#<- 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

[priceofreedom]

this makes me so sad and angry

John is easily one of the best voice actors in the game, but because Barret doesn't get enough appreciation, he doesn't either. i'm so tired of the Barret erasure man, and so is he, understandably. Barret is one of the MAIN!!! characters and he gets nothing every fucking time. WHEN will this change.

[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.

[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.

[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?)

[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:

[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"

[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 🍠🌅

[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

[aurorangen]

"I was a lost guy on a lost ship, but there she was every time I looked up. Renee, the sunshine of my life."

Transcript & Bonus:

...And what if this pain comes back again?

...

[Eventually, I stopped thinking about Nancy. There was no communication on her part and it felt like a one sided effort, where I was the only one who believed we would meet again. Time drifted us apart and I ended up lost in the vast sea of my thoughts. Did all the moments that we spent together mean anything to her?]

[Nancy must have moved on and decided to end everything by ghosting me. I was only her first love and nothing more, so naturally, my heart sank. All this time, I was salvaging a relationship that had ceased to exist. But time helped to steer me in the right direction and to move on from her too]

[I focused on finding myself again, through university and my friends. And there was Renee. Renee…I didn't know when it started, I couldn't help it…but I was falling for her. At first, we spent more time together as friends. I made no moves, except that time when I called her cute. The words just flowed out of my mouth]

[I was a lost guy on a lost ship, but there she was every time I looked up. Renee, the sunshine of my life. How I want to see her every morning. The way she brightens my day. My ray of hope during hard times. A beautiful soul inside and out. I wanted to tell her my feelings soon, but I was afraid of rejection…and heartbreak]

[When debate day came, I was fully prepared for it. And when they announced that I had won, all I could think about was telling Renee. Amid all the chatter and congratulations, I excused myself to go and find her]

[As soon as I saw Renee, I picked her up and spun her around. Then out of nowhere] Renee: Vince, I think I'm falling in love with you. [My words escaped from her mouth and I just wanted to kiss her]

...

Nancy: [quietly to herself after recognising Vincent from afar, tone changing from optimism to despair] Vincent??? Ohh…so you've found someone new [sighs] I'm happy for you. [blinks away her tears] I guess that's why you've been avoiding my messages. I was waiting for you all this time…

...

I admit this post was hard to create. I just didn't know how to approach it. I'm not the biggest fan of how my reblogged Vincent posts were executed, like there should be stuff in between to build it up. I ditched the idea of making them separate posts in the backstory (they are small unnecessary events). So I ended up working my way around that and summarised things here. Then I was able to write my text and I became inspired by all this lost at-sea terminology! Now the Nancy reveal at the end, I'm throwing a 360 at you! Turns out she has been waiting all along and thought VINCENT hadn't been replying to her because HE moved on (see this? Same as what Vincent thought). Miscommunication. Or something must have happened to one of their phones, right? All I'm saying is this situation sounds way too familiar (spoiler).

[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

[firestorm09890]

thinking about how fucking amazing Bari is. she’s so kind. she wished to give a group of lonely and empty undead something to truly live for, and whether she did it out of pure altruism or if she just wanted to inspire (original) Don Quixote enough that he’d be able to end a war, it's still a very admirable thing to do.

and every single letter Sancho sent to various fixers, she answered. there never was the opportunity for crushingly cruel responses or the despair of waiting and waiting only for no one to answer because someone was always there, gently watching over you and breathing life into your dreams. so the world may be cold and cruel and fixers aren’t what you thought they would be, but does it matter? in this terrible world, someone cares about you. you’ve never been alone