Some Fanart And A Self-indulgent K6bd Crossover For You

I swear I just wanted to talk about how much I love Tsubomi and then it turned into a 4,000+ word dissertation on her, Mob and why I think Tsubomi is so important to mp100’s narrative despite, or maybe because of, being a very minor character.

I haven’t counted, but I think Tsubomi shows up in less than 30 pages throughout the entire comic, plus a single omake. That’s really not much, especially considering half of those appearances are just to point out that she’s present in the given scene.

In other words we never get to know much about her and she has no character development to speak of (unless you want to call her remembering that Mob exists character development). Normally that would annoy me to no end - Love interests that only exist to be love interests and the “guy gets the girl in the end (as a reward)” trope is boring at best and offensive at worst.

I was apprehensive while first reading through the comic because right off the bat it looks like mp100 sets itself up to follow the “guy gets the girl” narrative. However, ONE did a pretty clever thing with the trope by both taking advantage of the expectations we have for it and completely discarding them.

“Middle school boy tries to impress the girl he’s in love with” isn’t exactly an adequate description of mp100’s plot. Anyone can see from very early on that that isn’t what the story is about at all. But to Mob? To Mob that’s exactly what it’s about. Everything Mob does that doesn’t involve people being in immediate danger, everything Mob wants to change about himself, is to some degree motivated by Tsubomi. In his mind Tsubomi is the end goal and he’s doing his best to make his life a “guy gets the girl” kind of story.

But, by thinking like that, even after years of never actually talking to her, he has put her on a pedestal where she has become an ideal and no longer a person. Mob never really talks about Tsubomi or gives any explanation as to why he likes her so much, and I guess because she’s the school idol and lots of boys are interested in her, no one really questions it either. Of course he would like Tsubomi, right? Everyone likes Tsubomi.

Tsubomi gets to stay on her pedestal, silent and with almost no sign of a personality, for almost the entire comic. It isn’t until chapter 94 that we get to see her as an actual person, because that’s when Mob, for the first time within the comic’s timeframe, treats her as an actual person by doing something as mundane as handing her a paper tissue because she sneezed. Even Takane Tsubomi sneezes you know.

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Even the Smallest Kindness Can Change a Life 💙

Every day, I try to remind myself that we are still here. That despite everything we have lost, we are still breathing, still holding on. But some days, that is harder than others.

I lost 25 family members in a single moment. I can still hear their laughter, still see their faces when I close my eyes. But they are gone, and nothing will bring them back.

Our home, the place that held every memory, every moment of comfort, is nothing but rubble. We have been displaced over and over, searching for safety, searching for something that feels like home.

💔 Each day is a battle for survival. 💔 Each night is a reminder of who is missing. 💔 And yet, kindness still finds us.

Thanks to the generosity of people who have never met me, we have now reached $2,500. It is a small step in a long journey, but it is a step forward. And that means everything.

I am not asking for much—just the chance to survive. Even $5 can make a difference. If you cannot give, please consider sharing our story. You never know who might see it and be able to help.

Vetted by @gazavetters #309

Thank you for your kindness. Thank you for reminding us that even in our hardest moments, there is still goodness in the world. 💙🙏

Chuffed

Donate to Help Mosab saving who's left of his family

My name is Mosab Elderawi, and I am a survivor of the war in Gaza. Life as I knew it has been completely destroyed. I have lost my home, my

listen i think it's like. davey falls in love immediately and davey is very aware of it and davey resigns himself to never being anything more than friends and davey takes what he can get. an arm around his shoulders. a moment of holding hands trying not to get separated in a crowd. leaning against each other on the couch. silly conversations after both of them should already have been asleep. and it's fine. it's just fine, it's not good, but it's not bad, because davey falls in love more every time they talk and davey falls in love more every time he hears jack laugh but davey also gains a better friend than he's ever had and davey gains a person he can be himself around and davey gains a group of people who don't weigh him down with more expectations that he can barely hold on his shoulders and so it's fine. it's okay. it's fine.

and jack doesn't fall in love immediately and jack isn't aware of anything and jack has no idea for months that davey has become such a solid part of his life that a future without him is unthinkable. but then he starts to notice some things and those things start to make an appearance in daydreams and drawings and sometimes in conversations where they have no business being. he starts noticing the way davey tips his whole head back when he laughs and the way he quirks his eyebrows before tearing into somebody for something mean or wrong or stupid they thought they could away with saying in front of him. he notices the careful way davey contains himself around his parents and the way that tension melts away when it's just the two of them, and he notices the undertones in davey's voice when he says "I love my family but sometimes I wish they'd let me figure things out on my own." and so jack doesn't fall in love immediately and he isn't aware of anything and he has no idea for months but once it hits.

well. once it hits it's all jack can think about because he's never been in love like this before and he has no idea what to do with himself and no idea how to handle it. and davey, who has been in love this whole time and who has accepted that things will never be more than the fine they've ended up at, refuses to read into anything. like when jack starts finding more excuses to throw an arm over his shoulder, that can't mean anything new. or when when jack refuses to let go of his hand even when they've made it outside the crowd, that can't mean anything, either. and leaning against each other on the couch, jack's head dipping down to rest on his shoulder or jack's arm draped across his waist instead of kept off to the side, those mean nothing. they can't mean anything because if they mean something they mean something and that's far more terrifying to reckon with than a lifetime of fine with an undercurrent of wishing for something else.

so that's where it stays. building and building and building, davey loving quietly and melancholic but determined to be satisfied the way things are and jack loving so hard he feels like he might explode but completely unsure of what to do with that feeling. they spend nights talking around it. "don't you want to run away?" asks davey, hoping jack will confirm again that all this hope is silly and davey should really just get on with getting over him. "there's too much good here to leave behind," jack says, hoping that davey will understand that he means no matter how badly he wants to run he wants to be with davey more. "don't you wish love worked like a fairytale?" jack asks, knowing that if it did davey would sweep him off his feet and they'd ride off into the sunset together forever. "no, happy endings would never be the ever after that everyone wanted" davey says, knowing that if love were a fairtale jack would marry his princess and leave davey the sidekick behind, forgotten.

but the thing about love like this, that becomes so big and so present and that both people are so aware of but unwilling to talk about is that it isn't always quiet and nice and settled. sometimes, it rears up and it's mean and ugly and sometimes it doesn't feel so much like love. it becomes a jealous spike and a spiteful comment when davey sees jack spending too much time flirting with and teasing somebody else. it becomes jack having too many opinions about davey's other friends, the ones he doesn't even know and hasn't bothered to try. it becomes arguing around the thing, late night conversations that turn into whispered debates where neither of them will say what they're really feeling and neither of them will listen to what the other is trying to say because things needs to stay the same. they can't change one way or another because that's terrifying and isn't better if things just stay...fine?

and i think. davey is the one who snaps first. davey who has spent his whole life compressing himself into other people's boxes, pushing down different parts of himself to fit whatever any situation needs, finally snapping from the pressure of doing it in the relationship that never felt like he needed to until everything became a fight. why should he keep pretending to be something he isn't? why should he keep pretending to be someone he's not?

and i don't think it's easy. i think it's mean and petty and easy to assume the worst, easy for davey to assume jack has know all along and has been playing with davey this whole time. easy for jack to assume that davey is saying things he doesn't mean because they're fighting and he knows it cuts too deep. they argue and get upset and spend the night and maybe a few days stewing and wondering is this the breaking point, is this where we end all of this, is there where I finally let my heart break?

but the thing is. neither of them can walk all the way away and they both know it. davey remembers the expression jack gets when he's lost in a drawing and knows he's never not been in love with him even when it feels like this. jack thinks about the way davey's hands move when he talks about something he cares about and knows that he can't walk away even though maybe it would be easier.

and if davey is the one who snaps, jack is the one who spends time figuring out exactly what to say. he's terrified and nauseous and not sure if this is what he should be doing, but when he explains himself it's careful and honest and blunt, all of the things he hasn't said since the minute he realized he was in love with davey laid out neat and gentle and real. and davey, for all he stopped pretending, can't quite believe it. not that he thinks jack is lying, exactly, but maybe he's mistaken. jack can't love davey, not the way davey loves jack, because not only would that mean all the stupid arguments and passive-aggressive moments of the last however long it's been happening have been over nothing, but that would mean jack feels this expansive, consuming, whole body love that davey has been living with for so long. that would mean jack understands and if jack understands, why has davey been okay with things being just fine for so long?

