#i am doing the ship tag though

[ready2-burst]

Day 3 - Stuck on a ferris wheel

A soft groan of agony left Noel’s lips, as he felt the first tiny dribble escape. “F-fuck-“

He bit down on his lip, desperately pressing his legs together and squeezing himself almost to the point of pain. Ricky kept his hand over his, letting out a quiet whine of worry as he looked upon his tortured lover. The seconds kept ticking by, with their carriage at the very top of the wheel, not showing any signs of moving any time soon. Fifty some feet off the ground, with a bladder full to the brim.

Noel was seriously starting to consider giving in…

WOOOO FIRST DAY DONE!!! this isn’t my best work, doing the proportions were HELL- and how tf do you draw the inside of a ferris wheel carriage??

fun fact: Ricky’s design was pulled from several different Ricky portrayals! the eyes hair and skin colour was from Alex, the fingerless gloves and tooth gap was Yannick, and the obnoxious orange glasses are from a recent production i watched :) and Noel is just Kholby Wardell, who simply is Noel.

check back for day 9!

[itsthatlake]

“Icarus.”

it's all about freedom really

Credit goes to An Sifakah for the poem. Enjoy!

Support me on Ko-fi maybe?

[starscream-is-my-wife]

Sometimes a day makes you want a Starscream to bite and squeeze

[aroaceleovaldez]

I was reading a post about CoTG and I realized: Rick has seemingly started to write every character pairing with the exact same dynamic, and he's not good at writing that dynamic and it doesn't make sense for 90% of the characters he writes it for.

It's that very specific dynamic of one half of the pair who is almost aggressive to the other party - "teasing" them constantly/insulting them, affectionately punching/judo flipping/maiming/etc, seemingly almost always exasperated with the other - and said other party usually just accepts this treatment or blanketly views it fondly, and may generally be framed as more incompetent than their partner and a little bit of a doormat (particularly relating to being insulted/teased/etc by their partner).

We start seeing this dynamic in HoO with Percy and Annabeth, as a sort of semi-inconsistent twist on their rivals-to-friends-to-lovers dynamic from the first series. Then the dynamic pattern develops further with Leo and Calypso. Then Magnus and Alex. Then Nico and Will, particularly in TSATS. And now in CoTG, it's Percy and Annabeth again but even more in this direction.

I know people have talked about Nico and Will's relationship over the series rapidly being shoehorned into Percabeth Two™, and it's extremely apparent in TSATS that Rick's doing it on purpose (including directly quoting Percabeth scenes but minorly tweaking them to be Solangelo). But recognizing it as an overarching trend in Rick's later books honestly reminds me a lot of how Rick started trying to apply the "Percy Formula" so-to-speak to nearly every protagonist in HoO (and then try to replicate similar character archetypes with Magnus and Apollo's narrations - moreso Magnus in being jaded and sarcastic, very much trying to be first series Percy. He only sounds unique because Rick failed at making him Percy 2. Apollo is more akin to later-series Percy characterization of being goofy and incompetent. Apollo [and Zeus] even got retconned to give Apollo a more similar backstory to Percy's). Rick seems to have decided that he thinks the audience wants this specific dynamic but 10 times over, except he's not good at writing it the first time because it's a bastardization of the time he did a different thing okay.

And Rick also seems aware of that too! Because he retconned Calypso and Leo at the end of TOA, probably because he realized how absolutely awful it was reading when they were written with that dynamic of Calypso just functionally hating Leo and constantly being aggressive towards him! The only time Rick's actually made the dynamic even semi-successful was with Magnus and Alex, because it actually fits within their characters, their dynamics with each other, and their environment. Alex beheading Magnus on the regular works out fine because there are no repercussions to that in Valhalla, Magnus will be fine, so it does genuinely come off as humorous. And Alex has been effectively established to be abrasive at times but have her genuine feelings shine through regularly, and that meshes well with Magnus' jaded-and-aloof-but-quietly-very-empathetic character. And Magnus has been established to, yes, not be great at combat, particularly compared to Alex. They are the only time that flavor of dynamic in that form was effective and cohesive.

