#I opened your eyes

[your-girl-circe]

When I see posts like "At least we look the same moon" and stuff like that, first of all, I LAUGH, and then I get so mad.

LIKE PLEASE! STOP BEING THIS KIND OF TYPICAL MISERABLE STUPID WOMAN WHO INSTEAD OF BLOCK AND CUT THE SHIT OUT OF THE MAN THAT BROKE HER STARTS TO UPLOAD STUPID QUOTES.

[wheatormeat]

If there's anything I've felt about ace attorney since playing through the original trilogy, it's how cheated I've felt about the fandom interpretation of it. Y'all were so caught up with your gay boys and your Miles Edgeworths I didn't realize how much of this game was about WOMEN. THE CORE OF ACE ATTORNEY IS IN ITS FEMALE CHARACTERS. From Mia jumpstarting Phoenix and guiding him throughout the whole trilogy even after her death, her presence being the primary connecter of Phoenix and Maya, Maya and Godot, heck even Dahlia and Iris and the whole lot of them. From Franziska's earnest faith and consolation of Miles Edgeworth, even begrudgingly, pulling him out the trauma of his childhood with the face to face confrontation of a bullet wound in the same spot as the man who killed his father. Lana and Ema dragging Phoenix back into the thing he does best. Lana and Ema who's tragic story lies in a pair of sisters ruined by the heinous law system and their unconditional love for each other. Dahlia and Iris with a different version of sisterly tragedy, struggling through generational trauma in separate settings and support systems. The matter of the Fey tradition looming over the entire narrative and all the legal and social terror that comes with it. CAN WE TALK ABOUT THE ACE ATTORNEY WOMEN.

[kiwinatorwaffles]

every aromantic person who has to witness someone say “there is no non-romantic explanation for these characters” should be financially compensated

EDIT: if i see another one of you fuckers arguing “but sometimes they ARE just super romantic” i’m tired of being nice. i’m just gonna let you know that 1. amanormativity has rotted your fucking brain and 2. it’s people like you that are the reason why aros are suffering. other aros you are not absolved of this. just fucking listen to us for once and stop denying our experiences and pleas.

[valtsv]

[feluart]

I just need him to be happy thank you

[puppyeared]

my attempt at making a fursona

[banemaus]

ignore… that i only draw him ever… please. had to figure out how his burn scars work

[dipperscavern]

Imagine cregan hearing the baby cry in the middle of the night, and he goes to the crib, shirtless with just sleeping pants on, and just hold the baby and calms them down ): father cregan is great when it’s toddlers and older but no one talks about him with babies enough <3

this went straight to my ovaries omfg. please father cregan

it’s the middle of the night and you both are exhausted. you especially, considering you gave birth only weeks ago, and your body is still recovering & takes extra rest to do so. cregan is aware of this, so when your babe begins to cry (as they always do during the hour of the wolf), it has cregan (unfortunately) shuffling you out of his hold to get up.

doesn’t even bother putting a shirt on, only in sleep pants as he’s reaching for your pup and holding them. them feeling his warm skin & small coos to “hush your mouth, (lass/lad)” because they “don’t want to wake your mother, do ya?”… and they instantly calm down :((

babies just gravitate to him. always calm/calming down when he’s around, because he’s so safe. just like how animals can tell when a person is safe, babies do the same — and they always reach out with their little hands for cregaj :(( he always obliges and cradles tjem in his giant big strong beefy thick muscled disgustingly in need of being licked clean by dipper arms

[poorly-drawn-mdzs]

No time to play. You are being sent away.

[First] Prev <–-> Next

[yunyin]

This was my original Loveybug sketch, but when I was finishing it, it just wasn't working for me! I like it as is, but I think the other one worked out for the best.

[dadailybocch]

Is this joke still a thing or am I late to the party like I usually am? 😅

[shepscapades]

[Part 1] [Part 2] [Part3] [Part 4] [Part 5] [Part 6] [Part 7] [Don’t Let it Reach the Heart]

Most of the words written here are again lyrics from Joywave’s Destruction, but throughout lyrics here and there, I plan to incorporate a little bit of dialogue! I’ve been playing around a lot with lighting and fun poses and stuff, so this has genuinely been a blast to work on :] Expressions have always been my favorite thing to draw but uh. There’s something particularly special about getting to draw chill/stoic characters like doc and etho um. Going Through It >:3 (Same with X but we’ll get there later)

Still don’t know how many parts this will be, but I’ll be updating each part as everything comes out! :]

[chaosfantasmic]

It’s wars angst hour boys.

[hauntingsofhouses]

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.

[narikill]

aughdhshfjjsjcjdjfjsbgsknfjs <- leshy in this art probably

[sorrelpaws]

i support womens wrongs