#im out peace

[qiinamii]

we'll do fine.

[hinamie]

spiraling

[kiisaes]

I'm literally ill

[clouvu]

Mother and Father 🫶

[your-therian-parent-says]

Remember to take breaks.

Your paws are tired, little beast. Rest your legs.

Your claws have put in their work for today. Let them be idle if they must.

Your wings have carried you far, flying friend. They need to recharge.

Your teeth have brought you through tough times. Rest your jaws, as their job is never over.

Your eyes have shown you the world and beyond. Show them solace if just for a few minutes.

If not you, who will care for your body? And what of your soul? Your entire being needs its time. Don't deny it.

[cometrose]

zhongli is so fucking funny when hes avoiding people like venti last year and neuvillette this year he can’t catch a break he moves like they’re his ex husbands 😭

[spitefullyjewish]

Okay, this is my third time trying to put this into words. I am very upset, hurt, and honestly terrified. I’m about to share a lot about myself, my family, and a very scary situation happening right now, so for my own safety, I won’t provide too many details.

I live in a secondary city in a South American country. The Jewish community here is very small—around 5,000 people total out of over 50 million. In my city, which has over 3 million people, there are only about 300 Jews. We’re literally on the other side of the world from Israel.

We own a family business, a small clothing factory where we make knitted garments. It was founded by my grandmother 48 years ago. My father is the current manager, and both my sister and I work there. We employ around 80 people. We pay fair and legal wages (not the industry standard in my country), and although times are really hard, we’ve never missed a payment, not once in our 48 years in business. My father paused his own salary and hasn’t received a cent since January, and my sister and I both stopped getting paid for three months. But the people who work with us have always received their salaries as they should.

Now, today, September 30th, (just a couple of days before the start of our high holidays and exactly one week before the first anniversary of October 7th) the biggest and most important public university in my city, in conjunction with the syndicate council, invited the Palestinian ambassador to give a conference about the current situation and the war. Well, apparently, it derailed into open antisemitism and ended up as a conference about how Jews are all thieves and scammers. Because, I kid you not, back in the '90s, a huge group of my country’s biggest companies went bankrupt and couldn’t pay their employees what they owed. One out of about 30 of those companies was owned by Jewish people. So, of course, "we Jews are all liars, scammers, and thieves, just like the Israelis—always trying to take what doesn’t belong to us"

So, what conclusion did they reach at this conference about Palestine and the current war happening on the other side of the world? Well, naturally, they decided to target Jewish-owned businesses in my city (which means our factory and two other small businesses in our area) to protest and vandalize, because we’re all thieves and scammers, and Israel is bad and horrible, and everyone in my city needs to be made aware of that. When are they planning to come? October 7th, of course, when else?

The only reason I even know about this is that one of my Jewish friends decided to attend the conference to hear from the Palestinian ambassador and, risking their own safety, stayed to hear the names of the businesses that are going to be targeted.

I'm hurt and scared and I've been trying not to cry since I found out. These are the people on the left, these we were supposed to be my people, I've marched with them, I've worked and voted with them. I don't know what to do? Please, please tell me how are they different from actual Nazis? How is this situation different from any other jew living in Europe in the 1930's? I guess shannah fucking tovah to me, as if last year wasn't a wake up call. I am fucking awake.

[bluetaho]

Maybe in another life, another time, another world

I could have held you forever

(part 1)

[cali]

a lolcow is obviously a bad and harmful thing but studying weird people online is a wonderful and soul enriching experience. but if u treat the fun of it as a product and engage with them to get more of this product, if youre "milking" the "lolcow", youre fucked. youre going down the path of darkness. it needs to be aetherial and loose. the better alternative is looking at lolbirds instead which is quite beautiful cuz, like birdwatching, its a process where u do not enact power and force over ur subject to make it show u what u want, you just let them naturally come by and show off their plumage (10000 near identically composed deviantart illustrations of different kids show character crying while getting knead into dough and baked[this happened in a single episode of a show the artist saw when they were 4]) and then u maybe show some of ur favorite feathers of theirs to your close group of friends and then let them pass on with the wind and u keep them as a sweet memory ❤

