzes: at the end of each section, write one or two questions that challenge you to recall key points.

leave room for updates: as you learn more, come back and add extra notes, doodles, or even inspirational stickers (yes, just like in a scrapbook!).

✧ personal tips from mindy because i want you to shine in every note you take, here are my totally secret, fun tips to elevate your note routine:

secret tip #1: color with purpose choose a color palette that not only looks cute but also maps out different themes in your subject. use one color for definitions, another for examples, and maybe a sparkly tone for key takeaways. over time, these colors will trigger your memory (i promise, it really works!).

secret tip #2: integrate affirmations studying can be stressful sometimes, so why not lace your notes with a few tender affirmations? write a quick pep talk (like “i got this, bestie” or “every detail counts”) in a corner. it might seem small, but these little lines can boost your confidence when you need it most. and it's just so freaking cute <3 affirmations from you to you, is like a love letter to yourself, so just try it

secret tip #3: try mind mapping if you’re more of a visual learner, create mind maps instead of linear notes. start with the main topic in the center and branch out with related ideas and details. this not only makes your notes dynamic but also helps you see connections between concepts (ever notice how some subjects just click with a visual flow?).

secret tip #4: use digital tools creatively if you’re leaning towards digital note taking, like me, experiment with apps that support drawing, voice notes, and even embedded links. add images that resonate with the topic or short videos for a quick concept refresher. making your digital notebook interactive can really keep boredom at bay.

secret tip #5: schedule weekly note reviews set aside a bit of time every week to revisit your notes. treat it as a mini self-study session where you update, add reflections, or even reorganize sections for clarity. this habit not only reinforces your learning but also lets you see your own progress over time, like looking back on how far you’ve come.

✧ action items for the week (it's homework timeee) to wrap things up, here are a few steps to try:

pick one class or topic this week and redo your notes using one or two of these tips (maybe add a mind map or a quick quiz).

experiment with color coding: choose colors that resonate with you and assign them to key points or sections.

schedule a 10-minute review session at the end of the week to refresh and reflect on your notes.

share your progress with a friend or even a study group to celebrate little victories. accountability can boost your motivation!

note: note taking is a creative process that should feel as refreshing and inspiring as a new day. keep experimenting until you find what truly works for you. i hope these tips help you get excited about every page you write on.

xoxo, mindy

I made this amazzinggg playlist (as mentioned earlier in the post) and its specifically made to help you complete homework + assignments. i curated it to make sure its soft music to help you focus <3 love from mindyyy 🩷

don't forget, if you need personal advice, submit it here and i'll answer it as a detailed tumblr blog post <3: https://bit.ly/glowetteehotline

[nocturniashifter]

𝓨ou in the eyes of your s/o | pick a pile

Hello, my angels! After a long time without posting any PAP, here I am with one that just came out of the oven. I really hope you like it and that it resonates with you ;) ♡

┈─★ Disclaimer: This reading is for entertainment purposes only and shouldn't be taken seriously or used as a substitute for medical and professional advice. It's also a general reading, so it may or may not resonate with you.

┈─★ How to choose: Close your eyes, take a deep breath and choose the image that catches your attention the most – trust your intuition.

MASTERLIST | PAID READINGS

── .✦ PILE 1

Shufflemancy: Where The Lovers Go - Ghost Kisses, The End Of Love - Florence, Please Be Angry - Pierz Barry, Smaller Than This - Sara Kays.

This is so cute, pile one! Your s/o has been in love with you since the first moment you met, but they never told you that before because they didn't want to scare you – and I'm happy to play my role here and let you know that ;). Honestly, you even made them nervous and shy when they were around you and that's so cute 😭

In the eyes of your s/o, you are much more than a simple romantic partner. No, you are their family – regardless of what your relationship with them is now, whether you are just friends, lovers or even married. This especially applies to those who met their s/o at difficult times in life or who are shifting to a DR with more adventure/action/danger. For them, you are a person who is there with them in both good times and bad times, whether in your personal life or in your couple's life for those who are already together with their partners. They see you as someone they can count on at all times and you can be sure that they are also the kind of person you can count on when you are going through dark times. In their eyes, you are each other's safe haven and they also think that you know them better than anyone else - so much so that you know when they are lying/pretending that they are okay. You make them feel safe and they trust you, so much so that they feel comfortable enough to open up to you and be vulnerable. Furthermore, because they love you so much, they are very afraid of ending up losing you at some point – but that is just an insecurity they have.

