#<- for future posts for shipping them

[sea-webs]

Two lost dragons don't make a found one, or maybe it does? Who's to say.

Oc - Cirque | Dragon Chosen by the Shadows | & Alca | Dragon Chosen by the Stars |

(I love these two so much don't even get me STARTED)

@/sandarafreedompark / anthony oliveira / sufjan stevens / unknown / carol ann duffy / nayyirah waheed / taylor bayas / danez smith / kim quindlen / chelsea dingman

[rendevok]

“Take my hand” a comic for NaruMitsu Week 2023

day 1 - lies & secrets - 2 - 3 - 4

[grezzirossi]

Silly Bloodweave Sketch with my fave armors/robes for them (golden star for u if u can read my writing)

[wildflowercryptid]

i'm about to pass out at my desk, but have this stupid ass doodle i did before i go sleep.

[quadrantadvisor]

Pairing Off, in which the Waynes meet the Fentons, just not all at once. 2,443 words

-

Damian feels less than positively about the new girl in his grade.

Danielle Fenton has already garnered a bit of a reputation. Her uniform is clearly second hand, and rumors abound about whether she has joined them at Gotham Academy on a merit scholarship or as “one of Wayne's charity cases.” Neither is true; Father has offered no fiscal support to the Fentons, and yet both she and her older brother attend the Academy, leading Damian to believe they've somehow paid their own way.

Her lower class status and midwestern accent ought to make Fenton a target, but her response to being cornered or talked down to by other students was an unsettling combination of cheerful and aggressive. She is now mostly left to her own devices, despite her notoriety. 

Damian has no interest in the girl. While it is true that she excels in both mathematics and social studies, her performance in English and science are unremarkable, and she poses no challenge to his rank at the top of the class. If he finds himself pushing harder in certain classes this semester in order to maintain the edge, it's no one else's business.

Now if only she would leave him alone.

Damian preemptively slams his sketchbook shut, just as a brash, inconsiderate, annoying girl hops up to sit on his desk. “Hey Dami, what're you drawing?”

“It is none of your business,” Damian seethes. “Remove yourself from my personal space before I-” he isn't allowed to threaten classmates with bodily harm, imply that he has brought weapons to school, or use words that are derogatory to women “-do so myself. By force.” He would avoid her altogether if he could, but Fenton is annoyingly (suspiciously) sneaky. He can only ever seem to sense her when she's just about on top of him.

Fenton merely laughs, high, bright, and joyful, and Damian grits his teeth. “Did you draw me yet?” she asks, and doesn't move an inch.

“No, I have not drawn you. I never said I would, and I have no plans to. Stop asking me.”

She shrugs and kicks her feet. “Maybe you'll change your mind. Can I see what you're working on?”

Damian pulls the sketchbook a tad bit closer to himself (a protective reflex that shows his weakness, he should be better than that by now.) “Never, imbecile.”

Fenton sticks her tongue out at him like a child. “Mean,” she says, still smiling. “I wanna see your art. It's so good!”

Damian tilts his nose up at her. “Of course it is, plebeian, I have standards-” he starts, but is cut off by the teacher entering. Fenton slides off his desk and heads to her own seat. Damian stows his sketchbook in his bag and tries not to think of the unfinished work inside, featuring a girl with dark hair, light eyes, and a mischievous grin.

-

There's this brownstone on the outskirts of Crime Alley, an old townhouse recently converted into commercial space. There's a coffee shop on street level, a tattoo parlor down the stairs, some sorta wine emporium on the second floor, and on the third, a little second hand bookshop

It's outside the border of Jason's territory, but he feels sorta responsible for it, given that he frequents the place.

It's a little out of his way, but the atmosphere is nice, alright? Clean, with soft lighting, but not sterile or corporate like the bigger places downtown. The owners are an older couple who Jason has met a couple of times, and they seem pretty happy with the new location. They're collectors, really, who run the shop to make ends meet.

Mostly, Jason talks to their employee. Jazz.

Jazz works in the afternoons and evenings, after her classes. She goes to Gotham U, double majoring in pre-med and psych, on top of a full time job, because she's almost as insane as a bat. She assures Jason that she does alright, gets a little downtime to study on her shifts.

She always makes time to talk to Jason.