Percabeth is no longer rivals-to-friends-to-lovers badasses on equal levels with shaky pasts who finally found some form of permanence with one another. Now it's super smart doting and affectionately aggressive girlfriend and her silly goofy 50%-of-the-time incompetent boyfriend who she judo flips/pushes off cliffs/etc - but affectionately~! Solangelo is trying to riff off of the early series "Poseidon & Athena are enemies" dynamic that Percabeth had but with Apollo & Hades being "opposites" but learning to accept each other, except it ends up with Will just coming off as a huge asshole and Nico being retconned to a complete doormat about it - when prior to that those characterizations would be completely contrary to their established characters (even just from TOA!). Calypso in HoO gets retconned from her PJO characterization to being snooty and aggressive, and Leo's false persona gets merged into his just normal personality except he just also becomes a doormat but more goofy than Nico with occasional haha-dark/depression-humor! Which Nico also got. Which was also a bastardized Percy trait that got redistributed.

It's exhausting. Rick write more than one relationship dynamic you can do it I promise

[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.

[bandtrees]

they would get divorced in one universe just to find eachother in another one

alternatively titled: sometimes you're the level-headed token flesh-head impulse-control-and-polycule-member of a stubborn, eccentric, and hearty telephone-headed drug addict, and there's cruelty in the world you deem fit to suicidally fight, and that either goes about as well as you'd expect it to, or you learn about love and the value of your life and junk along the way

[rin-solo]

Ages ago, I promised a sequel to my Ruthlessness sketches with my new Poseidon design, and well... See, I had a very specific vision for this, my beloved 🫶 favorite song in the whole entire musical. And I guess I was finally brave en- I mean, found the time to bring it to life. Enjoy 🙈🌊🔱

@glisten-inthedark look at what I've done now

[s1lv3rp4w3dc4t]

shout out object shows with canon queer ships. I'm talking on screen kiss or even just verbal confirmation. all things considered it's a bit strange you don't really see them that much when you think about how gay everyone here is. I love you ii but c2bc did what you didn't and I think that's actually really nice.

[butterflysonnets]

yes i'm rooting for m*leven breakup because byler is neat but mostly? i'm rooting for m*leven breakup for the sake of el and mike.

to me, their romance was always a puppy love born out of a combination of social pressures, naïve curiosity, and a lack of true understanding regarding intimacy and romantic love and what it really is. it was real in that they do truly, deeply care about each other and they are close friends, maybe even shared an attraction, but a maturing romance is so much more than that. they've grown up and out of being boyfriend/girlfriend, and that's okay! i think television/film needs to show more often that most of us don't have definite "soulmates" or first childhood loves that we spend our whole lives with. it doesn't mean these relationships meant nothing and didn't impact us, it just means they've run their course and that something else is in the cards, and this is part of life!

i've always felt el was at her best and most confident self when broken up with mike, discovering who she was and what she liked alongside another girl her age instead of just relying on mike for mentorship on how to live in the real world. she deserves more of an opportunity to find herself, her autonomy, and her independence, and to love who she is, and she's made it clear she's felt insecure in the relationship with mike because she isn't being loved and understood the way she wants, needs, and deserves from someone who is her partner.

also, it's okay if mike doesn't love her in "the way he should". he is not obligated to love her romantically and stay in a relationship with her just because she's a girl, because she "needed someone", or because he cares about her a lot. he shouldn't be pressured into a romance if it's not truly coming from his heart. he deserves freedom to find out and honour who he is, too, instead of just staying in his non-functional first relationship — one he got into as a child, essentially — and defining himself that way because it's what's expected when a boy and a girl are close. he loves her in some way, yes, but it's okay if he doesn't feel comfortable or secure being her boyfriend anymore, for whatever reason that is. he's felt insecure too, and that's valid and it matters.

they are their own people and are steadily growing and changing every day. they need time to figure out who those people are, and it's become clear (at least in my opinion) that those people aren't meant to be a couple at this stage.

they deserve freedom. they deserve to grow up and be authentic to themselves and not feel like they need to lie for the sake of a relationship. they deserve to move on from this version of their relationship that isn't making them happy and rekindle the best part of their bond: their strong, beautiful friendship. they don't have to be a couple if it doesn't make them stronger and better and happier people.

i think it would be healthy and wonderful for a show, especially one consumed frequently by young adults, to show a relationship starting, progressing, and ending on good terms in this way. sometimes things don't work out, and that is okay.

