#also full disclosure

[jstor]

i'm not gonna lie. i can't tell if this is legit or not but either way, i'm so happy to see you guys in tumblr. also that you guys like bg3 <3

It's legit!

And we're happy to be here :)

[meraki-yao]

I’ve seen no comments about Nick’s acting other than to call him out and make fun of him flubbing a line. So to then see people saying Taylor deserves credit for the scene? Not nice at all

With all due respect, you haven't seen enough.

Regarding Nick's acting in the scene, I myself have written posts praising Nick's performance (here and here) I've seen posts either praising Nick (here) or commenting on Henry's expression which is also inherently praising Nick (here) Plus in the tags of GIF sets of the scene and in the comment section of the Youtube video of this scene, there's more praise to Nick. So "no comments about Nick's acting" isn't true.

Taylor does not deserve ALL the credit for this scene, but Taylor does deserve credit because as passive his role is in his scene, you can still tell Alex is 1, listening very, very intently 2, very, very in love with Henry. It's easy to both underperform and overperform when in a passive role: you don't want to do too much that you take away the focus, but you still want to be present in the scene. He handled that balance really well. People praising Taylor for his role in this scene does not mean people attribute Nick's contributions to Taylor

Again all of my previous anon asks and answers are regarding Taylor's overall performance in the entire movie. I have to reiterate: the boys have different characters, therefore they have different jobs that cannot be judged objectively comparatively. Praising one for his performance in a scene does not mean the whole scene is entirely their contribution. Their scenes are a two-people job.

[arcsin27]

"p1 was okay ig" mfs be like

[bilerthetired]

after impulsively posting the first couple of pages of my comic I kinda forget to make more of these icons lmao. Anyway here’s Casey! The background is kinda plain but I like how it came out!

[vagevurig]

Cydamai September 2021 Event: Moloch (and Bloodsucker)

I am taking commissions! Check my pinned post.

[fantasybooktournament]

favorite tags:

#come on kkc fans rally#starless sea is the better Morgenstern book#polls

#oh finally a round where ive read both of them lolololol#night circus was fun and all#but im STILL thinking of name of the wind#night circus was kind of forgettable 🫣 (@asexualbookbird)

#I love them both#but kingkiller chronicle no contest (@happylittlesunflower)

#night circus night circus night circus night circus night circ (@nebulaofchaosandwoe)

#noooo please night curcus is losing :( i love it so much (@puzzledemigod)

[calmlb]

It’s been clear that the Tanizakis aren’t siblings from the very beginning

here’s some evidence now that it’s been confirmed canon…

everyone who’s read irl Tanizaki’s book knew that Junichiro & Naomi weren’t siblings as soon as they introduced themselves

BUT just because the Tanizakis aren’t siblings doesn’t mean you can’t feel uncomfortable about them. if you feel uncomfortable, GOOD. that’s exactly what they want

the Tanizakis, Mori— they all use these disturbing ruses to disarm or distract people in order to protect themselves, or to accomplish their goals. this is a writing device that asagiri commonly employs as a way to parallel the irl literature (it’s actually ingenious)

there are 4 main indicators that have always made it clear to me that Junichiro & Naomi are not siblings:

1. most obviously— their character designs. Harukawa is extremely intentional with character designs, & she very intentionally made Naomi & Junichiro look nothing alike

their eye shapes are purposely different

their color palettes are contrasting

even their differing styles of clothing have meaning

this was all done so that the audience could PLAINLY see that they’re not related— so that WE know that they’re lying when they say they ARE related

2. how the people around them respond to their act.

the general reaction is “don’t question it”— which is exactly what they want. “be distracted by how uncomfortable you feel so that you look away from what we’re hiding” (this is likely a protective measure)

3. most importantly, this is meant to parallel irl Tanizaki’s book “Naomi,” where the main character Joji picks up Naomi to raise her into his ideal woman, but since she's so young (& a minor) they call each other cousins (Joji makes no sexual advances on young Naomi btw)

however, his plan backfires because when Naomi gets older & they get married, she flips the script on him & manipulates HIM so that he's under her thumb (which is why bsd Tanizaki is at a domineering Naomi's mercy). Joji let her have her way because of his masochistic tendencies

