Gift For My Darling @belovedmuichiro

ESFP - the entertainer 🎉✨

Illustration of the 16 MBTI personalities

Hiii ! I'm finally starting the Explorers✨ heres my version of ESFP ! I only two people with this personality, so I hope I hope I could represent you well . Where are my fellow ESFPs ? Show yourself or tag a friend !

Omg welcome back!! You've been sorely missed, I hope you're well <33

Also I'm not on twt and haven't paid attention to the spiky pompom in a while but people hate him now?? :O

Yep 🙌. Well, either they’ve woken up/changed their tune as they grew up/consumed better media or those who were once afraid of speaking out against him have begun doing so. It ain’t perfect but people can finally hate him without worrying about being doxxed 😂

by gettymuseum

Some Tips for writing internal conflict

Wanting Two Things at Once Imagine your character really wants to chase after something big, like a dream school, a major opportunity, or maybe even moving to a new city. But at the same time, they’re terrified of leaving behind everything they’ve ever known. Or maybe they’re in a relationship that’s holding them back, but they can’t bring themselves to let go. Show them getting pulled in two directions, torn between their ambition and their fear of losing the people or places that ground them.

Right vs. Wrong Sometimes, your character will know deep down what the right choice is, but it’s the most difficult one to make. Like, maybe they see someone getting bullied and know they should stand up, but doing so could make them a target. Or maybe they have to decide between helping a friend and doing something that could ruin their own future. These moral dilemmas create intense internal conflict because it forces them to question who they are and what they stand for.

Doubting Themselves We all have moments where we wonder if we’re enough, smart enough, strong enough, brave enough. Let your character wrestle with that same doubt. Maybe they’re the kid who has always been told they’re special, but now they’re in a place where everyone is just as good, and they start to wonder if they even belong. Or maybe they’ve been through something tough, and they’re not sure if they can bounce back. These moments of insecurity make your character feel human, like they’re trying to figure it all out, just like everyone else.

Dreams vs. Fears Show your character dreaming big but getting frozen by their own fears. It’s like wanting to ask someone out but being terrified of rejection, or wanting to move away for college but being scared to leave home. Let them imagine all the things that could go wrong , that moment when fear makes them doubt if they should even try. But also show their desire burning just as strong, making it impossible to ignore. That’s the heart of internal conflict: they’re stuck between wanting something so bad and being afraid of what it’ll cost to go after it.

Beliefs Being Challenged As your character grows, the world will start challenging their beliefs. Maybe they grew up in a family that drilled certain values into them, and now they’re meeting people who see things differently. Or maybe they’re experiencing something new, and it’s changing their perspective. It’s like when you think you have everything figured out, and then life throws something at you that makes you go, "Wait, maybe I’ve been wrong this whole time." This kind of internal conflict is powerful because it forces the character to question who they’ve always been.

Keeping Secrets If your character is hiding something, like a mistake they made, feelings they’re afraid to admit, or a truth they don’t want to face, that secret becomes a huge part of their internal conflict. The fear of being found out or of dealing with the consequences can create a constant pressure in their mind. Maybe they’re scared they’ll lose their friends if the truth comes out, or maybe they’re dealing with guilt they can’t shake. The tension comes from their battle to keep it hidden while knowing they can’t keep it locked away forever.

Pressure from Everyone Your character might feel like they’re trapped between what they want for themselves and what everyone else wants from them. It could be pressure from parents, who have their whole future planned out, or pressure from friends to fit in or follow the crowd. Maybe your character wants to be true to themselves, but they’re scared of disappointing people or standing out too much. This kind of internal conflict is super relatable because, at some point, everyone feels like they’re stuck between living for themselves and living for others.

Fear of Failing Sometimes the biggest obstacle isn’t the external challenge but the internal fear of failure. Your character might have big dreams, but they’re paralyzed by the thought of messing up. Whether it’s competing in a sport, performing on stage, or just trying something new, the fear of not being good enough can be overwhelming. Maybe they’re afraid that if they fail, everyone will see them differently, or worse, that they’ll see themselves differently. The internal conflict comes from their desire to succeed battling against their crippling fear of failure.

shipping renkaza fucking sucks because you either get people who hate real enemies to lovers and call it toxic or pr*ship because they actually are enemies who want to kill each other instead of friends who bicker sometimes (these people are the weakest link and will not survive the winter)

or you get people who do ship it but only in the gooner dumbing-it-down-to-hardcore-porn way where they romanticize and get off to abuse and r*pe (these people are just gross sick individuals and i hope they go extinct)

and the few people who do see the emotional depth in the homoerotic minutes renkaza spent together and the potential in that for top tier doomed yaoi are few and far in between and i rarely find good fics that aren't just insanely ooc porn

Puppets on Strings

The Reigen Arataka Deranged NormalMan Review

Do you ever think about how Reigen has like. A really strange belief in The System and How Things Should Be. Like REALLY strange. Whatever he's got going on is so much weirder than "scammer with a heart of gold".