Wow, this is really sad but…many of the s/os in this pile feel awkward in their relationships. But not in a bad way, but because many of them may be dating for the first time, aren't used to being truly loved by those they love or don't have much experience with relationships in general that are healthy. For many, their s/o was raised in dysfunctional and/or toxic families and as a result, they carry a lot of trauma and emotional wounds that leave them feeling like “clumsy idiots” in your relationship. Some examples that illustrate this well are the fact that they are unable to express themselves effectively with words and even more extreme cases in which they would rather you be mad/angry at them than disappointed in them or that you leave them. In their view, they won't be able to handle it if you decide to leave them, so they do everything they can to keep you in their lives – I told you it was sad 😕. But, even with all the fear they felt inside about starting a new relationship, they decided to take the leap and can be sure that it was one of the best things that ever happened to them.

Your s/o perceives that you have self-esteem issues, that you have a distorted self-image and an inferiority complex. In their eyes, you may be trying to achieve an unrealistic/unattainable standard of beauty and this is costing you your mental health and your physical health. Some of you may even be skipping meals so if this is the case, PLEASE STOP FOR THE LOVE OF THE GODS!! To them this is crazy, because they love and accept you exactly the way you are and think you are being too hard on yourself – they care about you and your well-being, so they want you to take more care of yourself and treat your body like the temple it is. They would like you to see yourself the same way they see you, because in their eyes you are very attractive and hot and you shouldn't change anything about yourself 😋 (seriously, it was actually funny because I literally heard them calling you “hottie")

That was all, pile one! I hope you liked it and that it was accurate. You better take better care of yourself or your s/o and I will be forced to hit you 😠

── .✦ PILE 2

Shufflemancy: Laughing on the Outside - FLOOR CRY, Shade - Chymes, You Know Me Too Well - Nothing But Thieves, Heat Waves - Glass Animals, Still Feel It All - MARO.

From the first moment you met, your s/o couldn't take their eyes off you and with each passing day, they found themselves falling more and more in love with you.

There are two situations in this pile: the first is that you and your s/o are not together as a couple yet and the second is that you have ended your relationship.

Regardless of what your case may be, your s/o are madly in love with you ‍🧎‍♂️ and every day they have to pretend that they are okay even with the fact that you are separated or have to pretend to others around them that they are not in love with you – but as a good gossip, I am here to expose what they really feel MUAHAHA. But, stopping for a moment to analyze, deep down they feel very sad not to be with you and that leaves them heartbroken.

Seriously, they are so in love with you that they seem drunk with love. When you are together, their heart warms. They may even try to deny it, but they can't help the fact that they want you like they've never wanted anyone in their life so much. Absolutely all they want most is you and they want to give you all of them and everything you want – your wish is your command.

For some of you reading this pile, you and your s/o are still just friends and in their eyes, you know them very well. But, regardless of what your case is, in their view, you have no idea what they are going through. I believe that for s/os who are just your friends, it is becoming more difficult to deal with the fact that they have fallen in love with you and cannot reveal it for fear of rejection or the friendship ending. Some of them may be thinking that you don't feel the same way about them and that they should leave you – poor things, little do they know how wrong they are.

Help, they are really heartbroken for you. Many of them have been in love with you for a long time and they have never been able to get over it. Sometimes they may try to tell themselves that they are over you, but just seeing you makes them fall to their knees – just seeing your eyes, your mouth and especially smelling your perfume. They really want you to want them as much as they want you 😮‍💨.

They may think that every love story ends in tragedy, that they might not be enough or that you deserve someone better, but when it comes to the two of you, they are willing to try. Sometimes all they think about is you.

That was all, pile two! I hope you liked it and that it resonated with you. FOR THE LOVE OF GOD GO KISS THIS MAN/WOMAN SOON 😭 they're suffering-

── .✦ PILE 3

Shufflemancy: C’est toi qu'elle préfère - Alice et Moi, Breezeblocks - Alt-J, all my daugthers - dodie, Impossible - Nothing But Thieves, If You Let Me - Sinéad Harnett.