4. lastly is the emphasis that Asagiri and the Tanizakis themselves put on calling each other siblings.

over & over, it’s “my brother this” & “my sister that”

like they’re desperately trying to convince us that it’s true (“don’t let your lying eyes deceive you”)

here are just a few of many examples from the light novels…

again, if you’ve read “Naomi” you knew that Junichiro & Naomi weren’t siblings as soon as they introduced themselves

just like if you’ve read irl Mori’s works, it’s clear that bsd Mori isn’t a pedophile

just like if you’ve read No Longer Human you know that Dazai’s an unreliable narrator. he makes you think he’s a bad person bc he believes he’s a bad person, but those around him see him differently (btw this doesn’t mean he’s never done anything “bad,” though bsd isn’t about morality— but that’s another discussion)

anyway, i’m so excited for the Tanizakis backstory to be revealed so that we can better understand why they use this defense!!

also let this be a reminder to READ THE LITERATURE if you’re able to!! even reading synopses & analyses of the coordinating books makes bsd make much more sense 🥹

reminder that this how you’re supposed to react while reading bsd:

also, if you’re interested in a post explaining how Mori isn’t a pedo, i wrote this analysis on twt. OR you can read this document that one of my moots sent me (remember: analyzing a character does NOT mean you condone any actions they may or may not commit!)

[azurityarts]

front-facing cyndaquil moments

[thevioletcaptain]

RIP Carmen, you were named after two of Dean’s favorite things ✌️😌

[fawn-tongues]

Loop sketches but I gave them an outfit based on an ink cap mushroom

[corvidcurse]

Silly idea I had

[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.

[reasonsforhope]

"The world's coral reefs are close to 25 percent larger than we thought. By using satellite images, machine learning and on-ground knowledge from a global network of people living and working on coral reefs, we found an extra 64,000 square kilometers (24,700 square miles) of coral reefs – an area the size of Ireland.

That brings the total size of the planet's shallow reefs (meaning 0-20 meters deep) to 348,000 square kilometers – the size of Germany. This figure represents whole coral reef ecosystems, ranging from sandy-bottomed lagoons with a little coral, to coral rubble flats, to living walls of coral.

Within this 348,000 km² of coral is 80,000 km² where there's a hard bottom – rocks rather than sand. These areas are likely to be home to significant amounts of coral – the places snorkelers and scuba divers most like to visit.

You might wonder why we're finding this out now. Didn't we already know where the world's reefs are?

Previously, we've had to pull data from many different sources, which made it harder to pin down the extent of coral reefs with certainty. But now we have high resolution satellite data covering the entire world – and are able to see reefs as deep as 30 meters down.

Pictured: Geomorphic mapping (left) compared to new reef extent (red shading, right image) in the northern Great Barrier Reef.

[AKA: All the stuff in red on that map is coral reef we did not realize existed!! Coral reefs cover so much more territory than we thought! And that's just one example. (From northern Queensland)]

We coupled this with direct observations and records of coral reefs from over 400 individuals and organizations in countries with coral reefs from all regions, such as the Maldives, Cuba, and Australia.

To produce the maps, we used machine learning techniques to chew through 100 trillion pixels from the Sentinel-2 and Planet Dove CubeSat satellites to make accurate predictions about where coral is – and is not. The team worked with almost 500 researchers and collaborators to make the maps.

The result: the world's first comprehensive map of coral reefs extent, and their composition, produced through the Allen Coral Atlas. [You can see the interactive maps yourself at the link!]

The maps are already proving their worth. Reef management agencies around the world are using them to plan and assess conservation work and threats to reefs."

-via ScienceDirect, February 15, 2024

[hexblooded]

natasha: d&d character profile

[tomaturtles]

Happy Campus Apocalypse volume 1 16th anniversary here's something to celebrate

[alkalinetrios]

my first fanart of käärijä! [reference]