I think it all comes together if you read the 10th Season 3 omake like, seriously interrogate this:

This is normal, if comedically thoughtful and realistic for a shounen character. This guy talks like a mandatory reporter. What's strange is what immediately follows:

"AS A SPIRITUAL SPECIALIST" DOING A LOT OF HEAVY LIFTING HERE REIGEN

Not only did he hunt down the families of the children bullying his client (insane. where did he get that info), he also contacted the school as if he were representing his own son in order to get justice, and then hunted down a source of complaints when the school fell through.

This is like a genuinely bizarre level of commitment to the bit, and the bit is "the system works, and if it doesn't work, we will find a system that does work, and if we cannot, hell or high water it is my PERSONAL RESPONSIBILITY to make the system stop slouching so it works again".

Long thread on the manga with this reading⬇️

Before I start. Reigen adopting Teru is more IC than you think but I don't think it is IC in the way people think it is. I think about this a lot and I think people who do it because they like Reigen aren't understanding how into his bit he is. Guy who talks to social services

So remember the arc that won people over to Reigen despite the fact he's an asshole who takes advantage of Mob and derides him constantly in order to keep him complacent?

He has Mob's phone on his GPS. This makes sense; he's been taking him out and about since he was 11. Very responsible!

Reigen dismisses the "Boss" mistake thinking well, it's a misunderstanding, but it got me in. Yet as soon as he heard they're committing crimes, he VISIBLY puts on his Boss Pants to chastise them. Again, normal so far. I think any scammer with a heart of gold would do this. (And foreshadowing for why he retried reprimanding the Claw Cadres a second time after getting power.)

Again. He's a scumbag. So he leaves Mob to beat their asses using his previous rhetoric. But then!

Reigen's shady morality is more like "people who can take care of things should take care of things". To him, Mob is the Authority on Espers, and can handle conflict like this. Immediately upon becoming aware he can't, Reigen thinks "oh, okay, so the only person who can take care of things is someone who can deescalate". (Pictured: Deescalation)

Okay. Besides the fact this is insufferable as a general concept - YOU just told him to handle it YOU are the source of his stress - his first step in deescalation is to force Mob to back down. Rather than asking him not to fight, he reestablishes "rules" in order to convince Mob he must back down - the same way he tried using what he said to worm his way out of dealing with this shit - and then sets himself up as the authority figure to which the others must obviously defer in matters of His Boy, like a parent accepting criticism at a PTA meeting. This isn't Reigen claiming Mob so much as "in order for them to not attack Mob, they must view me as a representative for Mob".

And like a good authority figure:

Continuing with his phrasing:

If you think about it, this is like...an objectively very strange and incredibly bold approach to this situation. They're homicidal. Reigen is a DERANGED level of Normal Man. He has this image in his head of normalcy, of the world at standard operating procedures, and reinforces it right through an entire conflict. Carceral beliefs don't even factor into this, simply expressing his principles and expecting them to fold.

And they do lol. I keep wondering how Shou must have felt listening to him talk like that

We see a little more of his good side in work; when he was getting so little work it was affecting his grocery bills, this moneygrubbing scammer still asked for like $200 to clear an entire city of hauntings. (His regular exorcisms are around $30). Fair prices are part of his principles of how the business should be. He operates basically at-cost. He mentions he wanted to come out here because he's bored. He's killing time as a career.

Aside:

Just realized he called Mob in last minute so Mob didn't know he accepted crops instead of money. Shigeo didn't like that

So consider that he never got caught here and there was a call on the news to hunt him down at the end of this bit: for the average viewer of the anime, it's just funny, but this is part of the Mogami pre-arc so we've gotten a hold of him by now; he probably holds an inherent belief that the police will intercept him and not Mob. Why wouldn't they? Why would an adult man want to dress up in a highschool girl's uniform? The System will understand.

Not relevant to my point but I like how he realizes what's wrong with Mob way before the final arc, just not why it's happening. Also he doesn't say anything.

With the way his principles are, you really get the feeling that Reigen does his best to avoid culpability specifically because if something happened that was his fault, he'd have to step up to the plate to compensate for that, which is troublesome to him who is a career time-killer. It does not occur to him that an actual bad person and scammer would not step up to the plate as a matter of course. This is his way

What I find really interesting is that this Militant Insane NormalMan does have a sense of wanting something "special", but rather than whip Mob up the way Dimple did Ritsu, he ended up projecting his own values onto Mob, as if he could recreate a special "self" within him. He's always deriding him and baiting him and lying to him in hopes of creating a superb person that a special individual like Mob finds admirable, as if Mob is the authority on his quality of character. Sad! lol

Anyway, it adds a lot more kick to this famous line. Reigen genuinely believes in Authority

Authority works!

