#is disagreeable to anyone

[elemmacil]

WIP Wednesday’s word is “deliver.” From the next chapter of “if you’re looking for a sign: this is it”. Which will be updated by the end of this month, gosh darn it.

[pastabaguette]

look guys i don’t like to argue but i hate it when people portray equius and nepeta like this:

i mean, they’re both just thirteen, come on.

equius is not her parental figure, and nepeta isn’t a fussy baby that can’t eat her fruits and veggies! equius isn’t some malicious evil guy, he’s just a stupid little teenager. that goes for eridan too (and i guess like, all of the trolls, but especially those two). nepeta’s not some innocent little baby. she’s the same age as all her friends. she kills huge wild beasts on the regular for consumption.

a lot of dubs i’ve seen, too, make nepeta sound like a toddler, and equius like a whole grown adult man, and i don’t really like it because neither of them are those things. (granted, i don’t watch too many dubs, so maybe i am wrong on this)

[densewentz]

This is an ai "artwork" hate blog now

[clockwards]

Foreman: we all know that thirteen is bisexual and that chase has something wrong with him, but i wonder if anyone else is gay

House: i am

Foreman: no you're not. if you were gay you would have slept with wilson years ago

House: i did

Foreman:

Foreman: you did not sleep with wilson

Foreman (vexed): you did NOT sleep with wilson

House:

Foreman: if you'd slept together, everything about your relationship would be insane-

House:

Foreman:

Foreman: oh my god you've slept with wilson

House:

Foreman:

House:

House: well not yet but your reaction is really making me think i should try

[aterabyte]

General litmus test: if you can take the thing you are going to say about transmascs, and replace transmascs with women, and it is obviously misogynistic? Literally just shut up it's entirely free.

[squidpedia]

Congrats on the motherhood Martlet. Sorry you’re child is about to randomly drop trauma lore crumbs and then proceed to literally never elaborate

(Please ask for permission before reposting onto other sites or dubbing, thank you!)

[poorly-drawn-mdzs]

Unsolved Mysteries.

[First] Prev <–-> Next

[counting-stars-gayly]

This might be a hot take, but I actually like that Percy figured out Luke was the traitor at the last minute. There were A LOT of clues that would’ve been hard to ignore, and he ignored them for as long as he could. And it’s clear that even after accusing Luke, he’s still surprised and heartbroken at Luke’s confirmation of his suspicions. He was holding out hope, guys!!

Also, the Betrayal Scene flows better as an exchange of dialogue and a swordfight than it did, in the books, as a monologue and a scorpion sting. This also leaves a bigger impact on the viewers and characters because it’s more emotional.

[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.

[biggest-gaudiest-patronuses]

nah but hear me out. when movies with flashbacks/time skips do That Thing where an older & younger actor portray the same character over a period of years---and this is Visually Represented by the actors having the Exact Same And Distinct Hairstyle-- that's dusty af. been done. add nausea.

you're insinuating this character (usually a grown woman tbh) has been wearing the same haircut since middle school? my suspension of disbelief is wilting alongside my viewing interest....

bc nah u know what we need instead? facial birthmarks in distinctive locations! moles! skin tags! port wine stains! small random scars that tons of people have bc life happens! bc those are very normal things that serve the same narrative purpose (except better) and are currently unfairly stigmatized/erased in media. it's a win-win-win

[dungeonmechoui]

Unprofessional yuri save me.. save me unprofessional yuri.. (image description in alt text)

[erinwantstowrite]

i feel like in the batfam fandom everyone has different perspectives on the fuckass timeline they have, but specifically generations. like to me they do not fit any of our regular generations like gen x or gen z or gen alpha. if dc didn't have a sliding timeline i'd be able to say for certain what they are but i just feel like tim drake was a 90's kid. like in my bones i feel that. like a late 90's not early 90's. but the discowing suit makes no sense for dick outside of the 80's,,, bruce feels like he was from the tail end of the silent generation,,,, but the sliding timeline makes it impossible to say "oh they're XYZ" because. it's a sliding timeline.

[august-racoone]

istg if i see another post with something having too many eyes saying its the beholding, i am going to scream. yes, the beholding is all about eyes, but just because something has eyes doesnt mean its beholding. as much as i hate to quote jurgan lightner " you're thinking too literally. examining the physical categorization, but ignoring the meaning of the thing."

i personally believe that eyes being were they shouldnt be/more than usual is the flesh or the stranger or the spiral. its body horror not beholding. yes, it has beholding undertones, but ultimately something else (again, probably the flesh)

[copdog1234]

War never changes. War never changes. WAR NEVER CHANGES.

That is the entire point of the series. That is especially the point of the show. War does not change.

Humanity was trying to rebuild, yes. But the entire point is literally that any one single selfish arrogant human can cause it to end it again. War can happen again. War will happen again. It is an endless cycle. And as people covet power, the whole thing will eventually topple.

That is why it is not a whole country that ended the world, it is a handful of heads from corporations.

