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#i used manga panels as reference
soonaeter · 10 months
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i miss my babygirl everyday :(
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itslight666 · 11 months
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raspcha · 3 months
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here we go again 1/104
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cursedcola · 23 days
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Binge read Dungeon Meshi and am about to make it everyone’s problem.
He’s just a lil guy. Definitely not a peepaw or anything like that. Noooooooo
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yumedoca · 9 months
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♥️ How I've Waited for You… ♥️
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reineydraws · 2 years
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here is the scene of when they met from the way of the house husband kkir au that @kageillusionz wrote bc it's her birthday!!! (unless i horribly misremembered the server bday doc in which case: surprise! here is a fun and totally random gift! haha)
thanks for all ur kind words and cheerleading this past year! hope u had a stellar day 💖🎉☀️
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obsidian-art04 · 12 days
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Been reading the manga recently
Had a lot of thoughts, and talks with @emotionallyglued about my fics storyline
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hi-im-otter · 2 years
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in red
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lava-lampa · 2 years
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I live and it's Trollsona time ayyyyyyeeeeeee
They're named Jasper!
My love for gemstone characters lead me to make my sona's tribe what's basically the Troll equivalent of MLP's Crystal Ponies ajdasj
This is the first time I ever illustrate reflective/traslucent stuff??? It was fun
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sastheforestspirit · 2 years
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the 10th OOO aniversary thingy is in production muahahaha
4)💚💚💚💚💚💚💚💚💚
5)💚💚💚💚💚💚💚💚
6)💚💚💚💚💚💚💚💚💚💚
7)💚💚💚💚💚💚💚💚💚💚
8)💖💖💖💛💛💛💛💙💖
9)💙💙💙💙💙💙💙💙💙
10)💙💙💙💙💙💙💙💙
11)💙💙💙💙💙💙💙💙💙
12)💙💙💙💙💙💙💙💙💙💙💙💙💙
💙💙💙💙💙💙💙💙💙💙 💙💙💙💙💙💙💙💙💙💙 💙💙💙💙💙💙💙💙💙💙 💙💙💙💙💙💙💙💙💙💙
✘✘✘...(god knows how much; around 40 pages more idk )
legend:
💙 - drafted
💛 - sketched
💖 - lines
💚 - ready!
✘ - i have to draft them
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hotmessteaparty · 2 years
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Soooo I may be drawing a Vaason Manga panel (is it called panel?? You know like one double page thingy) and this is a little sneak peek of it 😏 hope you like it 😁
Also the new chapter of my fic is almost translated 👀
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eternal-brainrot · 2 years
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Nanase is one of my absolute fav natsuyuu characters I LOVE HER SO MUCH so naturally i had to draw her hehe
I just love badass exorcist women ugh
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ishizu-ka · 2 months
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A Warm Winter’s Welcome // Keysu (Keyarah x Ittetsu)
Reference Used x
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hexbladescurse · 15 days
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"mithrun is the only real monsterfucker in dungeon meshi" is objectively the funniest bit you can get out of his everything, but in all seriousness i think his attraction to his love interest is deliberately overstated—and that makes sense, because romantic jealousy is a classic and digestible motive, which is explicitly what kabru was aiming for in condensing mithrun's backstory, and also because until chapter 94, mithrun wasn't willing to admit to the true nature of his desires.
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but because romantic envy is both classic and digestible, it probably isn’t a unique enough or complicated enough desire to tempt a demon’s appetite. mithrun’s wish, as far as we can figure from kabru’s reduced retelling, was to have a life in which he had never become one of the canaries, and that carries like 3857 implications and desires within it. that’s delicious. his love interest acts as sort of a red herring to his motivation for making it, though. (side note: i'm saying "love interest" here because, keeping in mind that i barely speak japanese on a good day anymore, "想い人" is something i'd usually take as just kind of an old-fashioned and romantic way to refer to a lover, but in context i wonder if both the connotation of yearning and the vagueness are intentional, and i think this phrasing gets those aspects of it more effectively. anyway.)
mithrun considered his love interest to be untrustworthy. there was a minute where i thought that comment might be about a similar-looking elf (yugin, one of his squad members), but comparing the two…
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the "sketchy" arrow is definitely referring to the elf we know as his love interest—the bangs go toward her right, she only has the one forehead ornament, and, most notably, her ears aren't notched.
every time she’s given a full-body depiction in his dungeon, she’s drawn as a chimera, with the body of a snake from the waist down. (side note: the “what if a dungeon has chimeras before reaching level 4?”/“then the dungeon lord is unstable” exchange just being mithrun grilling his past self alive is so funny. he’s so. but anyway) there are a couple things about this.