[demonzoro]

if i had a reliable kouhai i would hype him up so much. everyone clap and cheer or i'll hollow purple this whole building

[ID: A screenshot redraw of Gojo introducing Nanami Kento. Gojo has light brown skin, with silver earrings shaped like two eyes stacked on both ears. He's gesturing grinning widely and gesturing to his right, where Nanami stands with his arms folded. Nanami has tan skin with many faded scars, wearing his usual suit and glasses. His left hand tangles with where Gojo's right hand drapes over his shoulder. The manga-style text reads - Gojo: "This is Nanami Kento, ex-salaryman dropout sorcerer!" Nanami: "Please don't call me that." END ID.]

[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.

[oxygenunavailable]

Marble Sky Character Color Analysis:

By me.

I don’t know if anyone has pointed any of this out yet but here I go:


I love how, in the colored ref sheets, the protagonists: Ward, Oscar, Holly and Iris, have cool tones. Blues and violets. This indicates calm, colectivness. Peace and passion.

In more detail, blues for the humans makes a lot of sense. Earth is the blue planet, not because of gas,( Neptune, Uranus) but because it’s 75% water. Water is the source of life, as far as we know. Blue also represents our sky. Our big, blue sky, versus the “marble sky” implanted by the Marmors. Blue also commonly represents freedom, imagination, sensitivity and serenity.

Holly and Iris are purple. Purple is the color of magic, royalty, creativity, wealth and pride. Teegardinians pride themselves in their spirituality, connection and peace. And their planet clearly was very peaceful, open and full. They have magic from their god(s?), wealth (food), and clearly have some sort of leadership (royalty). Their creativity is their different abilities gifted to them, individually. This entire thing especially applies to Holly and Iris, not just the teegardinians as a whole, as they are both most likely higher up or more “in charge”, whether because of their spiritual connection or lineage.

Next are the marmors. Their species has more range in color and character design.

Contrasting to the human’s blue, Eclipta, being the leader of the antagonists (for now) is super bright and warm. (Yellow, orange, red) it represents violence, energy and impulse. Her outline and outfit are sharp and angular. Dangerous. Her entire being, It stands out more. She’s the main one to listen and turn to, so she’s the first one you see.

Sculptor is different, however. They have green. It’s a cool tone, sure but not one associated with the humans. Green is the representation of nature, growth, renewal. I believe Sculptor is less focused on just the violence, unlike Eclipta, and more on the growth of their species. they obviously are okay with the violence, and enjoys it. But it’s not just for the fun, it’s so the Marmors stay on top, where they belong. (Ain also has a lot of dark green in their outfit.)

Shepard is white and grey. Neutral. No color. He looks whatever colors light is brighter, and right now, it the blazing red tHiNg is in his chest, coloring his intentions? Perhaps? Or just completely empty of emotion, he just… is.

For my grand finale, ALCOR!!

This bitty boy is also very cool toned on the skin. This could easily symbolize his connection with Oscar, and perhaps as we see him grow, he’ll join in the fight against the Marmors. His armor, however, still has that warmer brown, because as of right now, he’s still with the Marmors.

Anyways, I could be just talking about nothing. But here this is I guess.

[carnivalcarriondiscarded]

THHAT STICKER THING IS SO ADORABLE AIUUUGHH'

ough yeah i made myself Emotional.. just a bit...

[stil-lindigo]

an aro-ace's love letter to love.

(the title "Laozi's bowl" is in reference to the famous quote by Chinese philosopher Laozi who said "It is the empty space which makes the bowl useful.")

[spacedlexi]

its my birthday who wants some KISSIES!!!

[bebagerie]

i fell in love with a war