That is why it is not a whole faction that "ended" the NCR, it is a single man from a bygone era who had a hand in ending the world the first time, that does it.

And I think that New Vegas showed us that the NCR was kinda crumbling already, too. The "fall of Shady Sands" wasn't the bomb itself, it was the beginning of the NCR's struggles. If I'm recalling New Vegas' plot correctly, the NCR was already struggling to hold the wasteland, to integrate people into it. There were resource shortages, it was getting too big, they had other factions battling them for power, and maybe your actions as a player had some pull either direction, but it's possible it wouldn't last.

If it wasn't a bomb, something else could've ended it at some point, too. Because war doesn't change.

As long as there's resource shortages, as long as there's mistrust, as long as people don't learn right from wrong, and as long as people muddy right from wrong.

That's the show, that's the games. Maybe the writing of that isn't always the best, but that's what it dwindles down to.

It is not a retcon, it is the main idea. It is not a "dumb take," it is how the world is.

Even in real life, there is sometimes hope and some things improve, but it doesn't stay improved, ever. Hope and despair comes in waves.

And war never changes.

[hannie-dul-set]

YOU(R SHOELACES) ARE PRETTY.

p — PARK SUNGHOON x gn! reader. g — fluff, meet cute. w — swearing, secondhand embarrassment because sunghoon doesn't know how to to talk to cute people. 706 words.

note — park sunghoon is a rizzless loser pass it on. PART TWO. if you enjoy loser! hoon, you might also enjoy this other series of mine.

you only came along with your friends to the skatepark because you had nothing better to do, but now you’re starting to regret that decision because for some reason— while you’re sitting on the stands all by yourself, minding your own damned business because you don’t know how to fucking skate— you’ve caught the attention of six to seven guys who don’t look very friendly.

what the hell? why are they staring? sweat starts to wet your palms as you duck down to untie and retie your shoelaces because their staring was really starting to make you uncomfortable. they look like a group of freaking delinquents. they’re definitely nothing but trouble.

but you regret taking your subtle glances off of them for a second too long because for some god damned reason, one of them started to roll up to you.

you feign ignorance, playing with the laces on your other foot because maybe he isn’t skating to your direction. maybe he’s going to make a turn to the ramps or some shit. maybe he’s just passing by and— of fuck, he’s literally three feet away from you now, and he’s got an ice cold face, and a very terrifying scowl, and he looks like he’s about to curb stomp you three feet into the ground.

he’s leering down at you with his hands in his pockets, posture leaned slightly back and confident. his thick eyebrows are slightly furrowed with a frown that’s housing a lollipop stick. he’s handsome, but he looks like he wants to fight you. he’s pretty, but he also looks like he’d call you a pretty stupid bitch. the kuromi band-aid on his cheek doesn’t make him any less intimidating. he takes out the lollipop from his with a pop!

you wince, ready to piss yourself in fear until you hear him say, “h—hey.”

his voice cracks. you look up.

“i think you’re— i think you—” you failed to notice the red staining his neck earlier, nor the sweat nervously trickling down his forehead. you should’ve known he’d be harmless from the cute bandaid decorating his cheek. all the fear you felt is melted every time he stumbles on his words, every time his cheeks grow increasingly pinker by the second, until he gives up and turns around to yell at the group he separated from to tell them to, “shut the fuck up!”

they’re cheering him on, “you can do it, sunghoon!” you’re more confused than you’ve ever been. 

the guy you assume is named sunghoon snaps his head back down to face you, brows that were once knitted in annoyance quickly scrunching into a nervous jitter and he measures up a smile that matches his confidence— faltering and falling apart. you’re starting to feel bad.

“i just...i just wanted to say that i think you’re really—”

go on, you encourage him with a nod. you can do it. maybe you shouldn’t have tried to help him, because the moment you give him an assuring smile, ten million emotions flash through his face at once— shock, fluster, panic in shades of pink, rose, and cherry— until he ultimately settles with defeat when he sinks his head down with a pair of hands covering his face, but he can’t hide the color tinting his ears.

“i think...your shoelaces are pretty.”

his voice is muffled. he looks like he wants the ground to eat him.

“thank you?”

“no problem.”

sunghoon spins around, puts the lollipop back into his mouth, and kicks the ground once before letting the momentum from the roller skates slide him back to the direction where he came from, but he’s sliding slowly and pitifully enough for you to hear the, “oh god, oh no, i’m so fucking stupid, oh no—” sputtering from his mouth in quiet grumbles and hisses as his friends continue to cheer him on from a distance.

the back of his neck is still searing red. when he reaches his friends you watch as his legs give up and he sinks into the ground with a cry of anguish.

maybe you shouldn’t have judged the poor guy too quickly. maybe he just wanted to tell you that he thinks you(r shoelaces) are pretty.

YOU(R SHOELACES) ARE PRETTY.

© hannie-dul-set, 2023.

[dykesevika]

arcane give her to the lesbians pls .