and adjusting to the truth being between them is, I think, hard. davey keeps catching himself about to say something and having to force himself to say it out loud because he's spent so long not letting himself. and jack keeps having to force himself to feel things without chasing the feeling away because he's spent so long refusing to process any of it because that would mean processing the fear. conversations are hard. change is hard. figuring out new dynamics is hard.

but when davey starts noticing that jack is taking his hand with no excuse and wrapping both arms around his waist whenever he has a chance and tipping their heads together when they sit side by side, and when he starts noticing that jack has a special smile that only ever seems to be aimed at him, and he he starts noticing that late night conversations have gone back to what they were like in the very beginning when they were about everything and nothing and more than just words, that's when he notices that things aren't fine anymore. they're good. and when jack starts noticing that davey is relaxed with him, not putting on a face, and when he starts noticing the way davey laughs at even the stupidest of his jokes without seeming insincere, and when he notices that davey has a serious, thoughtful expression that he only seems to wear when he's talking with jack, that's when he notices that this doesn't feel so confusing and scary anymore. it feels good.

:DDD

There's over 9 million users on Tumblr now. Reblog if you're one of the few who's never EVER left anon hate in somebody's ask box.

Sillys man

At this point i might as well just draw everyone as a furry lol

It occurred to me that I’ve never shown to of my most prized possessions on tumblr 💛💚

Well, I’ve bought frames for them today ✨

Introducing the Be More Chill Archive!

The Be More Chill Archive is a free online resource for artists, cosplayers, etc. to find references of costumes, props, set, and more from the musical Be More Chill. The archive contains references from all 5 official productions of the show. Feel free to comb through it or add references yourself!

You can find it here!

he’s a ghost story

A GUIDE THROUGH DANIEL BRÜHL'S FILMOGRAPHY

Now that I’ve gone through most of Daniel’s works, I thought this table might help those who are about to embark on the same obsessive journey I began months ago. I have no intention of spoiling anything, I’m only hoping this will provide someone a good idea of what to expect and help them in the selection process. Like, All Quiet on the Western Front is an excellent film but I wouldn’t want to watch that when I’ve had a really shitty day and I just need something light and dumb.

I do a 1 to 10 rating to make it as precise and objective as possible but know that some areas will be subject to my personal taste, factors like the mood I was in while watching it, and the oft-faulty machine that is my memory.

Before I get into the sections, let me quickly paint a picture of my personal taste. From Daniel’s works, my top 3 are Rush (2013), Goodbye Lenin! (2003), and Inglorious Basterds (2009). If we get into favorite films of all-time, it would include Parasite (2019), Before Sunrise (1995), When Harry Met Sally (1989), Atonement (2007), A Quiet Place (2018), Amélie (2001), The Dark Knight (2008), Arrival (2016), and Past Lives (2023). I’m always down for a dark comedy, an epic drama/romance, and a psychological thriller.

Now that's out of the way, onto the TABLE SECTIONS:

ROLE PROMINENCE – how much do you see of Daniel in this film? And, no, this has nothing to do with his ass—though that is always a welcome sight.

IMPORTANT – do we learn something from this movie? Are there interesting concepts being explored? Is it relevant? Does it carry a significant message, however obvious? Is it a career highlight for Daniel? These are the considerations for this category.

PAINFUL – are the themes dark and heavy? Is it stressful to watch? Is Daniel tortured into a pulp? Does it tug at your heartstrings? Is the movie deliberately cringey and embarrassing? This section covers a wide spectrum, so you must refer to the other sections to infer if it’s worth the pain. I have a high tolerance for violence and dark humor, what pains me is a plot that goes nowhere, a poor script, or a movie that wastes so much potential. How invested I am with the story and the characters also has a bearing on my rating. For instance, I feel zero empathy for Chris in Cargo because he's an idiot who had it coming.

WATCHABLE – does it hold your attention throughout? Is it enjoyable? Is it something you can watch over and over again? I have to stress that this section is sometimes influenced by my expectations of a movie and, often, by what I need in that moment.

ADDITIONAL NOTES – here I try to add factors that might have affected my viewing experience, further insight into my rating, and other vital (or not-so-vital) information.

p.s. didn't bother watching 2 Days in Paris and 2 Days in New York because I knew he only had a cameo in those.

OTHER RELATED BLOGS:

The Best of Daniel Brühl 5 Types of Daniel Brühl Characters In search of Daniel Brühl movies?