Drawing other characters: damn I always use the same angle Drawing ✨Hinata✨:
Xuebing Du
"I'm Dorothy Gale from Kansas"
Cosmic Funnies

JVL
art blog(derogatory)
RMH

ellievsbear

❣ Chile in a Photography ❣

pixel skylines
PUT YOUR BEARD IN MY MOUTH
Sweet Seals For You, Always
Lint Roller? I Barely Know Her
trying on a metaphor

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$LAYYYTER

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⁂
Claire Keane
occasionally subtle

#extradirty

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@int3r3st1ng
Drawing other characters: damn I always use the same angle Drawing ✨Hinata✨:
An interesting aspect of Jujutsu Kaisen is how the rules of the world make it so negativity always overpowers positivity.
Hospitals are places seeping in Cursed Energy because of the negative emotions associated with it, and it makes sense, hospitals are where the worst personal news are given on a daily basis. But aren't they also where the best personal news are given?
Yes, people cry in hospitals because their loved ones died (it's on episode 1), but they also cry in hospitals because their loved ones lived. Why doesn't that second one matter?
Because humans don't leak positive energy, only cursed energy. There are no "Blessed Spirits", only Cursed Spirits. The world these characters inhabit is uniquely situated to be awful, where positive experiences have no effect, and negative ones compound.
This never really comes up (Geto's turn brushes against it a bit), and you can argue why in many different ways, but I sure am gonna keep thinking about it. Wouldn't that be a much more productive Ritual of Harmony, eh Yuji
Like yeah I came back to Naruto after like almost a decade not engaging with it with fresh eyes actually wondering and hoping if my opinion on my NOTP of all time would change at all and it did not! But after reading through The Discourse I think I have the big understanding why.
A lot of SasuSaku discourse bothers me because there's a lot of cognitive dissonance in it. People have a lot of varying subjective opinions about the characters and ships in Naruto and often times base their opinions on ships and characters through that biased lens--I will not claim to be unbiased, but I do have my own reads and I think arguments from Anti SasuSaku people who like Sasuke but hate Sakura and who like Sakura but hate Sasuke are very different but neither can seem to grasp the root of both problems is misogyny. The problem with SasuSaku is misogyny.
So, from the perspective of a Sasuke fan: Sakura is incredibly shallow, obsessed with Sasuke for never any good reasons we're presented with (just that he was the academy heartthrob everyone was into because he was Mr. Cool Genius and then Kakashi actually later responds to Sasuke's "she has no reason to love me" with "you don't need a reason to love someone" which ... may be true in real life but doesn't quite hit here), never actually tries to understand the trauma that makes Sasuke a nuanced, complicated character and then winds up married to him is really jarring--especially when we've just read a 699 chapter story about someone who DOES understand that trauma going out of his way to try and appeal to Sasuke's humanity. And, like, yes--the point is supposed to be that Sasuke is so far gone and is continually isolating himself and marinading in his own self-loathing that appeals to his humanity aren't reaching him until Naruto literally and metaphorically beats it into him and after Naruto gets through to him, Sasuke is at a point where he can practice self-acceptance and allow himself to actually feel love again. However, it really does not land when Sakura's appeals to him always come across as selfish and focused more on begging him to reciprocate her feelings than actually trying to understand him and his motives.
and using this scene as an example is funny because she says the line about how "revenge won't make you happy" and then as he continues to push her away she doesn't even stick to her guns--she just begs, and pivots to saying she'll do whatever she can to get him to stay
and like, again--the intention of this scene is supposed to be that Sasuke is pushing her away and self isolating as a form of self harm and a sign of his own hatred, but it doesn't read that way because Sakura's argument isn't consistent and it's begging him to stay for her own sake. It doesn't work because she doesn't have any moral consistency here. The intention is supposed to be that she's empathizing with him by comparing his isolation and loneliness to her attachment to him but again that ... doesn't work lol
Which is why when she's trying to deceive him to kill him here it's very believable!