The s/os in this pile are an enigma to me 🤔 but I'll be able to solve them

Many of you reading this pile are not together with your s/o, but the other part already is. And, regardless of your situation, it seems that in your s/o's eyes, they are replaceable in your life. They feel like you will leave them or that you prefer other people – in some ways, they may feel like “the other woman”.

But, none of these scenarios are real and these things are only happening in their minds – these paranoias originate from insecurities they have due to negative experiences in the past, such as being dumped or not being the priority of the person who hurt them. These thoughts make your s/o's heart sink, but as I mentioned earlier, they are creating problems that don't exist - so one piece of advice is to reassure them that you love them, that you are there for them, that you really care and who will not exchange it or leave it. They love you so much and are so afraid of losing you, they are almost begging you not to leave them – even if you have no intention of doing so.

Your s/o can see that you have imposter syndrome even though you try not to give a shit about it – you always feel like you're a fraud in every successful thing you do and in every achievement you achieve, even if it's totally your merit and they want you to learn to recognize that you are good at what you do and that you should give yourself all the credit you deserve!!

Your s/o are fools in love with you – the type where sometimes they even catch themselves looking at you with a passionate smile on their face – and they themselves never believed that this kind of situation would happen to them but, here we are lol. Seriously, if you were the ocean, they would dive deep into you. They love the smell of your perfume, in their eyes it is unforgettable. They also really like your mouth – if you're already together, believe me, they love kissing you.

WHAT A BEAUTIFUL THING, PILE THREE!!

Your s/o's love you like never before, literally no one has ever loved you as much as they do. They love you so much that they would really do ANYTHING for you and they are such good partners that they will do for you even what you didn't even know you needed. But, in their view, you still won't let them in (or haven't let them in yet if you're already together). WHAT ARE YOU WAITING FOR? For them to love you this way, you need to open your heart to them because they have a lot of love to give you and it is more than enough.

That was all, pile three! I really hope you enjoyed this reading and that it resonated with you. You literally won the s/o lottery, so DON'T LET IT GET AWAY!! 😠 Until the next PAP! ♡

© nocturniashifter – don't copy, redistribute or edit my content | dividers

[ranahan]

I’ve had a number of posts on my dash lately going “but did you know Jaster Mereel was a merc who killed people.” I’m more amused than annoyed, but I think this reads enough like a rant that I’m making this its own post rather than a reply to someone else’s. That being said…

Yes. I did in fact know this about one my favourite characters.

How is this any different than the faction of the fandom who simp after Darth Maul? Are they are unaware that Maul is a bad guy? Does it lessen their enjoyment of the character, or could it be that it’s an essential part of their enjoyment even?

Personally, the thing that makes this character intriguing to me is precisely the dichotomy between how he’s portrayed in the comics and also described as a honourable and pious person. There’s a pretty big gap between the reality or mercenary work and honour as we know it on Earth. So that raises all kinds of interesting questions: how would that even work? Or perhaps: what does that tell us about Mandalorian morality? And I find stories (and fanfics) that explore these questions compelling.

Similarly, the story where Jaster Mereel with his mercenary morals rules, is a more entertaining story to me than the story where Satine Kryze and her pacifism rules. Under whose rule would I rather live in real life? Kryze’s, of course. But this is not real life. Mandalore is a fictional place. Absolutely no one is hurt, if they are ruled by a bad guy.

Mandalore’s entire purpose as a fictional place is to create stories and do what stores do, whether that’s entertain, educate, engage or provoke readers. And I happen to think that stories with conflict are more entertaining. The story where Palpatine rules is a better story than the story where Bail Organa rules.

tldr: it’s not a bug, it’s a feature. Mereel is a fictional character, not a real person, so I score my enjoyment and what’s “good” by the metric of what makes a good story, not what I would like to happen in real life. Is Mereel a good person? Debatable. Is he a good character? To me, yes.

I feel like the fans who treat fictional characters like real people, are always going to be disappointed by the segment of fandom who don’t.

