#for evident reasons!

[thedeafprophet]

Thinkin on the ambition stuff and tie ins, one thing that I look at with this stuff is how I think the game would do well with just having small, one off lines. Like....okay very spoilers for a couple ESs here

But to give example, I think the certain approachs that Harry Tuffs' ES do with tie ins would be good! For example with Adornment, the story ties in both Nemesis and Light Fingers at one point, in minor ways. Nemesis has you state whether you recgonize a character's story of grief being true or not from your own experience with such, and Light Fingers tying back to your experience with goals in theft.

Its small moments, but still gives you a different aspect with the text that makes it more adapted based on who your character is and what their background is.

Queen of Elephants also works in similar ways with not just ambitions, but with certain items, like being a silverer giving you different text options when it comes to Parabola. Its subtle changes, but those changes are good!

Tie ins don't need to be some big plot change due to having them. Rather, in a game like FL, having subtle changes that make the world adapt slightly to your character makes a big difference

Side note, I did not realize just how many options of variability there were in these stories adjfkgkgkhj:

[redvelvetwishtree]

[shizunitis]

svsss in a nutshell

inspired by this post

[bigfatbreak]

Hi! Does Alya really assume the worst of Mari in this particular chapter (like, quite often yes, she does, but in this case)? Or is it Marinette's interpreting it like that? P. S. Love your work!

A bit of both! Alya doesn't naturally think the worst of her, but Lila is good at manipulating her and the class into assuming Marinette is "messing up" pretty frequently, and Marinette's pessimistic attitude due to trauma means every time no one stands up for her against Lila, it just proves her own insecurities right and she considers it fact. When Alya jumped into lecture mode, it came from a genuine place of worry - but lecturing someone who already thinks you hate them won't lead to any good conclusion, just further hostilities, or putting her on the defensive.

While Marinette's feelings are valid, they're not 100% rational, but no one's proven her WRONG yet, since Lila plays the part of cuckoo so well. If Alya thought the worst of Marinette, she wouldn't have come to her for help during her argument with Lila - but as you'll see in the next update, Alya and Marinette had a blowup argument in the past that was pretty messy on both sides, leading to this cold attitude from Marinette.

[citrine-elephant]

what if: leon, but he doesn't know what to do with his body when anxious

[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

[gingerswagfreckles]

Things "The Zionist Lobby" (Evil Jews Who Control The World) have been accused of this week for literally no fucking reason:

-Starting and perpetuating the race riots in Britian

-Trying to steal the election in Venezuela

-Starting the rumor that the Olympic boxer Imane Khelif is trans

When will people wake the fuck up and realize people are using the word "Zionist" to mean Jews and going right back to blaming us for Literally Every Bad Or Controversial Thing On The Entire Planet.

[hadesoftheladies]

”you’re biased against men!” but am I wrong?

[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.

[sharkface]

If there are supposedly hordes of trans women sniffing out shy moody androgynous goth boys and turning them into extroverted freaky raver puppygirls explain why hasn't it happened to me yet. Am I not pretty enough

[hoofpeet]

Our ex landlord owes us 3 times the security deposit we paid him lmaooooo get FUCKED💥💥💥💥💥💥💥💥💥💥💥💥💥

[spartanlocke]

every time i say tumblr staff (and tumblr itself let's be real) made social media worse by never punishing harassment, allowing people to get comfortable pushing cancel and callout culture so they could harass and dehumanize anyone (especially minorities) they want without ever having to worry about consequences, an attitude they brought with them to other websites like tiktok and twitter after the 2018 porn ban....

This is what I'm talking about. tumblr staff doesn't give a shit if you're stalked and harassed, but if you're a trans woman posting selfies? instant ban.

tumblr staff has NEVER done anything to protect its users, but now they're actively participating in doing the harm.

[canisalbus]

I've been following you for years, and I love your art. Seeing you repost your older art pieces reminded me how much I loved the angry, bitter, miserable Machete art and how it resonated with me... but a part of me is also so happy to see the current art of him being happy. Cute art of him as a unicorn, or chilling in a bathtub with Vasco. Like, we're all growing and healing :')

[neversetyoufree]

Oh man it just hit me. Mikhail chose the amusement park as the setting for Noé and Vanitas's duel to make it easier for Vanitas to kill Noé.

I'm sure Misha really would like to find out why Vanitas killed Luna, but Noé realizes after the fight that the whole thing was largely just a ploy to make Vanitas kill him, and I'm inclined to think he's right. Noé is an obstacle in the way of Misha's fantasy of reuniting his found family, which means Misha needs him dead ASAP.

I also think Misha may be drawn to the idea of Vanitas killing Noé rather than doing it himself or outsourcing the job because it serves as some sort of twisted vengeance for Vanitas killing Luna (and possibly harming Misha himself). Vanitas killed Luna, who he was supposed to love, so surely he can just kill his new annoying replacement loved one as well, right? Surely Misha can make him dispose of Noé the way he once disposed of Mikhail's father, no?

The whole vanoé fight is orchestrated by Misha to ensure that Noé ends up dead by Vanitas's hand, and the amusement park is the perfect setting to serve that goal, because it's absolutely fucking filled with astermite.

Almost immediately after the fight starts, Vanitas gets far the hell away from Noé and goes after him with automaton after automaton. The whole amusement park is filled with massive astermite-powered robots that Vanitas can use to attack Noé without getting anywhere near him, and he takes advantage of that fact with speed and skill. And Misha knew he would do that! Mikhail has his own Book of Vanitas, and he knows exactly what Vanitas's powers are. He chooses the amusement park as a location for the fight in order to give his brother that advantage.

The more astermite a location has, the more effective Vanitas can be, and I'm willing to bet that almost nowhere in Paris could have offered him more astermite than the amusement park that Misha decided Noé Archiviste would die in.

[gwandas]

Bryce giving the starsword to Nesta and specifically telling her to go do something with it, and the fandom immediately launching into debates about which character is going to use the sword is so ???????????????????????????????????????????????????????????

[yea-baiyi]

reading xie lian’s POV is actually hilarious once you realise xie lian isn’t oblivious at all, he basically guesses most things immediately, he’s just taken the veteran autism tactic of “it’s too much effort to figure out when it’s appropriate to mention that i know something, so i’ll just pretend i don’t know until someone says it aloud”. sometimes it turns into a bit. the truth might be embarrassingly obvious, but social cues are hard, and xie lian has infinite time to wait for the other person to blink first.