la russe noire.
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a masterpost: this is how i study japanese・これが私の日本語の勉強法です。

  • as part of a dialogue with @chokopan, this is how i study japanese.

    …i don’t know that anyone else would find my current process helpful or even realistic, though i will detail it in another post.

    @russenoire

    …Yes please, do share! I think all of us in the langblr community could find something useful to learn from you. The more we all talk about how we learn, the more ideas we’re exposed to - which can help us come up with new study methods we wouldn’t have thought of trying before. Like I said before, everyone learns differently; but sometimes, mixing it up with a new technique or note-taking method, for example, could help push us out of studying ruts or times of low motivation. To that end, I’d like to know what resources you use when you’re breaking down kanji and etymology. It seems like you’re learning kanji in a sort of… non-traditional way.

    this is my response. it is a Very Long Post, but i hope others find it helpful. for the method i use to learn kanji specifically, go here.

    table of contents under the cut.

    Keep reading

  • I think one of my favorite little details about Reigen is that unlike Mob he forgets that other people can’t see Dimple so when they are talking Reigen is shouting and and arguing to the air and doing his weird hand motions while everyone else around him is just looking at him like

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  • Mob: *only casually peaks at dimple**doesnt talk to him a lot if other people can’t see him* *ignores dimple in order to talk to other people* *only talks to dimple openly when he is in danger*

    Reigen in the middle of the crowded street insisting that if he adds more gifs his website will get more popular to Dimple:

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  • mob is the Only Sane Man in this entire cast and he is neither sane nor yet a man.

  • Was inspired (FINALLY!!! ᴵ ʰᵃᵈ ᵗʰᵉ ᵇᶦᵍᵍᵉˢᵗ ᵃʳᵗᵇˡᵒᶜᵏ ˢᶦⁿᶜᵉ ʲᵘˡʸ ᵒʳ ˢᵒ ᵃⁿᵈ ᶦᵗ ᵒⁿˡʸ ⁿᵒʷ ˢᵗᵃʳᵗˢ ᵗᵒ ˡᵉᵗ ᵐᵉ ᵍᵒ ˡᶦᵗᵗˡᵉ ᵇʸ ˡᶦᵗᵗˡᵉ ;ᵘ;) to draw some Mob fanart after finished showing my little brother season 3

    Mob Psycho 100 was always an important story for me - back in 2016/2017 and now in this very difficult 2022

    It’s so interesting how different the impact was back then and how it is now…

    but both are good impacts… both are very positive! each time I found something different to love and to notice in these series! very good series! 

    Thank you so much <3

  • it’s cold out here, but being with you warms me up

  • He never knew what Mob meant when he said his powers go out of control

    Finale Spoilers

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    This page is what broke me when I was reading the manga. 

    Reigen never knew. He knew that Mob has lost control of his powers because Mob had told him about it when they had met

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    However, he never saw ??? in action. Ristu has seen ???. Teru has. Dimple has. We, the audience, have. Hell, even Touichirou can relate because he knows what it's like to have your psychic powers consume you and lose control of your body. But Reigen? This is the possibly first time he has even thought of this happening to Mob. On a surface level, he has no frame of reference for what is happening to Mob.

    Despite this, in the end it was Reigen who dealt the final blow to stop Mob’s rampage. He did so the only way he knew how: by telling the truth. 

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    Whether or not Mob knew that Reigen was lying, before all this, doesn’t matter because the main point of Reigen saying he doesn’t have psychic powers was to help Mob realize that he isn’t alone when it comes to having a hidden side or a different identity. 

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    Everyone has or has had a part of himself they didn’t like. Reigen didn’t have the guts to let others see that part of himself before...

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    But to help Mob, he let Mob see that part of himself. He did it to push Mob to accept ??? as being a part of the rest of Kageyama Shigeo.

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    tags from @ekuboo

    YEAH YOU GET WHAT I MEAN ITS ABOUT CONNECTIONS!!! ITS ABOUT OTHER PEOPLE!!! ITS ABOUT ACCEPTANCE!!!

  • Thinking about Seri's time as a hikikomori.

    He's 30 in the anime, right? The anime takes place in 2012. That means that Toichiro got to him in 2009. If he was stuck in his room for fifteen years, that places the start of his self imposed prison in the year 1982.

    The Famicom came out July 1983.

    Imagine you're a single mother with a terrified, traumatized kid. You've done everything you can, but it's not enough.

    You're watching the television (alone). It's a summer day outside, and any normal family would be at the park or visiting the mall.