[marimeeko]

Izuku goes back to classes and the kids eventually notice that GEMG Dynamight hasn't interrupted Midoriya-sensei's classes in quite a while. Midoriya-sensei, oblivious fucker as he is, realizes that they are right and wonders. (Katsuki is still driving him to work as usual, and he still sees him when he takes a patrol shift, so it hadn't registered) Izuku chalks it up to Katsuki just being a busy hero during the day.

Anyway, conversation wanders, the kids find out that Midoriya-sensei has a date later!

They all get excited, and they start asking him, where is DynaMight taking him?? "Are you going to get him flowers, you totally should, Midoriya-sensei!"

Izuku stalls out, looking at all of them confusedly, and says "guys, there's a misunderstanding, I'm not going on a date with Dynamight...?"

Class loses their shit, and ask him WHAT DO YOU MEAN?!

And Izuku has to awkwardly explain that he is dating Uraraka/pro hero Uravity

And in a total shock to Izuku, the class loses their shit again and are like WAIT YOU AND DYNAMIGHT BROKE UP?!! WHEN!?!

Izuku is deep in the shit now and has to tell them that they were never dating and the class DOESNT BELIEVE HIM. Their entire worldview has been shifted with this information. They literally thought that Sensei and DynaMight were 100 percent dating. Why else. WHY ELSE would Dynamight crash his classes, come do guest presentations so often, and flirt with him during lunch??

Cue a weird play on the Parent Trap where Izukus students try to get DynaMight and Sensei back together, lmao.

[pelman]

Please reblog for more exposure! Also, this isn't an offer to start debates in my replies or reblogs. Express your opinions as loudly and perhaps violently as you'd like, but just to yourselves, not at one another. If you try to start an argument, regardless of what side you're on, I'm blocking you. This is just to gather Tumblr's general opinion.

Anyone on either side of the debate can interact with this post, given that this is a neutral space.

[nostalgia-tblr]

"are people not into that?" i ask, after posting my weird niche shit to the internet, despite knowing it to be weird niche shit.

[wolverineheight]

get his tits out gmonday (this is not ship art ty)

[t1oui]

hi everybody i'm having some thoughts right now and i need to share them. mentions of walburga black's a+ parenting in this fic idea so do be aware of that

what if regulus's parents send him to "conversion camp" after he comes out as trans but the conversion camp actually turns out to be a safe house for queer kids run by effie and monty that's masking as a conversion camp so homophobic parents send their kids there.

so reg arrives dressed up in a nice dress and with walburga aggressively using she/her pronouns and his deadname and the second she leaves effie is like "well that sucked, why don't we get you some more comfortable clothes and you can tell me your actual name?" and regulus is like oh. oh this is the best thing that's ever happened to me and my parents are idiots

i'm envisioning that the place is a farm and so the only rules for kids at the safe house are 1. be nice to each other and 2. find something to spend your time on every day that's not just a device (it doesn't have to be farm related) (this is a muggle au if you couldn't tell)

and ofc because it's effie and monty's place james is there and he likes helping out on the farm. reg takes one look at him and is like yeah ik i was gay but this man confirms it