And if Mob (the authority on espers) doesn't work, who's the person who MUST step up to the plate [common sense]? You guessed it.

There are other aspects of Reigen's character that everyone and their dog has already picked up on (his self-loathing is the entire reason the way he talked to Mob in Confession arc hit so hard), but this one's my favourite. He's insane

Writing Notes: Metafiction

Metafiction - a self-conscious literary style in which the narrator or characters are aware that they are part of a work of fiction.

Often most closely associated with postmodern prose, it involves a departure from standard narrative conventions, in which a self-aware narrator infuses their perspective into the text to create a fictional work that comments on fiction.

This kind of fictional writing can appear in novels, short stories, plays, video games, film, and television.

Characteristics of Metafiction

Breaking the fourth wall: Breaking this boundary between writer and reader blurs the lines between real life and fiction. Metafiction often directly addresses the reader, openly questioning the narrator’s own story.

Self-reflexive: Authors use self-reflexivity, or self-consciousness, to reflect on their own artistic processes, drawing the audience’s attention away from the story and allowing them to question the content of the text itself.

Experimental: Metafiction is often experimental in nature, fusing a number of different techniques together to create an unconventional narrative. Metafiction can also experiment with the role of the narrator and their relationship to the fictional characters in the story.

The main purpose of metafiction is to highlight the dichotomy between the real world and the fictional world of a novel.

Metafiction can be used to parody literary genre conventions, subvert expectations, reveal truths, or offer a view of the human condition.

Often used in postmodernist fiction to comment on the world that our character inhabits, metafiction helps give a work of text more significance by providing an outward, exploratory look of a self-contained world.

Examples of Metafiction in Literature

The Canterbury Tales (1387): Geoffrey Chaucer’s classic anthology of interconnected stories that parody the conventional elements of fiction. Chaucer blends linguistic styles and rhetorical devices to craft a collection of stories within the overall story, regularly breaking the fourth wall to address the audience directly and apologize for any offense the narrative may cause.

Don Quixote (1605): Miguel de Cervantes Don Quixote is essentially a book about books. In the prologue, Cervantes breaks the fourth wall by commenting on his process of writing the book, in which he urges the reader to make up their own mind about the written text. The ensuing novel discusses the adventures of the protagonist, Don Quixote, who has gone mad from reading too many chivalric romance stories.

Giles Goat-Boy (1966): John Barth’s fourth novel is a prime example of the metafiction characteristic of postmodernism, featuring several fictional disclaimers in the beginning and end, arguing that the book was not written by the author and was instead given to the author on a tape or written by a computer.

The French Lieutenant's Woman (1969): Written by John Fowles, The French Lieutenant’s Woman is a historiographic metafiction novel about a love story between a gentleman and a governess in the Victorian era. The book features a narrator who becomes part of the story and offers several different ways to end the story.

Slaughterhouse Five (1969): In Slaughterhouse Five, Kurt Vonnegut includes his own voice as a character in this non-linear narrative. The main character has been “unstuck in time,” oscillating between the present and the past with no control over his movement, emphasizing the senseless nature of war.

Gravity’s Rainbow (1973): This story by Thomas Pynchon is the poster child of postmodern literature, using a complex, fragmented structure to cover various subjects such as culture, science, social science, profanity, and literary propriety. In this particular narrative, Pynchon questions history and how it gets created, and also how it affects both society and the individual.

Source ⚜ More: References ⚜ Writing Resources PDFs

An overly detailed analysis of Muzan’s walking patterns

The way Muzan walks in this scene has been criticized for being “careless” or “rude,” and I see why people would say that considering his seeming disregard for the dead bodies, but I would like to propose an alternate theory. When I was watching this episode (and before I had seen anyone else comment on this scene), I noticed that his walk seemed oddly familiar to me and I think I’ve figured out why. It’s the way someone walks when they are actively thinking about how they’re walking.

I have an autoimmune joint condition that causes pain in my hips and back, and when it flares up, I have to force myself to stand up super straight and take really calculated steps when I walk to avoid doing things that cause the pain to get worse. I try take the straightest possible path, to not to change my steps by stepping over things to reduce variables that could make me “mess up” and move in a way that hurts. Muzan’s walk here looks a lot like my walk when I am doing this. He’s consistent, he’s stiff, he keeps a straight line, and he avoids stepping over or on things.

This makes sense given his backstory. Not only did he grow up chronically ill, he’s also permanently injured from Yoriichi’s past attacks on him. He’s probably in some amount of pain (or at least is very familiar with chronic pain). Even despite him becoming a demon and gaining a stronger body, you can still see it in the way he moves. He’s methodical about using his body in a way that only those who have suffered through chronic pain would be.

Wonder if it's canon or not that the poison was actually for Hakuji but since he wasn't at home that time, Koyuki and Keizo were killed instead.