Not to say Mereel and Palpatine or Darth Maul are comparable (Mereel is more of a morally grey character whereas Palpatine and Maul are portrayed as simply evil). These are just exaggerated examples to illustrate my point. I’m similarly giving Kryze’s rule a generous interpretation to show my point does not depend on the relative morality of the characters.

[valeriehalla]

Not to put you on blast, but speaking as a comic artist, I can tell you that all that random emphasis isn’t actually as random as you might think!

I’m sure every comic letterer has their own criteria for when and how (and whether) to employ this technique, but the way I see it, there’s a couple of overlapping reasons why it’s done:

It makes the text a bit more legible. The bolded words act as visual landmarks that help guide the reader through the text. Comic text is pretty weird, typographically speaking: it has a very small line-height and it’s center-aligned, not to mention it’s usually printed in allcaps. This is all done in the interest of conserving space for the illustrations, but it makes for text that can be kind of fatiguing to read. The extra visual emphasis on key words and phrases can make it easier to quickly parse the text, especially in larger speech bubbles.

It also serves the usual purpose of indicating the natural word emphasis that people employ when speaking English. Usually you’d just use italics for that, but italics are hard to distinguish in handwriting, so letterers will use either bold or bold-italics for the job. Beyond that, the difference is mainly down to quantity: comic letterers traditionally go a bit ham with this technique, whereas it’d be gauche to do the same thing in prose. But that’s a matter of convention.

Emphasis on the word traditionally in that last point, by the way. In truth, this convention has been on its way out for a while. Lots of comics these days even have lowercase letters! It’s easier to pull off with the switch to digital lettering. But I still find the practice charming as heck.

[lidicanread]

I need an end to the question “did Louis eat the baby?” HE DID NOT. It is so obvious that I genuinely can’t tell if this “debate” is ongoing for another reason. We see the baby on the floor. We see Grace picking him up. In episode 4, at their mother’s wake, we see and hear Grace refer to Louis’s “nieces and nephew” in the present tense.

Literally what more do you people need? Are you implying that Louis ate his nephew and then talked about it in his interview as just a close call? What purpose would that serve? How does it contribute to the narrative that Louis is creating? If it’s to further illustrate that Lestat “was uncaring” then why does Louis show us in that same scene Lestat doing his absolute best to cheer Louis up? Why do we see them at the opera together, with Louis looking at Lestat with love?

Please I am begging for a shred of common sense. He did not eat the baby. It was a close call because he was a new vampire and he didn’t understand just how compelling the desire for blood would be. He learned that his new nature makes him entirely separate from that of his family. It forced him to finally reckon with the reality that he does not belong with them. No matter how much he wants to be able to walk both roads, he can’t. The moment with the baby is illustrating this point.

[darkcircles4lyfe]

it's a story about hands (reprise)

Yeah, okay, today's the day.

I gave my blog that title for a reason, you know, and it has loomed over me for years because the hand motif is absolutely everywhere and you could go on about it forever.

Maybe that's something I'll never actually attempt to do, but this chapter, we reached a breaking point.

Before I continue, I need to give a big, big disclaimer: I do not have a physical disability, so I'm not able to speak about that from the standpoint of representation as a first-hand perspective. I have at least listened to enough disabled people to know that fictional characters who become amputees only to miraculously gain their limbs back is, um, a trope. Disabled people in general being "healed" is a conception we would really prefer to avoid here. Not to call people out, but I don't think we're giving enough space to acknowledge that.

I don’t feel comfortable making the judgement call about what should happen. I’m leaving that open. I also don't want to downplay people's emotional reactions. Honestly, I don't know if I can accurately define the line between acknowledging real pain vs. ableist pity. But I’d like to talk about the possibilities of what could happen. Other characters have definitely gotten permanent disabilities as a result of their hero work, or even just the side effects of their quirk. But, for better or worse, I don't think this case is really about representation. Not that Horikoshi won't do that justice. He might. What I'm saying is that's not his purpose for having Izuku lose his arms. It's meant to be symbolic, so we can explore what it means. The other thing I’m keeping in mind here is that Horikoshi is notorious for playing with our expectations, like, alllllll the time. I mean, just take a few chapters ago for a classic example. Eri appeared at the end, and we all assumed she was about to take some sort of action to save someone with her quirk. Then, immediately following, we were given an explanation for why that wouldn’t be happening. And now it’s clear he wanted to do that “fake out” not just as a silly cliffhanger prank, but specifically so we would know not to suspect that Eri could be the miraculous solution to Izuku’s loss of his arms. Rest assured, there is no easy way out of this.

