#do i have evidence?

[spacealienrobot]

I am an avid believer of autistic Starscream

[threecheersslxt]

I don’t think anybody likes me anymore :/

[belphieslilcow]

I wonder if there's a third guy in here sometimes

[puppyeared]

who is your favorite AA character? 👁️👁️

ziska… I hope capcom brings her back someday

[datcravat]

It seems there's a new lawyer in town!!!

[letsplayeternity]

Honest question, I've been rethinking the whole "Colin has done the same with Penelope Featherington" speech Anthony gave to Daphne and his mother in season 1 and the fact that when Colin talked to his brothers in 3x05 both Ben and Anthony were like "I didn't have a clue" and like... do we think Anthony spent the evening rethinking every single interaction he has ever witnessed between Colin and Pen and every single instance where he let things slide because "oh that's just eloise's friend?" and just banging his head against a wall as Kate laughs her ass off??

[yuwuta]

you ask yuuta if he wants a bite of your food and when he says yes you offer your plate to him, but he’s just sat there looking at you with his dumb big bambi boy eyes and his mouth slightly open and he will not look away or blink or close his mouth until you lift your fork to his lips to feed him and then he grins like shit’s sweet and hums about how good the food is like nothing happened like he’s not ridiculously attractive. gonna chew on steel

[xxplastic-cubexx]

crusty evolution redraw. in theory.

[ohitslen]

*Vampirizes your Vashwood*

keep reading for more :)

If there needs to be much closer close-up please let me know!

[jellojolteon]

Saw the thing @ modmad was putting forth about what pokemon you'd realistically have as a first partner and had to jump on the will to draw while it was manifested lol I grew up on a few acres in an area that was mostly farming and mining and I loved helping my mom garden because we might find worms!!! There is not a shadow of a doubt in my mind that I'd have come across a few orthworms and wanted to be BFFs with the first particularly good-natured and patient (and small) one I found lol

Would have also been a lot of bugs and stuff because we had a small magikarp pond in the garden. The wild seismitoads would come lay their eggs in it. Bonus family purugly keeping watch just to make sure everyone was being nice to the 4-year-old

[wistfulwatcher]

[clairedaring]

Thank you Doctor, for the information.

SPARE ME YOUR MERCY | 1.02

[probablyaseamonster]

so insane about the Fairy Queen (or whatever the hell it is).

It takes no "disrespect" or "talking back". It wants you to stay. It will literally die without you. It is explicitly described as an elder. We are sticking to tradition because "this is just the way it is."

The Fairy Island is a place of pure nostalgia. Everyone who goes there stays young. You can live in the bliss and pretend everything's alright but the rules are set in stone and you cannot change or bend them.

Childhood is wonderful in comparison to adulthood, sure. But there's a reason being "treated like a child" feels like a dismissal of dignity. You could play and pretend you could fly and have zero responsibilities but there would always be an older figure holding you back, holding you down. You were never really free.

And leaving is hard, and painful, and you'll be leaving family members who love you behind. But you need to leave. Escape, even as the island tries to stop you. The human world will seem boring at times, but that island is a prison. You were never really free.

Hilda said a lot of things this season, about families and the different ways we love and hurt each other. But I was not expecting that the last reveal of the show would be that Johanna is not just the best mother in fiction, but that she also broke the cycle. By letting her daughter be free, by giving her daughter the same respect she'd give an adult. By treating her like a person. Like a human being, not a fairy. In the fairy realm, in nostalgia, and childhood, you were never really free.

[cozylittleartblog]

also in the face of people deleting their blogs, that's another reason why you guys are supposed to reblog stuff. if somebody deletes a post, your liked version will disappear, but the reblogs remain. i'm insane about preservation and archival, every single piece of art i have ever enjoyed is reblogged on my 450k+ posts main account so if the artists leave I still have their work. i even tag things (though just with the main fandom tag) so I have years and years worth of fanworks saved that the terrible general site search will never show you.

please reblog art. not just to support the artists who make it and share their efforts, but also so you have your own copy of their works saved for yourself, and the future users of this site.

[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.

[hivemindscape]

HAPPY BIRTHDAY SHOU!!!

Fluff for the occasion!!! set in 2015; in the current day and age he's turning 25 which is crazy, hope mans nailing adulthood

bonus air kiss to my fellow queers and especially aspecs: