#<- going to make a tag… Just In Case

[samuraisharkie]

you want to reread archie so bad.... its a good comic book... ooooooo you wanna read it sooo badddd

I was an AVID Archie fan my life used to REVOLVE around Archie sonic. I’m already trying to read the Spider-Man comic books I think re-reading Archie would transform me into middle school autism me

[emberglowfox]

birds of a feather

[coddda]

I wish we could have met in some other way.

Lawlight Week Day 2: Soulmates

If you saw me repost and re-edit this several times uh No you didn't </3

Still frames/Individual gifs:

If you know what every frame is from you get a free cookie. by the way

[caruliaa]

staff still hasn't given me polls, what should i do?

🟪🟪🟪🟪🟪🟪🟪🟪🟪🟪 their moms 69%

🟪🟪🟪🟪🟪🟪🟪 their dads 31%

grace image os i get to look at her

[gumdefense]

We have moved past Maya and Franziska wingmanning narumitsu as a society. They would not fucking do that. We need to realise the truth which is that Larry and Gumshoe would try to wingman them and only succeed through failure

[bunnieswithknives]

Wow Dale I didn't know you liked entomology! 💕

[800db-cloud]

spare some spy hcs? 👀

OKAY. ok. so i have been putting off answering this ask because i’m admittedly very shy and very afraid of sharing my headcanons. and also because i have A LOT OF THEM.. but here we are!

here are my headcanon spies :) René works for RED and Jacques works for BLU!

where to start, where to start… i have a LOT of headcanons for them, i’ll be talking for FOREVER here. i’ll just start with story because why not! xP

René’s parents were also agents/spies, so he was always destined to be one as well. And he lives up to his parents’ legacies! He’s most notorious for destroying gangs and mobs and the like from the outside in. He was brought to America years ago to take out a dangerous mob boss, but unfortunately found himself infatuated (and involved) with the boss’ daughter. Luckily for him, the boss’ daughter wanted the guy dead, too.

René’s story is honestly a lot more fleshed out than Jacques’, but here goes anyway:

Jacques’ father was a very rich and powerful man in politics. Jacques himself was the result of an affair, and to keep it hush-hush, his father decided to raise him. Raise is a strong word, though— but he did help his father gain intelligence and blackmail on opposing political parties. Jacques proved to be a promising spy since childhood.

If anyone has any suggestions/ideas for Jacques’ story, let me know haha x) he didn’t have the greatest upbringing per se…

last thing on this section i wanna talk about is the Scouts. René is related to both of the Scouts; he’s RED Scout (Jeremy)’s biological father, and he’s BLU Scout (James)’ adoptive/step-father. Jacques has no relation to either scout, but acts as a guardian figure to BLU Scout.

anyway, this is the part where i continue talking about other miscellaneous headcanons! and these come with doodles :)

You couldn’t catch René DEAD without his mask, or his suit! He’d neeever take them off around other people (‘other people’ is mainly just Scout. For obvious reasons.) Meanwhile, Jacques is pretty lenient in letting his teammates see his face! Everyone on BLU’s seen his face at least once.

A big part of why René refuses to strip down is also due to the fact he has a LOT of tattoos. No doodle for this one because I’ve yet to decide on what tattoos to put on him (ideas are very welcome!!), but yeah! Most of the tattoos were ‘forced’ onto him/he had to get for jobs and ‘fitting in’ with bad crowds, but a good few of them were of his own accord, too.

Jacques doesn’t have tattoos, but he has a myriad of another thing: scars! Lots and lots of scars on this guy. Faded and old, sure, but they’re there. Most prominent ones are the one around his neck (from when the RED Medic beheaded him) and the ones on his forearms (those are from the LAST time he was imprisoned— looong story…)

René doesn’t cook very often for his team, but when he does, everyone’s always BLOWN AWAY by this guy’s cooking! René’s really bad at taking compliments, though— (“Cooking food that’s remotely edible isn’t a compliment, it’s basic survival.”) —but rest assured he’ll be thinking about it for the next month. Jacques, however… Do NOT let this guy into the kitchen. Ever. The BLU base has a special fire extinguisher “In Case Spy Decides To Turn On The Stove”

oooh, this one is an hc and a HALF to me. René much prefers working alone. It’s just in his nature, being isolated and whatnot. He likes to deal with things by himself– maybe he doesn’t want to burden others? On the contrary, Jacques NEVER works alone. It’s a trait he’s had even before being hired to BLU. You never know when things could go wrong, so it’s best to have someone else to fall back to… or someone else you can blame!

these hcs both have something to do with how René and Jacques show their trust in other people :) it’s a bit convoluted but it gets there:

René is, amusingly, very bad at remembering names. Almost laughably bad. There have been many-a-story of his days before RED where he’d get a target’s name wrong, even after he’d repeated it in his head dozens of times over. Names are difficult for him, so if he remembers yours, it means you mean a lot to him! He prefers using his teammates’ names rather than their titles. René is unaware of how charming this specifc trait is to his coworkers (they saw how much work and effort it took for him to memorize their names, they’re just happy with how far he’s come!)

