#It literally doesn't make any sense

[project-sekai-facts]

What are the times when we could see that the events between the units do not follow the same chronological order?

Pretty much everything in 2023 pre-3rd anni is 1. Not in the right order 2. Not set at the same time of the year 3. Treated as though they are, mostly for the arc enders. It is literally impossible to order these events properly and it annoys me to no end. There's many, many other examples due to some events (e.g Curtain Call, Parallel Harmonies) having timeskips of several months, but the first ¾ of 2023 is the most egregious imo.

[taonpest]

Sometimes being an artist is feeling like a baker seeing a chemist making the deadliest liquid in the world and wishing you could make the deadliest liquid as well but you're a baker, not a chemist, and then you feel like your bread is worthless

[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.

[wasyago]

something incredibly self indulgent

[platoapproved]

for @dancinbutterfly who requested this, but also any non tvc book readers who may be curious... here's some excerpts from the scene in the vampire armand where a bunch of guys are bidding for which one of them gets to fuck amadeo and marius encourages it / treats it as a game / commands amadeo to kiss one of them while he kills him. imho this is a part of the text the show writers likely drew inspiration from for the idea of marius 'donating' amadeo.

for reference, these are all taken from chapter 5! so @dancinbutterfly you can direct your friend who doesn't believe this was in the text there.

how do i even begin to content warn for this, it's so fucking BAD. i guess the usual tva warnings for grooming & csa, sexual assault, pedophilia, kind of incest?, slavery, just... marius bein' marius y'know. (IT'S REALLY BAD. like i do just want to emphasize for anyone who has not read tva it's quite explicit and upsetting plz be aware):

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[basilbots]

Manifesting that by the time Moon actually decides to be there for his brother (which to make it crystal clear all this would entail is physically being there for Sun, he doesn't need to know what to say just sitting with him in the same room is an honest and welcome show of support that Moon has not attempted at all) Sun has gone off to hide somewhere so its too late

[jade-of-mourning]

sorry sometimes i think about mako and my heart hurts so much. this kid raised himself and his brother on the streets in homelessness and utter poverty from eight through fifteen, promptly after seeing the violent death of his mother and father. he turned to the triple threats because they couldn't survive as a pair of wretched kids without any adult support, and the environment forced him to turn into the exact character that killed his parents in a terrible twist of irony. and after sheer-fucking-luck hits and they aren't homeless anymore, their livelihood wavers on the outcome of what's a literally game to everyone but them; and after things are finally starting to look up and their team is going places and things just might be okay, his gradually stabilizing world unceremoniously expands and everything goes to shit.

and the city that chewed him up and spat him back out, ruined him as a child and took away his ability to stay afloat in a true sense of normalcy as an adult — when it's on the verge of destruction and falling to pieces before his eyes, he gives himself to save it with the full expectation to die. he went from the kid who didn't and couldn't care about anything outside of himself and his brother, to finding redemption for his younger self in his police work despite its injustice against him, to willingly sacrificing himself to a world that had never loved him.

he's a desperate people pleaser, socially and emotionally stunted for the adult he had to be as a kid, unable to navigate interpersonal relationships easily yet still trying his damned hardest. he's intensely and entirely devoted to the things that matter to him and for so long it was only him, bolin, and ensuring their survival — yet by the end, that devotion has expanded to protecting the rest of the world. he starts out entirely self-reliant and ends in trusting the people he cares about to know their own needs, to be able to take care of themselves, to be okay without him despite having spent so much of his life defined by his role in others' well-being.

just. what the fuck i'm such a big fan of this fictional guy and i'm unashamed about it at this point. also let him cry please (if you won't i'll do it i'll let him cry)

[epiphainie]

i can't with all these "the show is highlighting tommy's jealousy, they're planting seeds that it will cause problems" takes like bffr. he mentioned being envious over the 118's dynamic twice, sure, but in what world (literally how?) would that cause a relationship problem? do yall expect him to be in cahoots with gerrard behind their back and murder buck to take over his life or something?? like even with the hyperbole aside, i genuinely cannot see how they can turn this into relationship drama without going against everything they showed us with tommy so far

[mylonelydreaming]

I take issue with this idea of Link just "fucking off" and leaving Zelda completely alone before totk. Not even in just a shipping sort of way either, as close friends and him choosing to remain her knight, that makes zero logical sense? It is completely out of character for him?