The expectation at play in this particular instance is an old one. It’s very understated, but its subtext has burned so brightly, you’d be a fool not to notice it. It sits with anticipation like one half of a call and response. Man, I was so certain. Lots of people still are. I was really looking forward to printing the panel where it happened onto a t shirt and wearing it proudly. All the hand motifs in this story radiate thematically from a single moment, the one that started it all for Izuku.

It raises all kinds of questions about the act of saving, who needs saving, why, what does it mean, what are the dynamics of power, politics, honesty, exploitation, compassion, pity, disdain, sacrifice. Katsuki has dealt with many of these since he first rejected Izuku’s hand. While Izuku was the one who was convinced Katsuki would keep on rejecting him…

…Katsuki was the one who kept that moment in his mind all these years and eventually came to regret it.

Katsuki is the one yearning for that hand-hold, the one who has imbued it with so much more weight than it ever originally had. Izuku, in contrast, does not allow himself to dwell on what he wants. To illustrate this difference, we need to look at another piece of foreshadowing:

Ugh, do y'all remember when lots of folks were complaining about how there never seemed to be actual consequences for Izuku's destructive treatment of his own body? I don't blame them, I was concerned and confused about it too. There were several "fixes" along the way. Recovery Girl healed him, but left a physical reminder. Then he started training to fight with his legs… sometimes. Then he got support items. All of these were unsatisfying non-conclusions because they didn't present Izuku with a lasting enough impression to change in a meaningful way. They didn't address his core, his origin.

Of course, that all changed this chapter. Now it looks like our frustration was inflicted intentionally. With the current context in mind, all of these moments look more sinister, like this day was always gonna come because they kept putting bandaids on a deep emotional and psychological wound. The problem is pretty much spelled out for us here:

As Katsuki put it, he just doesn’t take himself into account, ya know? He doesn’t care what happens to him. And he lies about it, to keep others from worrying, to keep them safe. To keep them from returning the favor and putting themselves in harm’s way for his sake. His motivations are noble,

…but what about the little boy inside Izuku? Who saves him?

This is all about Izuku giving himself up to the point that he literally has no more to give. The thing is, I bet he saw this coming. He knew his limits and decided to keep going anyway, because his personal safety and wellbeing are not important. Now that way of thinking has come back to bite him because the fight isn’t over yet, and he’s already made his sacrifice. So now we know who will be more distraught over this. Not Izuku—Katsuki.

It’s not about Izuku becoming disabled, it’s about how Katsuki wanted to use the intertwining of their fingers to communicate that he would never let go. Never stop valuing him most. Never let himself make the mistake of rejecting him again. Never let Izuku be so reckless with his life. To say: “we are in this together.”…if only Katsuki believed he deserved to be able to say such things. To reach out his hand would have been the ultimate way to simply imply them and let Izuku be the one to decide. Then, to feel their hands clasped together would be more than either of them dared hope for, but so beautiful, so right. A moment they’ve waited their whole lives for.

Yeah. That’s what we were expecting. We’ve been so comfortable. Horikoshi gave us all the signs. He tempted and teased us over and over. BUT. You know he does this thing were he gives us a desirable, completely plausible and simple thing to look forward to, and then he snatches it away. And THEN he replaces it with something much better, something we were not expecting at all because it seemed too good to be true. That’s exactly what happened when Himiko snatched Izuku away, and we were robbed of the chance to see him and Katsuki fight together. In hindsight, though, I’m glad things went a different way because now there’s so much more depth and angst on display. Likewise, in the present moment, we may consider how, as one door closes, another opens.