Jacques has a… to put simply, very complicated relationship with food. But the one thing he’ll never turn down is sweets. His favorites especially being chocolate bonbons. Jacques has a hard time eating in front of others, let alone sharing his food! But if he genuinely likes and trusts you enough, he’d have half the mind to share with you. Admittedly, he hasn’t brought himself to share with most of the members of his team yet, except for a select few. Mostly BLU Medic and BLU Sniper.

—

and of course, eventually, EVENTUALLY, these two also become friends! it took a little bit but believe me, they both respect each other’s skill in their job :)

AHHg i could go sooo much longer about them— from things like their physical traits (how much teeth they have? it’s a pressing question) or different periods of their life (why did rené have to leave his family? why was jacques imprisoned for the last time?) BUT this post is so… so, so long. My fingers hurt from typing

If you’ve managed to read through this Beast, THANK YOU RAAHH!!! thanks so much for asking this, too. i hope to spare more hcs someday. hehe ^_^

[glitterynebulas]

THIS IS CRAZYYY

[bunnyboy-juice]

NO MORE ASSOCIATING THINGS WITH FEMMES ONLY BECAUSE THEY ARE PINK!HYPERFEM FEMMES ARE GREAT AND I LOVE YOU CAMPY FEMMES WHO EMBODY PINK BUT ALSO JESUS CHRIST CAN YOU GUYS NOT GO MORE THAN ONE DAY W/O TRYING TO SHOEHORN FEMMES INTO BEING ONLY PINK UWU BABIES. I AM FEMME AS IN GRASS AS IN DIRT AS IN TREE BARK AS IN WEEDS SPROUTING THROUGH THE SIDEWALK CEMENT. FEMME AS IN GENDER NONCONFORMITY AS IN FUCK YOU MY FEMININITY IS WHAT *I* SAY IT IS. FEMME AS IN DEPTH AND DARKNESS AND WARMTH AND TERROR. FEMME AS IN CAVES. FEMME AS IN LIGHTNING. FEMME AS IN AN AMALGAMATION OF TRAITS THAT I HAVE DECIDED ARE FEMININE REGARDLESS OF WHAT SOCIETY SAYS. FUCK IS IT THAT HARD TO UNDERSTAND?!???

[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.

[14dayswithyou]

Hi, Howdy! Hey! I really love your novel!! I got a little confused by the 4 day, may maybe you help me please? who is it? why we got the bad end staying the night in Ren’s apartment and he disappear of the home screen? I can’t understand “unset memory” game, sorry if I wrote smth wrong or smth sounds rude, I swear that I didn’t mean it if happened, I’m really a fan of the novel, I’ve been playing the game since day 1 or 2 I guess, probably day 1, english isn’t my first language, but I tried lol

⌞♥⌝ I hope you don't mind me answering these as bullet points!! ^^

"It" will be revealed later in the game! So I won't reveal too much right now.

You can only get the Dead End in Day 4 by staying at Ren's apartment — the rest of your choices before that don't matter. I'd also pay closer attention to the black smoke and Ren's reaction towards it!

Ren disappears from the home screen because he promised to help the player out (and stop them from getting the Dead End again). Try replaying the game again from the beginning for a surprise!

"Unsent Memories" was another visual novel (initially being written by @10chimes / @unsentmemory, though the project has since been dropped and handed back to me /pos) and is set in the same universe as 14 Days With You. Its storyline and characters are completely separate from 14DWY, so you don't have to worry about them while playing 14DWY.

[wasyago]

something incredibly self indulgent

[miwtual]

im so fucking tired of the disrespect gifmakers get on the gifmaker website

[palskippah]

Hi, you know those Bowuigi fics where Luigi has to watch over Bowser after he's turned tiny? Love them so much ajskjda

[cowardlykrow]

"That is where you are wrong, my boy!"