first, the snake part of the chimera appears to be modeled after some species of coral snake mimic
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which, in the biology-for-fun manga, i… doubt is a coincidence, especially with the added context of the “untrustworthy” comment. the dungeon’s conjured illusion of mithrun’s love interest was a harmless copycat of a venomous original. for whatever reason, he felt this person was a threat and made up a "safe" version of her to be in a relationship with, and while it’s definitely possible to be attracted to or even love someone you find to be toxic and/or intimidating, when you take that into consideration alongside the configuration of her body, you get some interesting implications.
which brings us to our second point: if we assume that mithrun was not in fact fucking a snake, then sexual attraction, at least, was so far removed from his idea of a relationship with this person that he did not even bother to keep her dungeon copy human enough to maintain the illusion of the option of a sexual relationship. this is somewhat echoed in the depictions of their interactions, which also imply a frankly unexpected romantic distance. she kisses his cheek and he doesn't seem to react; she's at the edge of a narrow bed with only one set of pillows, on top of his blankets while he's underneath them.
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the kiss is particularly interesting because it seems to contrast the text. kabru's narration tells us this was everything mithrun could have asked for, but mithrun is there looking unreadable to pensive, likely because this is right before the panel that makes it clear things in the dungeon are beginning to go wrong.
walking through this backwards for a minute, we have the physical barrier of his bedding and the spatial separation inherent in a bed made for one person, the emotional barrier of his mounting anxiety getting in the way of his ability to enjoy the affection he sought, and... the snake, which historically carries the connotation of temptation, yes, but also mistrust, barring physical intimacy. okay. ok. if a dungeon reflects the mentality of its lord, all of this might suggest that mithrun was not able to have any real desire for a relationship with this person. his unwillingness to be vulnerable or let another person in was insurmountable. but in that case, why was she such a focal point that she remained to the end, after his dungeon had stopped creating iterations of his friends to come and visit him? why would he get so upset over her meeting with his brother that he became lord of a dungeon about it?
well. mithrun's brother was also interested in her, probably genuinely. and mithrun had to win.
you have an older brother who your parents completely ignore, probably in part because he is chronically ill/disabled and almost definitely in part because he received a ton of recessive traits that resulted in rumors that he was an illegitimate child. you are aware, most likely because those same parents fucking told you, that you actually are an illegitimate child. but they keep you around because you had the good fortune of looking just like your mother. what can that possibly teach you but that you, like your brother, are disposable?
it's utterly unsurprising that mithrun, under these circumstances, developed a pathological need to be better than everyone around him. people don't keep you otherwise. i'd argue this is also why he says he looked down on everyone he knew while milsiril claims his dungeon reeked of feelings of inferiority—he sought out people's worst traits and prioritized them in his mind to protect his already extremely fragile sense of self-worth, and all the while he tried to be as likable and high-performing as he possibly could be. his parents disposed of him anyway, but even then he tried to keep up the performance. he was kind to everyone. he never once lost to a dungeon.
when he saw his "love interest" meeting up with his brother, what he saw was himself being replaced by a person his parents had always treated as worthless, and if that was what they thought of the child they'd kept, what value could anyone possibly see in the bastard they'd given away to die? mithrun and kabru tell the story like he wanted to win this unnamed elf's heart, but it was never about being with her. it was about cementing his worth, proving that he didn't deserve to be thrown away.
and so it's particularly cruel that his demon discarded him, too. but maybe it's also particularly gentle that, in the end, there was someone who refused to even consider giving up on him.
kui laid it out in three panels better than i could hope to.
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yeah. it's love. you wanted to be loved, even when the only way you were able to understand it was through the desire to be wanted, and you wanted that so badly that the idea of being consumed felt like the promise of finally mattering to someone.
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chuthulhu-reads · 11 months
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[ID: A pair of panels from Trigun. In the first, Vash the Stampede has his arms folded, his face mostly obscured by his heavily gloved left hand, though his tired, angry eyes are visible. The second panel is closer up on his face, most of which is still obscured by his hand but again emphasizing his unusually narrowed, angry-looking eyes. Vash says "I see. In other words... all I need to do is babysit the selfish little girl?" End ID.]
This has always stuck in my brain because it's the first time we see Vash talk about a plant as a person, referring to the plant as a girl instead of "it" like the crew and assigning morality/emotions to her... and it's so interesting me that he's shittalking her as selfish. Whenever Knives talks about plants, he's seeing them as weak and defenseless and unable to protect themselves from humans; a lot of other talk/imagery around the plants in the manga centers on them as angelic, giving, kind. Vash is the only one who ever talks about them expressing things like fear, confusion, anger, and selfishness, which feels a lot more like recognizing personhood in them than reducing them to victims or angels.
IDK I think it ties into my general frustration when Vash gets flattened to being only ever nice, patient, or worst of all, naive. As if he's kind because he can't help it or doesn't know better, not on purpose. He's frustrated with his "sister"'s behaviour and how many lives it's threatening, and he also sees her as a person whose life an personhood are equal to theirs and wants them all to be okay. He sees the negative aspects of others, is fully aware of the consequences of his actions and the risks, and he cares despite, even so, regardless.
(Also seen in another light it's just funny. Like ugh I just wanted to enjoy my trip and then my bratty sister threw a tantrum and nearly blew us all up just because a JJBA villain attacked)
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iridescentscarecrow · 4 months
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what frustrates me about fandom interpretations of makima as a one note Source of evil, apart from the fact that the manga itself refutes this, is that her character haunts and ties together so much of part two that it's impossible to fully understand without understanding her.
makima isn't ever a unilateral antagonistic force. she's an agent of the institutional evil that looms over all of CSM. she's in as much a commentary on gender and performance of gender as denji is.
and fjmt in part two enacts the "haunting the narrative" trope in such an interesting manner because you see flashes of makima in every female character. you see elements of her diluted into, most visibly, the characters of asa, nayuta and fumiko.
in asa, i see makima in that yearning for connection. i see her in the way that asa herself is fundamentally unable to approach the relationship of equals that she so desperately desires, partly due to her own social awkwardness but also because of yoru's threat: everyone she gets close to turns into a weapon. the fundamental inequality to human relationships that makima is unable to overcome.
during the aquarium date, you see asa echo makima again and again in lines that evoke makima's purposing of denji. that weaponising. "i'll grant you any request / save me chainsaw man! / you don't have to think about a thing."
and her connection with denji also founds itself upon this. yoshida talks to asa about parasocial relationships -- rerendering makima's idealisation of the CSM in how asa sees denji as a love interest. asa and denji parallel each other so organically in their gendered suppression and portrusion of desire. it's a punctuation of denji's search for intimacy that's mirrored by makima's in part one. exploring how asa is different from makima is perhaps the most intriguing part of this reflection though: an example being the way asa overthinks her outfit for her date with denji while makima seamlessly models herself into an Effortless woman.
[it's not like asa borrows just from makima. for example, there are things to be said about the way she views her Body (as compared with reze and quanxi) but examining how mkm's character bleeds into asaden is quite compelling.]
nayuta being the most visible remnant of what makima was is also interesting because makima herself appears so little in nayuta beyond the surface. nayuta's role as the control devil is hinted at frequently as is her appearance resembling makima's
but her and denji's dynamic more often echoes the hayakawa family and pochita than anything else. consider: aki giving up his goal (his 'easy revenge' that he finally sees for what it is) for the sake of his family, that warmth of blood and platonic bodily intimacy that power embodies--
it's all referenced to again with nayuta and denji, in direct panel callbacks and the plot itself! nayuta is The Family that makima constructs for denji in part one to pull him along the plot she prepares. i'm thinking about how makima is an allegory for capitalism. and what the family unit means in a capitalistic structure. the propagation of an ideal that hinges on birth and descendancy, about narrative and reproduction of narrative, about how nayuta births herself from makima and denji's relationship.
and this is also why nayuta herself exerts so much control over denji in the plot, as well as why she's used as a piece to control him. in part one, family was used to create the Chainsaw Man from denji. in part two, it's used to make denji abandon the Chainsaw Man, this icon that the church and the public now take possession of. [something something alienation of the worker from the product. from the collective. from the self.]
fumiko is perhaps the hardest to pin down here because her role evolves as the fandomisation of the Chainsaw Man evolves too. in fact, as a denji fan, she represents not just makima but multiple people who see something in and want something from denji! (think of how she references reze in her highlighting how denji is just a child; how reze uses her commentary on denji to engage with her Self. it's fandomisation,,, and what is makima but Chainsaw Man's fan?)
fumiko most obviously calls back to these wants and their conceptualisation of denji in the raw sexual violence that the events in the theater scene moving into the karaoke scene embody. the undercurrent of sa that runs through p1 and p2 is brought to the forefront in this scene -- denji falling back into these cycles of abuse, him slipping into habitating the wants of others (his initial horrified expression and then his grin during the fight. his initial inner monologue and then the cut to him licking the tentacle.)
so much of CSM rests on this fandom of denji, this theme of what production and idealisation means, one you can trace through fjmt's body of work. and this fandom reaches its crescendo in p2. what's even more interesting about fumiko is her pathos under this layer. her seeing denji as denji at some level but in the end, her handling of him is so selfish. her echoing makima's uninhibited laughter at the horror of denji's situation, her predatory cruelty. denji simultaneously humanised and dehumanised through her fandom.
fjmt's characters exist as foils, as parallels and ideas. makima's character has such a stranglehold over part one and these ideas run over into part two naturally -- as a consequence of denji being a reciever of these themes, but also deliberately in fjmt evoking the Thing that is makima repetitively -- to underscore the forever re emerging structure that denji and now asa are trapped in. the same structure that makima produced and was simultaneously caged by.
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