Jazz is an interesting person to talk books with. She cares less about plot and literary themes, and more about diagnosing every character with their own personal malady of the mind. She dissects their thought processes and behaviors, ruthless in her analysis.

She's gonna be a brain surgeon someday, open people up and see what really makes them tick. Jason doesn't doubt it for a second.

So maybe Jason is a little bit in love with her.

It's not a big deal. Obviously it's not going anywhere. It's just nice to have something normal, to talk to someone normal, about normal stuff like books and college and sibling antics.

Jazz's stories about her sibling, Danny, rival Jason's own, and his family is fucking disastrous. Jason isn't actually sure if Dan is older or younger than Jazz is, or, for that matter, what pronouns he should use for them, since Jazz mixes it up pretty regularly. He knows that Jazz absolutely adores them, though, and it's heartwarming, the way she smiles as she talks.

All of that to explain why Red Hood is keeping an eye on a brownstone that technically falls outside of his territory.

There's a girl inside that he needs to keep safe.

-

“Hey bud, late night?” Dick asks the man lying prone in an alley, a block away from the Iceberg Lounge.

The response is slurred with sleep and muffled by a cheek pressed hard into asphalt. “S'at you, Dick?”

“Sure is. We've got to stop meeting like this,” Dick tells him, and means it.

The guy's name is Dan. No last name offered, which was fair, since Dick hasn't mentioned his.

What was weird was that Dan didn't give Penguin his last name, either, when he signed his employment contract. Just Dan.

Penguin has been trying to expand his influence into Bludhaven, and Dick's been trying to figure out why. Cobblepot is a very Gotham sort of gangster, all wrapped up in the city's ideas of style and respectability; Dick honestly would've thought that Blud was beneath him. He needs to figure out who he's contacting and what they're offering him, and he needs to do it before Penguin can get a foothold on his turf.

Running into Dan was a side effect. Dick didn't mean to keep doing it. It's just that Dan has this weird habit of completely disregarding trivial concerns such as his own health and safety, and doing weird shit like, as a random example, getting tired, laying down, and passing out. In the middle of the street. In Gotham.

The main part of Dan's job seems to be bouncing at the club. It makes sense—if you wanted to hire a guy as muscle, you couldn't do much better than Dan. He's at least 6 and a half feet tall, with a chest wider than Jason's. 

But Dick has also seen Dan traveling with Penguin before. Add in the fact that it's almost impossible to dig up info on him, and that tailing him is somehow even harder, and a picture starts to come together. A very vague, very suspicious picture.

It's too bad that Dick sort of likes him, and that he's incredibly hot.

Dan has removed his face from the alley floor, and is in the process of pushing himself up. “Not your business, man,” he retorts. “What are you, a cop?”

Dick can't help a wry chuckle at that. “Not anymore.”

“No shit?” Dan asks, hauling himself to his feet. He towers over Dick like that, but it's hard to be intimidated by a man whose cheek is red and pockmarked by little bits of gravel. Dick is legitimately embarrassed that he finds it charming. He needs to get better taste in men. “Yeah, no, that makes sense,” Dan continues, looking Dick up and down. “No way they could keep your ass on the force.”

“Oh yeah?” Dick asks.

Dan snorts. “I can smell the idealism on you from here.” He starts walking, heading straight past Dick, who falls into step beside him. “You remind me of this kid I know.”

Dick gives an interested hum, hoping that if he doesn't interrupt, Dan will elaborate, but no dice.

“So, where're you taking me this time?” the big man asks, still leading, and Dick stifles a grin at how silly the whole thing is.

“Maybe if I take you out for coffee, you won't faceplant onto any more concrete,” he says, reaching up to brush off some of the little rocks. Dan stutters to a stop as Dick touches his cheek, letting him, then strides off again as soon as he's done.

“Don't care, as long as you're paying.”

Dick stops him with a tug to his arm. “Coffee shop's this way,” he explains, pointing, and Dan doesn't hesitate, pivoting to take the lead once again. Dick rushes to keep up with his not-date, a criminal who he literally picked up off the street and who has no idea where he's going. He can't see his own smile, but he knows from experience that it is both delighted and a little manic. He admits to himself, begrudgingly, that he likes his men with something wrong with them.

-

The biggest reason that Tim played so much Doomed with Ghost_Boy, a couple of years ago, was that they were the only player he knew who kept hours as weird as his were. There were worse reasons to form a friendship. Ghost_Boy was a great player, and was always funny in chat. They were upbeat when things went well, and they were sarcastic but not bitter when things went poorly. Playing for the game's sake eventually changed to booting up the game to hang out with Ghost_Boy. They talked about how different their lives were, with Ghost_Boy in the midwest and Tim in the crime capital of America, and they talked about the things they had in common, like falling asleep in class. It was Tim's favorite form of stress relief, back then, when being Robin was new and overwhelming.

Then Tim got busy. No, that wasn't true—Tim had always been busy. More like, Tim's life fell to shambles, over and over again, and he stopped making time for stress relief when the very concept seemed out of his reach.

That was over dramatic. Tim fell off the game, and didn't keep in contact with his friend. That's all there was to it.

That was all there was to it, until a few nights ago, when he booted up his old Doomed file for nostalgia's sake and found a message from Ghost_Boy, sent a couple months back, that said he was planning to move to Gotham and, if Tim wanted, he'd be happy to meet up.

Tim immediately replied in the affirmative, and then he freaked out that he'd done that and started cyber stalking the guy. He couldn’t be bothered to pretend to be embarrassed by this behavior. He knew who he was.

Daniel Fenton was, in fact, a real teenager from a real midwestern town (Amity Park, Illinois.) He had moved to Gotham right when his message said he would, and lived with his older sister, Jasmine (who had custody over him,) and his younger sister, Danielle.

And that was where Tim was planning to stop his research, for the sake of his friend's privacy. Once he confirmed that he wasn't being catfished by either a supervillain or a run-of-the-mill creep, he was going to stop looking.

But Danielle Fenton's situation was incredibly weird.

Apparently, she had never lived with Daniel, Jasmine, and their parents before. Instead, after she was born, she'd been adopted by the kids’ godfather, eccentric billionaire Vlad Masters, and he was still her legal guardian. It was only after the Doctors Jack and Madeline died that she moved in with her siblings and started attending Gotham Academy, states away from her adoptive parent.

Vlad Masters was a man of eclectic tastes. The stories about him in the news were always covering some weird investment he had made, like purchasing a cheese castle in Wisconsin, or buying up property in Green Bay just to have a stake in the Packers, or pouring money into experimental forms of alternative energy. He was always refined in his public appearances, but he had the desperate edge of new money wanting to fit in with the old. Tim knew of him, but had never given him much thought before. He'd never made a move into Gotham, after all.

But the whole story was bizarre. Masters had gone to college with the Fentons, the three of them creating their own field of study in “Ectology,” before Masters had been contaminated in a lab accident, bedridden and unable to finish his degree. Jack and Maddie had continued their research, garnering just enough interest in their work to receive the funding needed to keep afloat, until some sort of breakthrough a few years ago added validity to their theories. They were practically celebrities in the niche forums Tim skimmed through. Masters, meanwhile, stopped working directly in the sciences and instead turned to networking, gaining some generous help from the friends he made and playing the stock market like a fiddle, until he was one of the most well known and lucrative investors in the world. He owned a few companies publicly, and managed some others under the table (Tim had to snort at the ridiculous naming of Dalv Co.) 

And then the Fentons had kids, and they raised two of them (seemingly quite happily, if the photos on their memorialized facebook accounts meant anything.) And then, for some reason, they named the third one nearly identically to their second child and gave her straight to Vlad. Masters raised the girl in Wisconsin, until suddenly relocating to Amity Park and becoming the town's mayor. There he stayed, until the Fenton's recent passing in a lab accident of their own.

Tim doesn't know what it all adds up to. But there was something going on, with both Vlad Masters and the Fentons, and if there's something nefarious in Masters’ actions or his wealth, it could be entirely possible that Daniel was a plant—a way for him to get an in with the Waynes. Tim has to be cautious, and he has to get to the bottom of this.

That's why Tim is waiting in a coffee shop, pretending to be engrossed in his laptop while keeping an eye on the door, waiting for the appearance of a teen with black hair and blue eyes.

Tim idly thinks that Bruce had better not adopt this one.

