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[bleh1bleh2]

S'mores !!!!

[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.

[ganondoodle]

carefully attempted to draw (still sick); wanted to give Shargon another redesign, this is an older version of him but the basics should also go for his younger self (idk yet about his lung replacement design; arms are posed weird to make anatomy clearer)

(wip, oc art, Shargon, he/they)

[mohntilyet]

is this a safe space to admit i really don't even like the lines in lucanis' first romance scene where he says something like "perfectly gathered clouds of doom" . but that does not stop me from loving him very much. i'm choosing to see this as a guy who is the terrible combo of reads romance novels, has never had a romantic relationship before AND his definition of 'good flirt' is synonymous with 'illario' so he's got an incorrect definition of what's actually romantic. the less lucanis is specifically trying to be romantic the more he becomes irresistible but i don't think he's caught onto that yet

[meamiki]

[reverse entry AU]

so glad the work week is over!

no more meetings!

what do you mean its only tuesday.

[sonknuxadow]

jim carrey as gerald also sucks btw . i already didnt think he was a particularly good choice for eggman because it feels like hes just playing himself and not eggman but seeing them take a character whos entire deal is being long dead but still impacting the story through his grief driven actions and bring him back to life and make him a main character and also turn him into a silly jim carrey character is making me turn into the joker

[ianthesmells]

honestly i feel bad for ekko cause his whole character after s2ep7 got reduced to 'hes going back for powder hes doing all this for powder' ?? what happened to saving the tree ? what happened to the community he built ? what happened to him trying to help the people of the undercity ??

[banditblvd]

limnu.com was special I think

[firestorm09890]

FUCK what I said about the majority of significant changes to dialogue in Re:CoM being to adjust Axel's characterization, the most egregious change is actually this

(GBA CoM)

(Re:CoM)

if I had to guess, the reason for this change was because in GBA CoM, The Superior was a spooky, unknown being at the head of this Organization we had very little knowledge on, and for Vexen, the guy who runs his mouth constantly about how much better he is than the others, to be terrified of him, he must be some pretty scary dude. But then after kh2 we know him, it's Xemnas, he's very dramatic, he likes to talk to the moon, and the effect of your mind filling in the gaps about what "The Superior" must be like is gone. So it wasn't really necessary anymore, right?

(rest under cut because it's long)

Except... the way they changed it is so weird. In the GBA version, what's happening is pretty clear:

Marluxia tells Vexen that his project is a failure

Vexen demonstrates that he does not give a shit about Marluxia's opinion

he does care very much about The Superior's opinion, though, and Marluxia uses this to blackmail him into eliminating Sora- an action which is nonsensical, as the entire point of what they're doing needs Sora alive, making it clear to everyone in the room that he is deliberately sending Vexen to die

and then after that, when Vexen shows up to fight Sora, he goes "if you want to fight me for real you've gotta do it in the memories from the other side of your heart lol bye" and Sora goes "huh? other side?" and then it cuts to a scene on the top floor:

and then this gets more into subtext but here, Vexen has realized he's totally fucked and his only hope is to mess directly with Marluxia's plans (well, they were the Organization's plans, but it's pretty obvious by now Marluxia's abusing his power for his own purposes) by giving Sora more information than he should know. This does get the traitor gang worried enough to send Axel to go kill him (as opposed to just letting Sora take care of him, which was presumably the original plan)- he very specifically cuts Vexen off to keep him from saying too much (this is retained between the original and the remake)

Anyway, what happens in Re:CoM sort of follows the same order of events, but everything is changed slightly in a way that just makes things more confusing.

Marluxia tells Vexen his project is a failure and Vexen demonstrates that he doesn't give a shit about Marluxia's opinion, as before

Marluxia threatens Vexen with a weapon, rather than threatening to tell the Superior

this, notably, does not seem to faze Vexen very much. he continues to run his mouth while having the scythe pointed at him.

Xemnas is still leveraged- Marluxia points out it was the Superior who entrusted him with the castle

...even though reasonably Vexen would already be aware of this, and has still demonstrated that he has zero respect for Marluxia despite it

the lines about betraying the Organization being a capital crime are retained, probably because it's super relevant later, but then that line of thinking is abandoned in favor of Marluxia and Larxene just taunting Vexen instead

The part where Marluxia says "do it. you won't" could be seen as a sort of threat... if not for Axel's line: "You give a challenge like that to Vexen and he'll seriously want to eliminate Sora." It frames it all as though Vexen went to fight Sora out of some sort of pride.