As wonderfully meaningful as the hand-hold would have been, perhaps it is still too simple a resolution for Izuku, for his and Katsuki’s relationship. Tbh, it could have been done like 100 chapter ago. At this point, there’s so much more potential. There are a couple of ways it could go. If Izuku stays armless, Katsuki will be forced to use other methods to get his point across. He’ll have to do something else, or say what he means, or both. Yes, I’m talking about what you think I’m talking about. If I say it, I just might jinx it (lol), but I mean it. I’m being serious. Either way, if Izuku did get his arms back in the end, I’m sure that it wouldn’t be an easy fix. It would be hard-won against Izuku’s self-destructive mindset, and/or by Katsuki’s conviction. Again, I say this knowing it is not meant so much as a representation of disability, but as a representation of Izuku’s greatest character flaw taken to the extreme. I know this might sound harsh, like, hasn’t he been through enough? I get that, but… I’ve said it before and I say it again: Izuku is stubborn as hell.

I wish I had a resounding final note to end this on, but I kinda don’t. I’m not sure what’s best. Now we just have to wait and see what Horikoshi has in mind.

[whiteraven90]

Your take on griffins is so cool 👀 Do you have worldbuilding notes somewhere? Like what their dynamic is with humans, or what their habitats and habits usually are? I’d love to know more about them!

Hey, thanks for asking! I actually had written a little species description for them, but I shelved it until I draw illustrations for it. However I might as well post it now with less relevant pictures. Who knows when would I get around to drawing those illustrations. First of all... there are no gryphons on Tetra. No mortal ones, just spirits.

Spirits were created by the gods to be sentient blueprints for species. Flora & fauna were created out of chosen spirits (e.g. polar bear, barn owl), and the leftovers were repurposed (e.g. great horned gryphon, common pegasus).

In addition to the whole range of shapes/forms spirits were designed to take as part of nature, they also had their would-be behavioral patterns pre-set into them. So now lets see how the Great Horned Gryphons would have lived!

Great horned gryphons (also simply referred to as 'griffins' from now on) are sexually dimorphic, and live in pairs. They are very resource-conscious - individuals not raised properly may hunt their food sources to extinction, after which they either starve to death or get themselves killed while ravaging the animals of other griffins or humans. Each pair oversees a vast territory filled with wild herd animals. They engage in several behaviors that are basically animal husbandry. They will protect their herds from other predators and even natural disasters. They will herd their animals toward quality food. They can recognize juveniles of many species - humans included -, and will not eat them. They sometimes raise the abandoned offspring of other species, not because they plan to eat them, but because they get a kick out of it. They don't hunt, per se. They hit up one of their herds, select a specimen, and carry it home for lunch. They like to construct their nests atop cliffs and similar high points overlooking their territory.

Their relationship with people is complex (and hypothetical, as is everything else), since people may want to claim the same lands for the same purposes. But typically if they saw a lone human child, just waltzing around on their territory, they'd pick it up and put it down near adult humans. Solitary adult people tend to be safe as well for different reasons. The staple of griffins is large animals, and they like to conserve their energy. Normally they won't get up for 1 lone human nugget.

If an adult pair spots an unrelated juvenile griffin on their turf, they leave it alone, but they don't tolerate mature trespassers or other pairs. They are hostile to all other species of gryphon. Given the opportunity, they will kill and eat them. Great horned gryphons are viviparous and give birth to 1 chick at a time which stays with the parents for several years to learn some manners. Mostly moderation, recognizing important animal species, and caring for their animals. Their lifespan is 40-70 years.

And that's more or less it. At present, great horned gryphons are not plural. There's just one spirit, Griffin, representing the whole species, either until the heat death of the universe or until he bites the dust. Spirits are shapeshifters with a range of native forms as opposed to one original form. They have some rules among them on etiquette, such as when is it ok to take the form of another spirit. Griffin mostly uses his adult male form, and lets Phoenix take his adult female one.

Several of his species' characteristics can be felt in his personality - excels at relaxing, hard to anger or scare, won't hurt kids or pets and is good with them, extraverted, resource-conscious, enjoys having vast lands. His relationship with humans is... complicated. Nowadays he kinda pretends to be a pet at the palace of the emperor of the Karkian Empire, and is banned from or unwelcome in several other countries. Sorcerers summon him sometimes, but the jolly fucker usually charges by the hour for his spirit-y services, and may even screw the summoners over if he doesn't like them.