[demaparbat-hp]

In your Spitfire AU, since Zuko is looking after Lu Ten II, what happened to Ursa?

Zuko is slightly older in the Spitfire AU. He was banished at fifteen, his head a little clearer and denial a little weaker than in canon. After his first look through the Air Temples, Zuko decides that if he can't find a myth, he might as well search for the next best thing.

Finding Ursa isn't easy, but in time he makes it to a secluded house in a near-forgotten part of the world. His mom is there, older and stronger and alive.

But she isn't alone.

And Zuko, as it turns out, didn't keep the best company during his search.

When Ursa is discovered and her secrets are laid bare for assassins (for Ozai) to find, she begs Zuko to take his little brother and run. She'll do anything it takes to protect her children, even if that means leaving them behind to keep a target off their back. Ursa diverts attention from them and allows Lu Ten's ancestry to be kept a secret. She orders Zuko not to follow her again, and disappears.

Zuko is left with a little three-year-old brother to raise and a mother he cannot hold onto.

[ghostbredtt]

two posts in a row!!

[kit-screams-into-the-future]

drawing your favorite guys being silly is very effective at keeping The Horrors at bay

bonus doc from a different canvas:

[hauntingofhouses]

Very interesting to me that a certain subset of the BES fandom's favourite iterations of Mizu and Akemi are seemingly rooted in the facades they have projected towards the world, and are not accurate representations of their true selves.

And I see this is especially the case with Mizu, where fanon likes to paint her as this dominant, hyper-masculine, smirking Cool GuyTM who's going to give you her strap. And this idea of Mizu is often based on the image of her wearing her glasses, and optionally, with her cloak and big, wide-brimmed kasa.

And what's interesting about this, to me, is that fanon is seemingly falling for her deliberate disguise. Because the glasses (with the optional combination of cloak and hat) represent Mizu's suppression of her true self. She is playing a role.

Take this scene of Mizu in the brothel in Episode 4 for example. Here, not only is Mizu wearing her glasses to symbolise the mask she is wearing, but she is purposely acting like some suave and cocky gentleman, intimidating, calm, in control. Her voice is even deeper than usual, like what we hear in her first scene while facing off with Hachiman the Flesh-Trader in Episode 1.

This act that Mizu puts on is an embodiment of masculine showboating, which is highly effective against weak and insecure men like Hachi, but also against women like those who tried to seduce her at the Shindo House.

And that brings me to how Mizu's mask is actually a direct parallel to Akemi's mask in this very same scene.

Here, Akemi is also putting up an act, playing up her naivety and demure girlishness, using her high-pitched lilted voice, complimenting Mizu and trying to make small talk, all so she can seduce and lure Mizu in to drink the drugged cup of sake.

So what I find so interesting and funny about this scene, characters within it, and the subsequent fandom interpretations of both, is that everyone seems to literally be falling for the mask that Mizu and Akemi are putting up to conceal their identities, guard themselves from the world, and get what they want.

It's also a little frustrating because the fanon seems to twist what actually makes Mizu and Akemi's dynamic so interesting by flattening it completely. Because both here and throughout the story, Mizu and Akemi's entire relationship and treatment of each other is solely built off of masks, assumptions, and misconceptions.

Akemi believes Mizu is a selfish, cocky male samurai who destroyed her ex-fiance's career and life, and who abandoned her to let her get dragged away by her father's guards and forcibly married off to a man she didn't know. on the other hand, Mizu believes Akemi is bratty, naive princess who constantly needs saving and who can't make her own decisions.

These misconceptions are even evident in the framing of their first impressions of each other, both of which unfold in these slow-motion POV shots.

Mizu's first impression of Akemi is that of a beautiful, untouchable princess in a cage. Swirling string music in the background.

Akemi's first impression of Mizu is of a mysterious, stoic "demon" samurai who stole her fiance's scarf. Tense music and the sound of ocean waves in the background.

And then, going back to that scene of them together in Episode 4, both Mizu and Akemi continue to fool each other and hold these assumptions of each other, and they both feed into it, as both are purposely acting within the suppressive roles society binds them to in order to achieve their goals within the means they are allowed (Akemi playing the part of a subservient woman; Mizu playing the part of a dominant man).

But then, for once in both their lives, neither of their usual tactics work.