Link doesn't ever leave Zelda's side. This is canon. "Fucking off" is just not something he does during peace time when he isn't on a heroic quest and being controlled by the player's whims

That's five times it's stated officially somewhere that he is by her side, and that's only the ones I can immediately recall. Botw's full ending and totk's opening together also show us that. We see them together when the story ends and we see them together when it picks back up in the sequel. At no point is it implied they ever parted.

And can we just remember for a second what happens when he's not there, for even a short amount of time, if she is unable to call upon her abilities and therefore defend herself?:

"Fucking off" is a fantastic way to get her killed. The Yiga worship Ganon, there is nobody they want dead more (besides Link), than the last living member of the royal family. They are also not opposed at all to going into villages. They snuck into Kakariko to assassinate Dorian's wife. We just don't see that reflected in gameplay.

Some people will say "it's just his job" to deny they even have a friendship or growth as characters, but want him to... not do the main part of that? "It's just his job" and "he fucked off to the wilderness" are simply not compatible ideas. Either you think Link is just a completely duty-bound mindless command robot or you think he completely doesn't care anymore about that to the point of endangering the person he's supposed to protect. It can't be both at the same time.

Thankfully, it's implied by the wording of master works, the cutscenes and the jpn version that he wants to protect and support her. That this is what he desires, even when the king is dead and he is immediately given the option to not do so anymore. That he is motivated by wanting to see her happy and safe. I'm pretty sure the only way to get him to stop trying to protect her or following her is death, and he has already proven that twice over.

[hyakunana]

Treasure Hunter Extraordinaire! ✨

[earthlyruins]

seeing people mischaracterize sanji will forever boil my blood but seeing people mischaracterize LUFFY and say that he only has sanji on his crew because he can cook actually has me wanting to kill someone HOW can you be that stupid. no genuinely how

[woefulstar]

sometimes id read a marauders fanfic with Indian james and wish i didn't understand hindi

[cieric-of-chaos]

i love Wanda Maximoff but not in the way wandastan love her "she's sooooo powerful she could beat ur fav actually 🤓☝️" and not in the way Kevin Feige wants you to know her "she is crazy and can't control her powers🥴🙄" but in a way I see her "she was a kind and soft person who hated conflict and violence but was born in a shitty country and she is (unwillingly) gifted a power bigger than her so she was exploited by everyone....and she wants to be love and accepted until she find someone who is an outcast (vision) like her and then he died and she's lonely again she try to move on but she can't until she had a breakdown and finally her loneliness and Years Mental turmoil finally take a toll on her and she finally breaks"

[blackhholes]

teen wolf meme: [6/6] creatures -> ghost riders

In storm clouds just like these, phantom hunters would appear, riding black horses with blood-red eyes, and wolves and hounds at their side, baying and snarling. What were they hunting? Souls.

[ihaveanaversiontodecisions]

seeing the "Jon isn't a poc character because white people make up most of academia and also the voice actor is white and his name sounds white!" tma discourse on twt makes me want to claw my fucking eyes out.

"b-but i j-just imagine him as white🥺"

*extremely loud incorrect buzzer*

[silusvesuius]

n*loth not being able to bag anyone over the (human term) age of 25-30 at most is the only logical and real conclusion to me because it can be just explained away as him wanting to prove and control everything and anyone (Cus he's a man!) but being stuck in that demographic because his unbearable and vile personality is a force that nobody can look past once they've outgrown the possible fear and idolization period of anyone but also n*loth in particular.