    But your family is not normal. And the very idea of going outside makes you feel guilty. Afterall, why should your child suffer alone?

    And as you stew in the house, all the fans turned on and the curtains drawn, you see a commercial.

    The family computer. It sounds nice. The ad features a mother and her two children smiling and laughing, and it breaks you. They're arranged around the television, game controllers in hand. The ad passes but never fully leaves. It's almost magical.

    A few days later you knock on your son's door. He doesn't let you in as per usual, but you still slide him the present anyway. He mumbles a thanks, voice weak with disuse before the dark room swallows him again.

    For a moment you think that you failed. But over the next few days, you hear your son laughing and shouting. The noise is fleeting, muted by the walls, but it's there. It's the first time you've heard anything other than sobs.

    What a feeling that must be, right? To be the person who understands that you cannot save your son, but that you can make his life less painful. That had to have been a powerful moment for her.

    Just fuck. Could you imagine how awful that first year must have been. He would have been bored out of his mind. I'm willing to bet the Famicom saved his life.

  • but seri would have been born in 1981 or 1982 to be 30 in 2012. if suzuki broke him out of his self-imposed prison in 2009, that would mean he shut himself away in 1994 – fifteen years before that. he would have been a middle schooler during the mid-nineties.

    in the US, nirvana’s seminal album nevermind was released that year. the world trade center was bombed; later-to-be-president clinton was accused of sexual harassment while still governor of his home state, arkansas; OJ simpson was convicted acquitted of killing his ex-wife and her boyfriend in a stupidly protracted media circus trial, despite overwhelming evidence to the contrary.

    in japan, kensaburō ōe won the nobel prize for literature. china airlines flight 140 crash-landed at nagoya airport, killing 264 people – the second deadliest airplane crash in japan’s history; a heatwave killed nearly 600 people that summer. aum shinrikyō killed 8 people and injured hundreds more with the nerve gas sarin on a subway in matsumoto. possibly being aware of the scary shit going down and being bullied for his power incontinence? i think i would have looked at the world outside my bedroom walls and given up as well.

    serizawa would have had his pick of video game consoles much newer than the famicom, though; sega’s genesis and mega drive would have been a thing, as would nintendo’s super NES. they would have kept him occupied for sure.

  • So many boob drawers dont get it... its abt the weight. Its abt the sag and the tension. Sphere anime boobs frighten and scare me. Show me that thang is made of flesh n it has give. What is the FUCKING point of 'instead of shirt she has bandages/vines/ribbons to cover her modesty/make sure shes not just free swanging' if they're still gonna be perfectly spherical??? Show me the gravity, let me see the places where the bandages compress which squishes it on either side... u guys get what I mean

  • one of the things i like about MAPPA’s handling of kaku yūji’s jigokuraku is the subtle corrections they made to his original drawings of sagiri, the asaemon executioner tasked with being garan no gabimaru’s minder.

    as much as i love the composition of this panel? breasts do not behave like this on supine bodies. they yield to gravity, flattening and spilling out to the sides.

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    edo-period japanese women did not wear bras – so much traditional japanese women’s fashion hid the body’s natural curves on purpose – and samurai would have had even less use for such things.

    the corresponding panel in the anime:

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    it’s not perfect, and this is about as flat as they get, but the spillage i describe over her ribcage is apparent and they just look far more natural.

    never thought i’d be saying this of a studio known for taking on far too much work at one time and sending its staff to hospital… but thanks, MAPPA? i guess?

  • I need people to stop blaming the death of movies on “quips”. A quip is just a funny line of dialogue. That’s all. Like I just saw a post talking about quips and the death of movies and brought up Pirates of the Caribbean as an example of a better movie and yes it is but also that movie is FULL OF QUIPS. I just rewatched The Princess Bride. It’s all quips. Every single line. And it’s a masterpiece.

    Movies suck when people don’t care about the art they’re making. That includes them not caring about their quips. Which is why a lot of comic relief dialogue ALSO sucks now. But the problem isn’t that funny dialogue exists.

