#(tagging because yeah obviously)

[lucabyte]

On autonomy, and what it means to be Obliged to Help.

Bonus:

[aaaaaaafrogs]

Finally finished my most ambitious Hatchetfield project yet. Every box in the border represents a different Nightmare Time, as well as Hey Melissa, Trail to Oregon, Workin’ Boys, the BBQ monologues and Peanuts the Hatchetfield Pocket Squirrel. The three large boxes at the bottom represent the three main musicals. It’s 18x24” and made with sharpie :]

[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.

[ratatatastic]

the things ekky has done or said that i cant stop thinking about. the 4 minute cut.

[babychosen]

serendipity (Ch. 1/3, 2631 words) by Anonymous

Rating: Mature

Pairing: Angela Giarratana/Amanda Lehan-Canto

Summary: Two strangers, a kiss cam, and a free romantic getaway - what could go wrong?

i would like to dedicate this to (or just shoutout) the following people:

@sage-lights, @unknownteapot, @xxsuicidalravenxx, @okiankeno, @poppyfamily, and @shesmore-shoebill

big BIG thank you to all of you for writing fic and being supportive of this little amangela community. i would have quit fic a long time ago if it weren't for all of you incredibly kind folks and your inspiring works (and words!!)

[wyvernity]

sss day my favorite national holiday WOOOOHHHH

bonus

[raviola-triggers]

He stayed in the shrine with Miko after the second betrayal

[punctuation-completionist]

okay, so, i just realized i never said this, but if i ever reblog something from you and you want me to take it down, please do just shoot me an ask explaining which post it is and like. try to make it clear that's what you're getting at (ie, if you just send me "fuck you never reblog my stuff i hope you die" i am not going to understand that inherently as a request and more of as a dick move)

because, genuinely, i don't wanna be reblogging something that you're uncomfortable with and if i ever fail to read the room, it's probably a mistake and i would love for you to tell me that i made one.

[clegfly]

I’ve… I’ve been thinking lately…

[homehauntsyou]

hate interacting with the widespread fandom about 05x16 for obvious reasons but it is such a key episode to me like. sam sees a memory of dean and his mother. he could be jealous of their relationship, instead he acknowledges the familial pressure dean has experienced since he was a toddler. dean sees a memory of sam leaving for college (and also being disowned!! and by proximity, by dean too!!!). he tells sam that this was the worst night of his life, he does not acknowledge the struggle sam must have also been experiencing. it’s so crucial to me in the way that they consider their relationship to each other where sam is willing to accept/recognize dean’s struggles and try to help him, but dean isn’t, because he views that as proof that he “failed.”

[chaocollective]

thinking about the trans apollo justice tag on a03

theres really not enough going enough on it. most of it is just porn. which is cool and all, but I'm tired of sorting through the tags down to what I want to read and getting about 20 results; and almost all of them being oneshots or being almost completely irrelevant to the fact apollo is trans in the story.

I get it that sometimes transness doesnt have to be the main point of a story. but like... it affects so many facets of your life at the time and I wanna see that explored in my favorite media.

so I'm thinking im gonna just do it myself, like a story that's relatively canon compliant, following the events of aa4 and maybe aa5/6. I dont know about those though since I havent played aa5/6 yet and I'm currently stuck on turnabout corner in aa4. either way I'm thinking I'm gonna write a sfw trans apollo justice fic. autism blast go go go!!!

[front-facing-pokemon]

[slavhew]

fun fact the word "dirk" sounds exactly like the root of the croatian verb "drkati" which means to jack off

get the dirk brush here

[sainteclectic]

and btw since I'm posting a lot of wholesoul content (intended as platonic but still), i do want to make it clear: my analysis of whole as a character is purely within the narrative of the story! while i am aware that behind the metaphors is whole is cj himself, that's never what i'm writing whole as in my work. basically I'm using the internal logic of the fiction (whole as viewed by the characters in the album) rather than the reason for the fiction existing (as a fictionalized version of chonny's mental state), just like i do with all the other characters. it's important to make that distinction when you're dealing with a piece of fiction so heavily based on the creator i think. I'll never use cj as a basis for how I write whole because I find that a little off putting tbh ^^;

basically I'm playing with touys. ok? play touys with me

[shalom-iamcominghome]

This isn't, like, the biggest deal, but I do find it funny when people are almost... surprised or shocked that converts unironically believe in judaism and also unironically align themselves with jewishness. It's just something I've seen a small handful of times and it's like... of course I (and others!) unironically believe in this stuff. I'm not putting in this work because I don't have enough going on in my life

[nilsford-prattle]

The Faint/Bowie thing was originally a Sanmos thing but DEIMOS LOST HIS MOUTH-

I have yet to learn how to portray his silliness without a mouth

Should I still finish this?