And the problem with this is, there were two other female characters who could have filled this role. You just as easily could have put Ino as Sasuke's teammate or Karin as the person whose feelings he decides to reciprocate here and thematically nothing changes. You could put Naruto there and nothing changes about the intention of the arc just being that Sasuke stops pushing people away.
Sakura also never like, apologizes for this. Or actually has a conversation with Sasuke that shows she's learned to empathize with him or people like him other than "I'll be nice to Naruto I guess" afterwards.
Sakura's feelings for Sasuke and her seeming inability to empathize with him and the fact nothing thematically changes if you replace Sakura with another character, however, is because Sakura was written by a man who doesn't know how to write women. The reason it doesn't work from Sasuke's perspective, despite the intention, is because of misogyny. The reason SasuNaru retains its popularity is because there's still a better case for it in the place that Naruto occupies in Sasuke's character arc.
(I'm not even a SasuNaru/NaruSasu girlie but genuine question; what is the heterosexual explaination for this cover lmao)
Then there's the flip side; from the perspective of a Sakura fan. Sakura's obsession with Sasuke in the early series is almost played off as a comedy bit but it's also often acknowledged as a bad or detrimental thing to her character.
Combined with Kishimoto's weird statement of Sakura and Rock Lee representing "human weekness" it only seems befitting that Sakura's character arc involves moving past Sasuke. There's even a thematic setup for it in the Forest of Death
And since I do often see Sakura fans insisting that Ino and Sakura's friendship didn't end over the mutual crush on Sasuke
yes, they did lol; that Sakura didn't want to be in her shadow was added later on--but the immediate first answer we're given as to the reason they are rivals and no longer friends is because they both liked Sasuke. The idea that they both cut their hair and start to reconcile their friendship makes for a much more satisfying and interesting character arc if it also means leaving their attachment to the validation from Sasuke behind.
Also speaking of Rock Lee, and the Forest of Death--that's also another fantastic setup for character growth from Sakura that was then later squandered.
Rock Lee is introduced to us as a character who likes Sakura and she's repulsed by this because he's not conventionally attractive
Rock Lee then goes on to be the first person to step in to save Sakura from the Sound ninjas that are attacking her and an unconscious Sasuke and Naruto--and when he fails and she's left defending them on her own, she uses Lee as inspiration and later reprimands Naruto from trash-talking him and attributes him to the breakthrough she has in her own resolve and strength
Sakura then goes as out of her way to visit Lee in the hospital while his leg is injured after the Gaara fight (and she brings him flowers!) as she goes out of her way to visit Sasuke every day while he's stuck in Itachi's Tsukuyomi. To be clear, I am not necessarily making a ship argument here--I am not arguing for LeeSaku over SasuSaku--but what I am pointing out is that this is good character growth for Sakura. Putting her childhood feelings behind her in order to grow stronger for the sake of her unit is a much more compelling character arc, especially when those feelings DID make her look shallow and DID end an entire friendship with the first person who actually stood up for her.
but instead we get this:
this is the end of the manga and she is STILL making selfish appeals to him to her own detriment and even acknowledging that it makes her look pathetic.
This is really not the thing I envision for a strong, female lead, and if the goal is to have your female lead be both a (physically) strong female lead and still give them an emotional core, having them revolve around a man who you straight up lampshade makes you this pathetic is maybe not the way to go! because this is, again, a character full of misogyny.
The entire problem lies within the fact that Sakura is a better character without Sasuke. Her obsession with Sasuke is a character flaw, it is not an endearing one, and it holds her back dramatically as a character. It tanks all of her potential--she revolves around am an who talks to her like this
and even if this can be read as a display of Sasuke's self-destructive, self-isolating, self-loathing behavior--it does not work in the same way that his relationship with Naruto does because he is constantly, verbally rejecting her--which is clearly something that she takes to heart to her own detriment.
It also hurts the portrayal of all the characters it touches. Naruto stepping aside and giving them room because he likes and respects Sakura enough to recognize she cares a lot Sasuke and then Kakashi going from acknowledging that she taking Sasuke at face value to Naruto's detriment and then turning around and justifying those same feelings makes the narrative look like it's vindicating Sakura's self-destructive behaviors and Kakashi look like a hypocrite.