@ratb4stard3 and I deliver another Cowardlyghostbro's(™) collab ✨💛

[ruporas]

lonely

[ID: A limited palette of green and pink, Vashwood comic. The first page serves as a prologue. The first panel shows Vash speaking to someone off screen while Wolfwood is lingering behind him. A black arrow is drawn pointing at him. In the second panel, Vash is buying donuts in the distance while Wolfwood is once again in view, lingering. and the black arrow is drawn pointing at him. In the third panel, Vash is leaving a cubicle and turning towards his right with a slightly peeved expression. He sees Wolfwood, leaning against the cubicle, waiting for him, and with the black arrow drawn, pointing at him, implicating the consistent hovering of Wolfwood’s presence during Vash’s everyday. At the bottom of the page, they’re drawn out of panel with Vash turning to Wolfwood and saying with an irritated expression, “You’re really following me everywhere, huh?” Wolfwood responds, “What, you got a problem?” Vash responds without hesitation, “Yeah, kinda...”

The second page starts with a new day. In the first panel, Vash is seen alone, weighing apples in his hands at a mart, with crowds passing behind him. In the second panel, he turns to his right and starts to say, “Hey, Wolfwood...” In the third panel, he’s startled from seeing a stranger, whom he’d accidentally called out to when he was expecting to see Wolfwood. He says, “Oh, you’re not him. Sorry!” In the fourth panel, the stranger walks off and Vash muses, “Right, he said he had something to do today...”

The third page begins with a close up of Vash's miffed expression, the continuation of Vash's thoughts, "Now that he's not here, this is just like how I used to be, but... It feels lonely somehow. Oh well, I'll see him again tonight, like always." In the second panel, it shows Vash walking through the marketplace crowd, alone. In the third panel, the door panel is a close up of the door opening with a peek of Vash's head. He says, "Wolfwood!" In the fourth panel, Vash is holding a bag of food with a bright smile and says, "Are you hungry? I got you something to eat today!"

The fourth page begins with a shot of the room, two beds being highlighted, one of them being made properly with the blanket draped over the bed and the other with the blanket folded and pillow sitting on top of it. There's no sign of Wolfwood. The second panel shows Vash with a disappointed look as he thinks, "He's still not here?" The third panel shows Vash putting the bag of food on the table. Stapled to the paper bag is the receipt with a written note "For Wolfwood." Vash's thoughts continue "He does like to stay out so, I guess there's no reason to worry..." The fourth panel shows Vash sitting his bed somberly with his thoughts continued, "It's not any of my business anyway..."

The fifth page starts with a close up his blank expression as he looks downwards, thinking, "Even if he left completely... That'd be understandable and better for him. I'll just travel alone again... like before... Huh?" The next panel shows Vash's composure break, tears welling up in his eyes suddenly, as he didn't expect to cry. He starts to sob, putting his hands to his face to quiet himself and wipe at his tears, as he says, "Ugh... Dammit... I miss h..." The last panel shows Vash leaning over into his hands, still crying, and in the back, the door swings wide open with a bam as Wolfwood walks through with the punisher swung behind him. He shouts, "SPIKEY! You in here?!"

The sixth page starts with Wolfwood confused, looking at Vash and Vash looks back, just as confused, with tears in his eyes and snot out of his nose. Wolfwood starts saying, "Ah? You..." No longer in panels, at the bottom of the page, Wolfwood takes the Punisher off of himself and starts to walk towards Vash, continuing with slight concern, "What's wrong with you? Did something happen?" Vash, hurriedly begins to wipe at his tears, denying immediately, "No! No, I'm fine! Nothing happened!"

The seventh page, Vash points towards the table, with a hand still wiping at his tears and he smiles as he says, "I uh got you food. On the table." Wolfwood looks towards to the table and responds, "Oh. I was getting hungry, thanks." He turns his head back to Vash immediately after with an uncertain expression, knowing the other wasn't responding to his concern, and says, "But, I know you're an idiot with this stuff, so I'm reminding you again. Don't brush it off if it's an issue, alright?"

The eight page, Vash's tears have dried and he looks to Wolfwood with a soft smile and responds, "Yeah. It's okay though..." A panel at the center shows a side view of Vash approaching Wolfwood. At the bottom of the page, with no panel, is a close up shot of Vash's hand, holding onto the edge of Wolfwood's jacket sleeve, as he says, "Because you're here now. Wolfwood."

The final page is a back shot of both of them standing next to each other, Wolfwood's head tilted slightly to the left, not fully believing Vash as he says, "That doesn't answer anything, Spikey." Vash responds, "There's no need to talk about it! You should enjoy your food. Let's have a drink too?" Wolfwood responds, "Tsk, tsk. Fine, yeah. I could use one." END ID]