Akemi is trying to use flattery and seduction on Mizu, but Mizu sees right through it, knowing that Akemi is just trying to manipulate and harm her. Rather than give in to Akemi's tactics, Mizu plays with Akemi's emotions by alluding to Taigen's death, before pinning her down, and then when she starts crying, Mizu just rolls her eyes and tells her to shut up.

On the opposite end, when Mizu tries to use brute force and intimidation, Akemi also sees right through it, not falling for it, and instead says this:

"Under your mask, you're not the killer you pretend to be."

Nonetheless, despite the fact that they see a little bit through each other's masks, they both still hold their presumptions of each other until the very end of the season, with Akemi seeing Mizu as an obnoxious samurai swooping in to save the day, and Mizu seeing Akemi as a damsel in distress.

And what I find a bit irksome is that the fandom also resorts to flattening them to these tropes as well.

Because Mizu is not some cool, smooth-talking samurai with a big dick sword as Akemi (and the fandom) might believe. All of that is the facade she puts up and nothing more. In reality, Mizu is an angry, confused and lonely child, and a masterful artist, who is struggling against her own self-hatred. Master Eiji, her father figure who knows her best, knows this.

And Akemi, on the other hand, is not some girly, sweet, vain and spoiled princess as Mizu might believe. Instead she has never cared for frivolous things like fashion, love or looks, instead favouring poetry and strategy games instead, and has always only cared about her own independence. Seki, her father figure who knows her best, knows this.

But neither is she some authoritative dominatrix, though this is part of her new persona that she is trying to project to get what she wants. Because while Akemi is willful, outspoken, intelligent and authoritative, she can still be naive! She is still often unsure and needs to have her hand held through things, as she is still learning and growing into her full potential. Her new parental/guardian figure, Madame Kaji, knows this as well.

So with all that being said, now that we know that Mizu and Akemi are essentially wearing masks and putting up fronts throughout the show, what would a representation of Mizu's and Akemi's true selves actually look like? Easy. It's in their hair.

This shot on the left is the only time we see Mizu with her hair completely down. In this scene, she's being berated by Mama, and her guard is completely down, she has no weapon, and is no longer wearing any mask, as this is after she showed Mikio "all of herself" and tried to take off the mask of a subservient housewife. Thus, here, she is sad, vulnerable, and feeling small (emphasised further by the framing of the scene). This is a perfect encapsulation of what Mizu is on the inside, underneath all the layers of revenge-obsession and the walls she's put around herself.

In contrast, the only time we Akemi with her hair fully down, she is completely alone in the bath, and this scene takes place after being scorned by her father and left weeping at his feet. But despite all that, Akemi is headstrong, determined, taking the reigns of her life as she makes the choice to run away, but even that choice is reflective of her youthful naivety. She even gets scolded by Seki shortly after this in the next scene, because though she wants to be independent, she still hasn't completely learned to be. Not yet. Regardless, her decisiveness and moment of self-empowerment is emphasised by the framing of the scene, where her face takes up the majority of the shot, and she stares seriously into the middle distance.

To conclude, I wish popular fanon would stop mischaracterising these two, and flattening them into tropes and stereotypes (ie. masculine badass swordsman Mizu and feminine alluring queen but also girly swooning damsel Akemi), all of which just seems... reductive. It also irks me when Akemi is merely upheld as a love interest and romantic device for Mizu and nothing more, when she is literally Mizu's narrative foil (takes far more narrative precedence over romantic interest) and the deuteragonist of this show. She is her own person. That is literally the theme of her entire character and arc.

[sidethatyoudontknow]

In the middle of all this 457 chaos there's me that lowkey ships junho and the salesman/ the recruiter/ddakji guy or whatever you're calling him

I mean have you look at them, imagine the banter we could've got

Like there's junho, a detective who's been trying to find his brother only to be led up to a brutal kids game competition in some sketchy island and also finds out the person who controls the said game is his very own brother that he's been searching for a long time that is also a previous winner in the game

And then there's the salesman (some people call him ddakji or dak ho) who's been trained to kill, to see people that played the games is lower than him like a trash since he was a teenager probably, who doesn't even know the purpose of life anymore, a literal mess, a maniac. That's also probably the one that recruit junho's brother into playing the games(a theory not sure if that would makes sense)

Just imagine that, I could write a few headcanons if anyone interested

And yes yes I know they didn't even interacted once for SHIT(and the only time they ever see one another was when one of them already died and the one died never also see him or does he?)