On top of that, Sakura just isn't herself around him? She's shy and submissive while she's bold and brash around people like Ino and Naruto. That's the side of Sakura that I like the most--the emotional, punchy, fiery female lead that just becomes shy and submissive around the guy she likes despite the fact that he talks to her like THAT just kills it. A far better romance arc for Sakura would have been with someone who really brings out the more vibrant parts of her personality--like Naruto or Ino--because even the light novels that make the attempt to redeem the fan perspective of SasuSaku just still make Sakura look pathetic and over-attached even towards the man she's married to. She's disappointed by his very rare signs of affection, she's clearly disappointed by how often he's away from home. A far better romance arc for Sakura would have been with Rock Lee or Gaara whom she would have been forced to challenge her world views over.
I'm well aware of what the intention with this arc was, but it really doesn't work for either character. It doesn't work for Sasuke because it essentially means that any character could have filled that role, and it doesn't work for Sakura because it means she never grows or has her worldview challenged.
and the reason its written like that is misogyny! thanks for coming to my ted talk.
Ok, so I decided to read some anti-Zutara meta this morning because I’m a masochist. And I came across this very popular meta which debunked the “Zutara = Omashu” theory. My curiosity was piqued immediately because that’s the one Zutara theory that I could defend to my dying breath.
In the meta, they said that the parallel between Zutara and Omashu doesn’t work because the red/blue symbolism suggests that Zuko is Oma and Katara is Shu. Since Katara never “dies” and Zuko never displays his bending in a powerful fit of rage, the parallel falls short. They also said that the red/blue symbolism doesn’t work because Oma wore yellow and grey in addition to red. And then they went on to say that Omashu parallels Kataang because in “Crossroads of Destiny” Aang died and Katara wiped the floor with her waterbending before getting out of the catacombs. I could understand the point they were trying to make, but I have to disagree.
Let’s talk about the color symbolism for a hot second. Oma wore red, Zuko wore red. Shu wore blue, Katara wore blue. When Oma and Shu met and fell in love, they were in a place that was untouched by war. At that moment, Oma wore yellow and Shu wore blue. When Zuko and Katara met and created a connection with each other, they were in the Crystal Catacombs of Ba Sing Se, a city whose motto is “There is no war in Ba Sing Se”. Conveniently, Zuko wore yellow and Katara wore blue in that scene. The place where Oma and Shu would hold their clandestine meetings was filled with glowing blue/green crystals. The Crystal Catacombs where Zuko and Katara truly saw each other for the first time was filled with glowing green crystals.
Colors are important, especially in animation. It was a conscious decision to make Oma and Shu wear those colors, especially since those colors weren’t previously connected to the Earth Kingdom/earthbending. It was also a conscious decision to make Zuko and Katara wear those colors AND make the Crystal Catacombs look similar to the Cave of Two Lovers. “But what about the grey outfit that Oma wore?” you ask. Put a pin in that thought.
Personally, I always thought of Zuko and Katara as reincarnations of Oma and Shu, respectively. In my mind, it makes sense why Katara wouldn’t die in this reincarnation. To my knowledge, every time Katara appears to be in serious danger and Zuko’s around, he saves her. Note: I’m only including the times when it seems like Katara is too shocked to do anything. My girl can save herself plenty of times, but sometimes she needs a little help.
Exhibit A:
Exhibit B:
If Zuko and Katara are reincarnated Oma and Shu, it makes sense why Zuko is so protective of Katara. In another life, Oma was helpless to do anything while Shu got killed in the war. In this life? Oma (Zuko) has the ability to be there for Shu (Katara). Oma doesn’t want to watch Shu die again. Zuko jumping in front of that lightning bolt to save Katara was Oma’s way of saying, “Hell no I’m not going to let my soulmate die. It was painful enough the first time. And this time, I can actually do something about it.” In this life, Oma and Shu are standing together underneath a red sky instead of Oma being left to grieve Shu’s death underneath a red sky. And Oma’s grey outfit? It’s a traditional mourning robe. Zuko doesn’t need to wear one because Katara didn’t die.
