#<- making this a tag for future me

[ad4m-bit-th3apple]

@slaterdevil

*chucks him at you*

[butchfalin]

the funniest meltdown ive ever had was in college when i got so overstimulated that i could Not speak, including over text. one of my friends was trying to talk me through it but i was solely using emojis because they were easier than trying to come up with words so he started using primarily emojis as well just to make things feel balanced. this was not the Most effective strategy... until. he tried to ask me "you okay?" but the way he chose to do that was by sending "👉🏼👌🏼❓" and i was so shocked by suddenly being asked if i was dtf that i was like WHAT???? WHAT DID YOU JUST SAY TO ME?????????? and thus was verbal again

[evilmafuyu666]

[scooterscoob]

working together is all we can do.

[ash-and-starlight]

(late) kinktober week 6: dilf zukka + strip pai sho

just in case you’re wondering how the spacedilves from mercy of magpies will be spending their honeymoon

[mossy-box]

Some more art for @somerandomdudelmao ‘s au. I love his new fit.

[kurikorso]

who died and put you in charge?

[remxedmoon]

(You don’t know how much longer you can do this.)

hi the wip for this was absolutely not supposed to blow up. why does that have 1k notes. horrifying. anyways!!!! it’s update time baby!!!! 64 new assets this time around!

so that’s what the caption was supposed to be. this update was already pretty damn big and took a ton of time to make!!! and i was finally done!! but then my hand slipped and now we’re at 143 new assets. super sorry for the delay! That Was Not Supposed To Happen.

i’ll go more indepth below the cut, but this update encompasses all menu/profile art for both isat and sasasaap, battle portraits for sasasaap, every single pixel icon in isat (to my knowledge anyways), the dialogue skipping animations, and a few miscellaneous additions.

also i spent too much time on these to put them below the cut so Please God Look At My Icon Resprites I Spent 16 Hours On Them. enjoy!

okay first things first. why the hell is this batch 143 assets. so. i HEAVILY underestimated how many times the menu drawings are used in the games. even removing all of the custom art, it’s still ≈30-40 variations! that’s a lot! and once i finally finished everything, i got Posting Anxiety and somehow convinced myself that attempting Animation And Pixel Art (two things i haven’t done in YEARS) would be easier than writing a normal post. so here we are.

the custom art here is pretty much par for the course at this point. extra menu art for bonnie, extra expressions for the party in act 5, we’ve done this enough times that it’s expected. i am aware that bonnie’s custom menu art gets completely covered by the ui. i kept it in because it’s really funny (and also i didn’t feel like extending the sprite (but then the sasasaap version forced me to extend the sprite anyways so Whartever)).

once again, provided a spritesheet for sasasaap’s battle portraits! i do intend to cover both games, it’s just a slightly lower priority atm. unlike isat though, i’ve got Less (read “No”) experience with sasasaap, so there might be more issues with those assets?? apologies if there are, i’ll try to fix any issues that come up!

the Miscellaneous Additions i mentioned above are the sprites used on the teleport map and the loading screen, which is just a tiny version of the skipping animation. they were pretty small, so i figured i might as well get them out of the way!

not actually much to say about the 75 icons surprisingly! i haven’t done pixel art in about 5 years?? and that’s a Travesty actually these were super fun to make. i did make mockups for the overworld sprites earlier, but they aren’t Officially part of the redraws (yet) so they’re getting posted seperately

and also!! some exciting news!! this project might actually become a Proper Published Mod pretty soon!! i’ve been in contact with someone who’s willing to help me get everything set up, and i’ll be getting a Usable Computer around the end of the year!!!! it’ll still be at least a month before it’s up (i’d like to get the enemy art finished beforehand wauaua) but!!! still exciting!

okay, i think that’s everything relevant to the update!! i Definitely can’t fit all of the relevant assets here lol. but i’ll try my best ! please enjoy !!

[me-beef]

We need help!

My wife @astrmastr and I need help moving to the EU!

We’re two transgirl/nonbinary queers stuck in the conservative Midwest!

Unfortunately, we’re already living paycheck to paycheck as it is. I’m incredibly blessed to have two parents that are willing to dig into their retirement fund to help us, but I want to take as much financial strain off of them as possible.

I’m offering pay-what-you-can commissions over on my Ko-fi!

You can find more examples of my work on my art blog!

If you have an oc, a pet, a friend, or a silly idea, toss a couple dollars our way! You’ll get some neat art, and you’ll help us move to a safer, more supportive environment!

We also sell stickers! We can even take custom orders!

Get your blorbo made into stickers! And then stick them in places!!

If you have the resources, please consider a commission or donation! If not, consider helping us out by reblogging or sharing with your friends!

[oldbutchdanielcraig]

btw i do think we should have more movies about lesbians who are fully realized complex characters who ultimately achieve happiness in ways they may not even necessarily deserve and get to ride into the sunset with their lover because lesbians deserve to know that a happy ending is possible despite how unrealistic it may seem and despite a world that doesn't understand or support them. and i think these movies should depict sex and fetish content because it's hot and because lesbians deserve to know that no matter how messy or "weird" their desire seems it's real and it's even worth celebrating. and if you don't agree. well. you should not be allowed to watch movies

[thatkoiboi]

Part 2

Previous | Next

This is a fan comic inspired by Cass' Apocalyptic Series and is just my own little fan art of how Donnie and Casey could have gotten closer!

The creator is @/somerandomdudelmao

hebehjeabaje I did a warm up doodle of Mikey on the canvas and liked it so much I wanted to incorporate Mikey somehow (literally made up an excuse just to drop a bunch of easter eggs for fun).

[lucabyte]

heres your highly requested fluff you fucking animals

[nonbinary-vents]

This has been an absolutely horrible couple weeks for the Jewish and Israeli community, so I want to throw in at least a tiny bit of hope in here. Amina Hassouna, the Bedouin girl who was severely hurt in Iran’s missile attacks, has been recovering well and seems to be in good condition! She is described as being ‘fully conscious’ and ‘communicating and smiling’. Two bomb shelters have been placed in Al-Fura, the town that she and her family are from, as well.

[soulzerofever]

BEHOLD!! THEY ARE HOLDING HANDS!! :D AND!! they're up on my shop for preorder until feb 28th! (i'll also have some extras WOOHOO!!) click here! happy anniversary stobotnik i mean first sonic movie

[journey-to-the-attic]

one thing about ik is that she will always reach out

[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.