#im not wrong though.

[thankstothe]

this show rewires you fundamentally in 60 seconds and then just goes on to have more seasons. audacity

[kendyroy]

still not over how cute worstie logan is in deadpool & wolverine. like i’ve never seen logan giggle, snort, laugh, smile this much ever.

wade wilson’s power honestly. look at how he’s got this man acting…

[yayee-prsp]

*wedding bell

ringing aggressively*

[mouseplaid]

the fact that deadpool lives in a one bedroom with a roommate and yet he still invited logan to move in with him...AND HE ACCEPTED...im never going to be over this

alternatively: this really is the current state of the housing market

[inkskinned]

it is the first snow today. i think we should all have off work, even though it didn't stick. i think there should be 4 national holidays, one for each season. happy first snow, go home and make cookies. for spring it can be the first crocus. for summer the first lightning bug. for autumn, the first golden leaf. go home, kiss your dog, feed your cat (who is absolutely already-fed but somehow still starving.)

i think we should all take more showers together, but i mean that in the soft way. i mean it like taking a nap. two years ago i had 5 adult friends in my queen bed, all of us laying across each other, head over belly over thigh over hand. any time one of us would giggle, it would ripple over each of us, like pulling on a spiderweb. kim actually needed to nap and didn't get to sleep and i am still sorry for it even though this is one of my most precious memories.

i think we should all wash each other's hair, i mean. i walk my dog and i watch someone put up twinkle lights around their front porch. alex and i just moved, and i love the neighborhood. already so many of our new neighbors have stopped by to say hello. the nice lady downstairs also collects plants, like me. she gave us her number on a pink post-it note. i am trying to decide whether to make her cookies or brownies.

i am going through a very hard time. something bad happened this weekend that i do not wish to discuss. it is hanging over me. i think of the green ribbon, and the woman who had her throat cut. it feels like that sometimes, inside of my body. like i am walking and talking despite being half-corpsed. like i am hanging on by a ribbon, standing on some kind of cusp. i keep saying - at least it wasn't worse. we are so lucky it wasn't worse. the idea is river-rock smooth now, all the edges worried off.

in this very dark night - the sun sets by 3 now - people don't need to, but they try anyway. they paint the missing light into things. i have an embarrassing number of missed calls and texts, but i feel the love from them nevertheless - hey. if you need something, i'm here. i will bring you food/puzzles/anything. i got you.

i think we should all have a big group chat where we do errands with strangers. this week i got lost in a home depot, which is wild because i'm a lesbian and we are actually hatched in a lowe's lumber section. there were two other women in the whole store. we ended up shopping together, at first by accident (we all needed things in the same aisle), and then because, well, why not. one of the ladies was taller than me, so she pulled down the screws i needed. i am agile and have the personality of a raccoon, so they sent me after anything below 3 feet. we talked about holiday plans and never learned each other's names, but did learn all the drama about each other's families.

i am making you cupcakes, because i have so much affection i want to pour it into batter. you ask me if i am eating enough per meal. i wrap your gift twice, trying to do it prettily. i get excited to give it to you, just because i hope you'll be excited too.

my parents drive an hour just to see the new apartment and to do the parent thing; standing in the kitchen saying things like "oh you'll get so much use from this dishwasher" and "well, you could paint that" and "when your mother and i moved it was uphill both ways and in a snowstorm and of course your brother was an infant." my mother brought me a plant for housewarming. i always say i love you before she leaves.

i play dnd on tuesdays still, after all these years. we all keep that night free. at one point, between grad school and marriage and all of it, we had to have a serious discussion about how to keep it running. we will keep going, we decided eventually. just to see each other, even if we don't play - you are all important to me. sebastian is not prone to affection but last night he stole my usual sign off - i love you all, be good, he said. he was laughing.

i don't love the winter, actually. i like snow in theory, but i grew up in the north, and am too-familiar with the season of "mud and sludge". i don't like being cold. but i do love something kind of soft and rare: every year around this time, people remember oh yes. you and i are human together. and i have love to spare.

it is the first snow, and something in my heart is finally warm again. i have spent what felt like the last 18 months just going-through-the-motions. it has felt blank and immediate, like i would never actually feel again. that sounds extremely trite and stupid - but that is the boring and familiar experience of depression. life just washes up against your windows, and you watch it happening. you see things that should be lovely and affecting, and it just whispers too-thin. i was desperately uncreative. uninterested in my hobbies. unimpressed by my writing. i told my therapist, often, i don't know how to find hope again.

almost sheepishly, something strange and lovely is burning in my chest. i keep not-looking at it, worried it will scamper back into the shadows again. it is skittish and wild, but it is so warm i want to sink my hands into its fur and feel it breathing. i love-hate it: if it's real, it can hurt me when it leaves again. but i am icarus-born, sun-lover and poet: i can't help myself. despite my best intentions, i am falling in love with life again.

i am planning to make cookies for my friends. alex and i are going to go christmas tree shopping. we picked out matching dish towels last night, and they have little mushrooms on them.

i love you. it does come back. yes, even after a long time. even for you. i promise. keep trying. you will wake up and it will be a day you can smile about.

write me when you get there. we will take the day off of work, and i will wash your hair, and we will both be laughing.

[puppyeared]

act 4 :(

@chipper-smol and i came to a realization

[valtsv]

idc about "toxic traits" or "red flags" whats your fatal flaw

[carnivalcarriondiscarded]

im a simple guy! i think about puppy Barnaby. i promptly explode into bloody heart-shaped confetti

[gooptroupe]

birthday family reunion

click for better quality, sketch + closeups under cut

btw the recipe techno used is one nikki gave him ((he messed it up horrendously) they still eat it tho)

[abyssal-ilk]

since i'm talking about bull today, i think its a bit of a mistep to say bull turning against the inquisitor in trespasser is an act of revenge for the death of the chargers. this isn't a result of the inquisitor betraying bull or hurting him. it is a result of the inquisitor reaffirming iron bull's place within the qun. it isn't something that the inquisitor "deserves" for killing a group of beloved soldiers. it is simply the consequence of choosing a political allegiance- the qun- and enforcing the idea that a small part can and should be sacraficed for the greater whole. the chargers can be sacrificed for the inquisiton, the inquisitor (and dorian, and vivienne, and sera, and anyone else bull befriended) can be sacrificed for the qun.

[ganondoodle]

one of the requests/suggestions i got :3 (demise + cats)

still struggeling with drawing anything (depression yippie) but trying my best anyway

[crunchchute]

my attempt at a bunch of my fav artists styles :] idea by sootnuki!!

i would love to do more but this was already a huge challenge

if any artist here dislikes this/is uncomfortable with it/any reason i can take it down or turn off reblogs etc. otherwise i hope its ok 🫡 im not gonna tag anyone just gonna let it do its thing in the wild lol

[moeblob]

I love them! So much!

[egg-baby-official]

they’re girlfrienboyfrien....

[flufallo]

[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.