☆

that's all i have rn as far as plot and story (i mean james and reg fall in love obviously but other than that idk) so here's intros to the cast of characters and their roles in the story !! (this is my favorite part):

james potter (18) - he/him pansexual (+ maybe ace) - son of effie and monty - helps out on the farm

regulus black (17) - he/him gay & transmasc - sent there after coming out as trans (or just after walburga finds out bc let's be real he probably knew not to tell her) - currently trying to figure out his hobby

sirius black (18) - he/him gay - knew james in school, came here after fight w/ parents when he was 16 - makes art

remus lupin (19) - he/they bisexual & transmasc - father disowned him and his mother, with the best of intentions, sent him to the farm when he was 16 in hopes that his father would reconsider cutting him off - works in the garden/greenhouses, helps with the bees

barty crouch jr (17) - he/him bisexual demiromantic + hypersexual - sent there at 15 by his father after some scandal with another politician's son - makes pottery, some of which he sells at the farmer's market every saturday

emmeline vance (19) - she/her queer - sent at 17 by her parents after they caught her with a girl - works in the orchard & cooks

marlene mckinnon (18) - she/her lesbian - lives down the road and comes by to help james

lily evans (18) - she/her lesbian - sent at 15 by her sister after her parents died and petunia got custody of her - makes her own clothes and sells them at the market

mary macdonald (18) - she/her bisexual - adopted by the potters at 13 after her parents died in a car accident - looks after the goats and llamas & helps with the horses

pandora rosier (18) - she/her pansexual transfem - sent at 17 after her parents found out she was trans - works w the horses

evan rosier (18) - he/they biromantic asexual & bigender - sent at 17 after their parents caught them wearing "girl clothes" - writes + draws, helps rem with the bees

dorcas meadowes (17) - she/her lesbian - sent at 17 (a few months before reg) after her parents caught her watching... adult content of two women - makes & sells bouquets, effie helps her <3

peter pettigrew (18) - he/him aromantic (NOT ace) - marlene's next door neighbor, has had sex with barty multiple times and these two fuck in the WEIRDEST spots (poor james keeps catching them :')) - helps emmeline in the orchard

severus snape (17) - he/him bisexual transmasc - sent by his father at 14 after starting to present as a boy - cooks, helps lily with her clothes making sometimes, writes sad boy poetry (/half joking)

narcissa, alice, and xeno will also be in the story i'm just not sure exactly where they fit in... xeno's another neighbor and narcissa's a former safehouse resident who's now living w alice but that's all i know rn

☆

now as for SHIPS...

so i know there will be jegulus of course, and since sirius is totally going to pine for gardener/beekeeper remus wolfstar too. i want rosekiller, but because of barty and peter's dynamic, i'm thinking romantic rosekiller w/ sexual party and queerplatonic... peter x evan (idk their ship name 😭)

as for the GIRLS... omg i have so many thoughts guys AAAAA

first of all i cant decide between pandalily and dorlily for lily and i don't want a triad (i don't ship panda x dorcas) and i don't want both so that's... rough

and then there's also marylene.... BUT DORLENE-

i wanna put sev with someone (ik he's not a girl but i'm having thoughts for him rn)... maybe he smooches w emmeline?? but i feel like she'd make fun of him 💀 (in a joking way but yk)

or maybe emmeline could go with mary panda with lily dorcas with marlene... and... sev with xeno?? guys am i a genius

so yeah other than jegulus, wolfstar, and partyvan idk what to do. live laugh love multishipping am i right

[hypmicdaydreams]

is anyone still in the mood for a hypmic imagines blog these days lol

[microwavetoaster-selfships]

Thinking about New Years with my F/Os is so silly. I am really tempted to perhaps do a little headcannons post on how we'd probably spend New Years together with a good handful of them even though 95% of it will be mostly just same as any other day until midnight begins to creep up!

But I am doubly giggling thinking about it with my British F/Os Finn and Axlerod because I'm going to be like "Yeah, we don't have to do much! We can just watch the ball drop or something if we don't fall asleep and- hol. Hold on. That's in New York or something isn't it. Does UK cable TV televise that. Do they do something in London like how they have the big Christmas tree there. I'm sure someone will be illegally streaming it on YouTube or something anyway."

Assuming I MAKE it to midnight. My sleep schedule has been a little wonky this past day or so but that's because I haven't been giving myself my routine wind-down moment where I turn off all my lights and put my phone away(mostly, I will still check some notifications like texts or discord, maybe Tumblr) at like 8-8:30pm-ish and just watch TV. Typically a Jerma stream.