However, this divergence from the narrative doesn’t do much in the end. Much like Oma and Shu, Zuko and Katara don’t end up together. This reincarnation was just another variation on a theme.
Reblog In 5 seconds for good luck
this worked last night lets go for round two
I really need some good luck rn
This doesn’t explain why there’s a picture of a goat though.
Reblogging for the goat
really need it let’s go
I have not got my other half of my money yet and I need cash pronto
Please my friend needs a full recover and I need cash
Please help me redeem myself from all my past sins
Please let this work I really need good luck right now
someone on strawpage asked me to post this one here too 🙂↕️ so here i am…
happy may fourth !
and since it’s 11pm at my hometown already so… happy early revenge of the fifth, too!
It will be funny that part of being Robin is that Dick made sure they made a few “holy moly, Batman” jokes
Like it’s fundamental to being Robin, between all the jokes and fighting he made sure they got to say a few “holy love triangle, Batman “ here and some other “holy money, Batman” there
So despite their personalities and civilian personas their internal monologue eventually turned into boy wonder as a habit
Like I imagine a whole ass adult Damian, being a doctor so he is so sleep deprived and looking at this patient and his mouth moves without him thinking what’s he’s saying “holy heart failure, Batman”
Everybody stop to look at him but Damian is so slow to figure out what he did said wrong
Jason loathe this, that’s why he is the one he curses the most out of them, but sometimes if you took him out of guard like reading a novel he will go “holy plot hole, Batman… FUCK”
Tim only finds it annoying if he said it while civilian but over all he enjoys it with Dick
Ofc they never tell it as often but when they do they laugh their ass off and don’t stoop during all week
Dick did cringe a bit about the jokes when he was trying to make a name of himself on bludheaven, but now that he grew up out of the “everything I ever did when I was younger was so cringe” phase, he started to adore it again
-🦝👑
Oh, and my love, did I mistake you from a sign from God? (X)
i think one if the reasons i struggle to really conceptualize zutara in a way that doesnt feel out of character is because katara hates zukos ass. like what makes their dynamic interesting to me is the "i hate you but... i also dont." of kataras feelings. like its always more complex than just "i used to hate you but whoops actually i love you now instead". like both feelings have to co-exist to me.
See, the thing is that Katara's hate towards Zuko is often overblown in the fandom.
In canon, all it took for Katara to go from "Zuko is the enemy" to "I want Zuko to join us" was one conversation, one heart to heart. (Crossroads of Destiny).
And even before that, Katara was willing to give Zuko the benefit of the doubt the moment he stopped working against them (The Chase).
Katara coming around to Zuko quickly once they team up in a canon divergence is fully in character.
Now, if we go to Book 3, she seems to hate him more than she did before. But it isn't simply hate. She's angry, so, so angry at Zuko because she wanted him to be good, because she gave him her trust, and that ended in Zuko taking Azula's side and Aang's (temporary) death. So of course she's wary of letting him get close.
And yet Katara doesn't say a word when Zuko wants to take Aang away to look for the sun warrior ruins. Doesn't look concerned when Zuko and her brother disappear on a "fishing trip" in the middle of the night.
Despite everything, Katara really does believe Zuko when he tells them that he changed, even if she won't admit that out loud.
And when she does forgive him, she does not do it reluctantly, but enthusiastically, immediately going for a tight hug and treating him as a close and trusted friend from that point on.
This is all canon, this is in character.
It's not "I hated you and now I like you." It's "I liked you, but you hurt me, so I did my best to hate you, until you put in the work to make up for it and I felt safe to trust you again."
Thinking about how Suguru, a boy who absorbed curses, who saw all the suffering curses brought to his loved ones, who internalized that suffering and vowed to get rid of the cause of curses (non-sorcerers), and how he never got to meet
Yuji, a boy who ate the King of Curses, who saw all the suffering curses brought to his loved ones, and literally internalized the suffering by becoming The Last Curse, realizing a world with no cursed spirits
just like Suguru dreamed of
Reblog if you will never. Ever. Use AI in your writing.