  • The Princess Bride is almost all quips, but it’s all sincerity. Every aspect of the plot is ridiculous and yet no movie dialogue has ever gone as hard as “I want my father back, you son of a bitch”

  • people recognize the problem contained within Whedon-style quippyness without knowing the term for the actual issue so they say “quips” when they mean “bathos”

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  • another problem with quips that’s a little harder to analyze and explain is the quips are all in the author’s voice, NOT the characters’.

    steve rogers, natalia romanoff, james barnes, tony stark, pepper potts, and bruce banner are people from radically different walks of life, and should therefore have extremely different styles of communication, despite all off them nominally speaking the same language (english). they should have different senses of humor, different senses of where the boundary lies between irreverence and insult, different boundaries, different sore spots, different goals as well as different methods of communication.

    the fact that all these characters banter the exact same way, i.e how joss whedon thinks is funny, is incredibly shallow and grating.

    steve grew up as a challenging little shit, who was also very small and poor, and he did it in 1920′s-30′s brooklyn new york. he regularly got his ass kicked. tony stark is also challenging and provocative, he’s a shit stirrer, but he grew up rich as all fuck. no one was beating the piss out of him in a dirty alley. tony has grown up surrounded by sycophants, rich enough to get away with whatever amount of bad behavior he wants to pull; steve grew up poor and disabled in a society that openly advocated for the death and degradation of the weak and unfit. why the fuck would they enter a conversation the same way? why would they deliver a snappy retort the same way? natasha romanoff is a spy, she’s manipulative, she’s always watching to see how a joke lands, she’s always conscientiously tuning herself this way and that to get results. she doesn’t have the luxury of casual defiance, or unthinking obnoxiousness, or even standing by her principles and pissing off someone she hates. again, why would she be tossing off little asides the same as tony, or even the same as steve?

    the princess bride is sincere, and the characters still banter in their own voices. fezzik is cautious and methodical, inigo is weary and incredulous, vizzini is desperate to impress everyone with his own intelligence and in so doing often sounds like a complete twerp, buttercup is so incredibly pissed off she doesn’t have any brain cells to spare for joking around, and westley is here to ruin everyone’s day. and it works! the characters have great banter because they’re striking sparks off each other, not meshing like identical cogs in a machine.

    humor is about subverting expectations, about breaking up patterns, about confrontation and absurdity. you can’t get that from a blandly uniform pulp.

  • I have never heard anyone summarize Westley’s character so perfectly in a single line

  • So much of what makes a movie great is interesting contrast. Distinct elements that interact interestingly.

    Pirates of the Caribbean: The Curse of the Black Pearl was so successful primarily because it showcased the interactions of Jack Sparrow, who is a screw in a world of straight arrows, and the regimented, linear, often quite formal world around him, a world that is really, really not used to dealing with someone like him and it enables him to be a great success despite some glaring flaws in character and competence. He’s delightful to watch, and the shapes of contrast and flow that are created by his effects on other characters and their choices to follow or oppose him add successive layers of interest.

    Later movies in the series play up the zany antics to the point that the whole world is Mr. Captain Sparrow’s Wild Ride, and the delightful contrast is lost (and honestly, so is the credibility, but that’s another rant altogether).

    Jurassic Park #1 plays wonder and horror off each other, forming one contrast, and also plays the fantastic-amazing (real! live! dinosaurs!) off of mundane reality (academic curiosity, science, corporate espionage, computer problems, needing to go to the bathroom).

    It’s—how disparate elements work in conjunction with each other is its own creative tool, and getting them all to flow together seamlessly may be pretty and polished, but it’s also kind of boring. You want the sparks, especially in a movie. You want the whitewater.

  • “how disparate elements work in conjunction with each other is its own creative tool.”

    That. There’s a reason why a lot of people’s favorite ship is The Sunshine and The Grump (or The Hero and the Villain, etc.) It’s because they’re different enough for a little bit of conflict to exist in their interactions even when you know they’re really close.

    It’s possible to write two versions of the same kind of character that feel unique or interact in refreshing and unexpected ways, but you have to be careful to keep them feeling different in that case.

    Whedon did a far better job of this in Firefly than in Avengers. Everybody was a deadpan snarker but they were different enough from one another in background, outlook, or intent that the characters felt unique. Where I couldn’t tell you, like, what made Hawkeye different from Banner in Avengers apart from… big green.

    And I say this having enjoyed Avengers.

  • thank y'all, seriously, for helping me verbalize exactly what is wrong with a lot of current sarcastic movie humor. as fun as whedon’s dialogue often was, he didn’t give each character their own flavor of banter in avengers and it shows. almost… almost makes me wanna pick apart the old buffy the vampire slayer series again to see whether this laziness has occasionally been a feature of his work, and perhaps his fans just didn’t notice.

    i also thoroughly enjoyed firefly (and its sequel) and don’t remember the characters’ snark not being distinct from each other.

  • &. zinnia theme by seyche