[kagooleo]

happy new years 2025! it's been nearly a whole year since I started posting about fluffyriceshipping here, and my art has changed a lot since then! what better way to start the new year than with some sweet potatoes with their partners 🍠🌅

[oceanwithouthermoon]

can i just say. i find it a bit odd that people, even people who dont dislike teruhashi, want her to not end up with saiki because "itd teach her not everyone will love her"

like... half the point of her character is that... NOBODY loves her. nobody knows her and sees her and genuinely likes her, they just like the crafted self she projects outwardly... except for saiki. saiki is the only person who actually likes TERUHASHI, and you guys dont want that??

this scene is literally her realizing "these guys didnt even notice or care about my exhaustion and only cared about me continuing to make them feel good about themselves even after i passed out, but SAIKI noticed and cared"

[emero0]

Someones said this already- surely- but i cant stop thinking about ruis whole “thank you for giving me a chance to change” mentality

Because its super sweet and all but i dont think either him or tsukasa have realized how much tsukasa has changed because of rui

Like- read main story or even early game tsukasa and then read the most recent (eng or jp)

HES CHANGED SO MUCH and its all because rui humbled him- told him that he’d never be a star—because at that rate, he really wouldnt have—in a moment of pain and hurt because tsukasa was being a bitch towards nene, and also possibly because this great opportunity rui wanted to have was turning out to be a lie

Until tsukasa changed

Realized his behavior and worked to better himself, and (lets be honest) practically begs this guy hes known for maybe 2 months (idk how long the main story takes place) to come back and make shows with him because??? Because tsukasa thinks hes just that good of a director? Or maybe its because ruis the one who made him realize his true dream again and what being a “future star” really means

Not to say rui hasnt changed either, him and mizuki talk a bit about it in ena5 and he mentions it a lot,

I think the wonder halloween event might be the best example

Cus the reason i thought of this post is because i was reading tsukasa side story from that event and MAN is he cocky- like annoyingly so- idk why he was (and still is) my favorite /j

But anyway- i remembered just now that the whole plot of that event is rui learning not to hold himself back, which is a big part of his character development imo

On the other hand, ruis impact on tsukasa is less direct

Like i said its because rui first got him to realize his “true feelings” (as the game calls it), but after that its really all on tsukasa—well not quite-

See- a big part of Tsukasa’s character development is his constant realization of- i guess “his place in the world”

For me personally the phoenix edge event is a good example of him acknowledging it- but i realize it actually started way sooner

In the pop in my heart event- he realized that his acting is so far behind these american (or atleast english speaking) actors who can convey feelings through language barriers

Its his “humbling” arc if you will, he realizes just how far he needs to go, and its not that he’s not confident anymore, but that hes more aware of where his talents lie and isnt overconfident

And this is all stuff he learned more on his own- however: rui still helped propel this growth

He realized in the torpe event (on the stage of dazzling lights i believe-) that he had been holding tsukasa back by typecasting him, and decides to give him more diverse roles as well as let wxs do the play torpe in the first place (because as director, it was his final decision)

But after that—and this applies to all of wxs, but mostly nene+tsukasa—he goes and tries to figure out how to keep wxs together while still giving them the chance to grow as actors and not be confined to a stage

And he succeeds, and off wxs goes to improve!

They (and every character in game i feel) have changed and grown so much and its so awesome to see it happen—and its neat how much theyve influenced each other’s change through it all

So yeah— ruikasa(/p or /r idc) have helped each other grow so much and i hate them with a fiery passion /j

[lunar-years]

At this point RJK is simply so engrained in my brain space that when people still complain about how they “didn’t go canon” I’m genuinely confused. Like, what do you mean? They literally did?* Here they are right here! Skill issue.

*for legal purposes this is a joke

[esprei]

emmet is a very hard worker - after all, there are a lot of logistics and things you have to manage when you own your own railway business good thing he has someone around to remind him to take a break every once in a while

[starsh0cked]

lazy doodles of my new kirby tomodachi life island.... i love all of my islanders!!