𝔗𝔥𝔢 𝔐𝔦𝔫𝔢𝔠𝔯𝔞𝔣𝔱 𝔈𝔫𝔡 𝔓𝔬𝔢𝔪
I see the player you mean.
[player name]?
Yes. Take care. It has reached a higher level now. It can read our thoughts.
That doesn't matter. It thinks we are part of the game.
I like this player. It played well. It did not give up.
It is reading our thoughts as though they were words on a screen.
That is how it chooses to imagine many things, when it is deep in the dream of a game.
Words make a wonderful interface. Very flexible. And less terrifying than staring at the reality behind the screen.
They used to hear voices. Before players could read. Back in the days when those who did not play called the players witches, and warlocks. And players dreamed they flew through the air, on sticks powered by demons.
What did this player dream?
This player dreamed of sunlight and trees. Of fire and water. It dreamed it created. And it dreamed it destroyed. It dreamed it hunted, and was hunted. It dreamed of shelter.
Hah, the original interface. A million years old, and it still works. But what true structure did this player create, in the reality behind the screen?
It worked, with a million others, to sculpt a true world in a fold of the řzbŁOå, and created a WğȘçŞÇ for DÄńg%(, in the ĎĆ%ŚIð.
It cannot read that thought.
No. It has not yet achieved the highest level. That, it must achieve in the long dream of life, not the short dream of a game.
Does it know that we love it? That the universe is kind?
Sometimes, through the noise of its thoughts, it hears the universe, yes.
But there are times it is sad, in the long dream. It creates worlds that have no summer, and it shivers under a black sun, and it takes its sad creation for reality.
To cure it of sorrow would destroy it. The sorrow is part of its own private task. We cannot interfere.
Sometimes when they are deep in dreams, I want to tell them, they are building true worlds in reality. Sometimes I want to tell them of their importance to the universe. Sometimes, when they have not made a true connection in a while, I want to help them to speak the word they fear.
It reads our thoughts.
Sometimes I do not care. Sometimes I wish to tell them, this world you take for truth is merely nuõaŽg and [ïçĎśș, I wish to tell them that they are ¢nØÖ7ø in the ă¬Ö$ōČ. They see so little of reality, in their long dream.
And yet they play the game.
But it would be so easy to tell them...
Too strong for this dream. To tell them how to live is to prevent them living.
I will not tell the player how to live.
The player is growing restless.
I will tell the player a story.
But not the truth.
No. A story that contains the truth safely, in a cage of words. Not the naked truth that can burn over any distance.
Give it a body, again.
Yes. Player…
Use its name.
[player name]. Player of games.
Good.
Take a breath, now. Take another. Feel air in your lungs. Let your limbs return. Yes, move your fingers. Have a body again, under gravity, in air. Respawn in the long dream. There you are. Your body touching the universe again at every point, as though you were separate things. As though we were separate things.
Who are we? Once we were called the spirit of the mountain. Father sun, mother moon. Ancestral spirits, animal spirits. Jinn. Ghosts. The green man. Then gods, demons. Angels. Poltergeists. Aliens, extraterrestrials. Leptons, quarks. The words change. We do not change.
We are the universe. We are everything you think isn't you. You are looking at us now, through your skin and your eyes. And why does the universe touch your skin, and throw light on you? To see you, player. To know you. And to be known. I shall tell you a story.
Once upon a time, there was a player.
The player was you, [player name].
Sometimes it thought itself human, on the thin crust of a spinning globe of molten rock. The ball of molten rock circled a ball of blazing gas that was three hundred and thirty thousand times more massive than it. They were so far apart that light took eight minutes to cross the gap. The light was information from a star, and it could burn your skin from a hundred and fifty million kilometres away.
Sometimes the player dreamed it was a miner, on the surface of a world that was flat, and infinite. The sun was a square of white. The days were short; there was much to do; and death was a temporary inconvenience.
Sometimes the player dreamed it was lost in a story.
Sometimes the player dreamed it was other things, in other places. Sometimes these dreams were disturbing. Sometimes very beautiful indeed. Sometimes the player woke from one dream into another, then woke from that into a third.
Sometimes the player dreamed it watched words on a screen.
Let's go back.
The atoms of the player were scattered in the grass, in the rivers, in the air, in the ground. A woman gathered the atoms; she drank and ate and inhaled; and the woman assembled the player, in her body.
And the player awoke, from the warm, dark world of its mother's body, into the long dream.
And the player was a new story, never told before, written in letters of DNA. And the player was a new program, never run before, generated by a sourcecode a billion years old. And the player was a new human, never alive before, made from nothing but milk and love.
You are the player. The story. The program. The human. Made from nothing but milk and love.
Let's go further back.
The seven billion billion billion atoms of the player's body were created, long before this game, in the heart of a star. So the player, too, is information from a star. And the player moves through a story, which is a forest of information planted by a man called Julian, on a flat, infinite world created by a man called Markus, that exists inside a small, private world created by the player, who inhabits a universe created by…
Shush. Sometimes the player created a small, private world that was soft and warm and simple. Sometimes hard, and cold, and complicated. Sometimes it built a model of the universe in its head; flecks of energy, moving through vast empty spaces. Sometimes it called those flecks “electrons” and “protons”.
Sometimes it called them “planets” and “stars”.
Sometimes it believed it was in a universe that was made of energy that was made of offs and ons; zeros and ones; lines of code. Sometimes it believed it was playing a game. Sometimes it believed it was reading words on a screen.
You are the player, reading words…
Shush… Sometimes the player read lines of code on a screen. Decoded them into words; decoded words into meaning; decoded meaning into feelings, emotions, theories, ideas, and the player started to breathe faster and deeper and realised it was alive, it was alive, those thousand deaths had not been real, the player was alive
You. You. You are alive.
and sometimes the player believed the universe had spoken to it through the sunlight that came through the shuffling leaves of the summer trees
and sometimes the player believed the universe had spoken to it through the light that fell from the crisp night sky of winter, where a fleck of light in the corner of the player's eye might be a star a million times as massive as the sun, boiling its planets to plasma in order to be visible for a moment to the player, walking home at the far side of the universe, suddenly smelling food, almost at the familiar door, about to dream again
and sometimes the player believed the universe had spoken to it through the zeros and ones, through the electricity of the world, through the scrolling words on a screen at the end of a dream
and the universe said I love you
and the universe said you have played the game well
and the universe said everything you need is within you
and the universe said you are stronger than you know
and the universe said you are the daylight
and the universe said you are the night
and the universe said the darkness you fight is within you
and the universe said the light you seek is within you
and the universe said you are not alone
and the universe said you are not separate from every other thing
and the universe said you are the universe tasting itself, talking to itself, reading its own code
and the universe said I love you because you are love.
And the game was over and the player woke up from the dream. And the player began a new dream. And the player dreamed again, dreamed better. And the player was the universe. And the player was love.
You are the player.
Wake up.
The tragedy of Itadori Yuuji is partially that Jujutsu Society never saw him as a person. He has always been either a thing to be killed “for the greater good” or a weapon to be pointed at whatever problem arised, never the 15 year old he was. Never the 15 year old he still looks like.
Someone said SatoSugu's love cursed the world and ItaFushi's love saved it and I have never been the same since
introducing a character whose one goal in life was to die fulfilled, happy, and especially surrounded by people that loved him, and then making him immortal and ageless and writing him based on the bodhisattva (someone who is capable of reaching nirvana, but doesn't, due to compassion for those that are suffering), and dooming him to become something that will perpetually be reborn and reincarnated again and again just to help others in need - even though that's all that he's done and tried to do - is genuinely one of vilest and cruelest things gege has done 😭 there's no afterlife for yuuji, his friends will wait at the airport forever until they realize he's not coming, that they're never going to see him again.