And look, Vexen may have a temper and a superiority complex, but he's not stupid. They're obviously baiting him. Plus, what happened to him seeing himself as above the others and countering things he doesn't like with "well actually I'm higher ranked than you and also you're an idiot"? Is he that insecure in his fighting capabilities? I could deal with characterization changes doing him dirty if it didn't also make no sense in the context of the plot.

So now we have Vexen going to try to kill Sora, something that really makes no sense to do, out of pride. What was the purpose of sending Sora to Twilight Town? Also pride, over the fact that he managed to get that information? Giving the writing the benefit of the doubt, I could say that these nonsensical actions can be explained as evidence that Nobodies can have hearts and people with hearts do strange and rash things, but that just feels like a reach, which is bad because what they had in GBA CoM worked perfectly fine and made sense without any reaching for the "idk emotions make you do strange things" explanation.

It continues. After Vexen gives Sora the Twilight Town card in Re:CoM and Sora wonders about what the "other side" means, this is that version of the conversation the top floor members have:

...what? "If Sora disappears, that would mess up the Organization's plans"? what are you worried about? the only reason Sora would disappear is if Vexen killed him. there's no way they think Vexen being in Twilight Town would give him an advantage, right? they know he's a pathetic fighter. "Vexen has clearly committed a treasonous act against the Organization" HOW? HOW IS IT CLEAR? they don't express any worry about Sora learning too much, up until Axel says "I came to stop you from talking too much" when killing Vexen- and that being there makes it seem like they were worried about Sora learning to much, but if that's the case, why would they replace the perfectly serviceable lines in the above scene? it's just... baffling that they would want to lean into the narrative that Vexen going to kill Sora (which he'd been goaded into doing) is the problem here, because it just makes so little sense compared to what it was originally.

once again giving them the benefit of the doubt: Marluxia's real plan was to take over the Organization, and he saw an easy way to pick off one of the members, so he took it. the motive for stopping Vexen doesn't actually matter.

buuuuut it's the same as with Vexen earlier. Marluxia may be too self-absorbed and power-hungry to notice Axel is scheming against him, but he, too, is an intelligent man. he's plotted for a while, getting into Xemnas's good graces in order to be put in charge of the Castle. this is incredibly sloppy for him. I guess it could be said that getting so close to his goal would make him sloppy, but again, if they'd just left things the way they were in GBA CoM, I wouldn't even have to be saying this

in conclusion: GBA Chain of Memories' intra-Organization strife subplot is so tightly woven with calculated moves on all sides that Re:CoM changing certain things without taking into consideration the consequences makes certain parts of the plot fall flat and become far more confusing than in the original story

[semi-sketchy]

"We didn't need the interview to answer stuff that's already in the game, people just lack media literacy!"

the game

[nerdyspies]

i’m making a fhsona that’s a member of fig and the cig figs so i made a band logo... might remake it in higher quality + fix some coloring stuff but this is mostly for my own refrence 🤷

[hauntingblue]

ARCANE EPISODE 7!!!!

MY GOD I WASNT READY FOR ANY OF THIS!!! WHAT WAS THAT!!!

Also ekko wallpaper I got with my fries lmao

[ry--chu]

(marina has not been paying attention to pearl’s story she’s too distracted by pearl’s tiny little ears)

[space-ninja-fashion-show]

okay dare i say the gauss prime trailer is adorable, they gave him so much personality, i'm living

[skyartworkzzz]

Hey i admire your art, and i was wondering if i can take some ideas of your style art, like not the same but i was wondering if you dont have bother

Hey sure! Feel free to take inspo off from it as long as its not a complete copy ^^

Happy to know I could inspire chu! Have fun developing ur style 💜

[okitanoniisan]

new rgg fans will never know what they missed back in ye olden days of the fandom (like, 2019), doubly so now that scott strichart's deleted his twitter and jon riesenbach's privated. twitter was so fucking fun and then whatever-the-hell at sega of america happened and caused a fucking snowball effect and now we have shitass localization and resulting discourse that makes every release nigh unbearable, misinformation, confusion, people complaining about "bad writing/mischaracterization" not realizing it's because of the shitass english loc, i'm sitting here like jesus christ these loc bitches massacred saejima's character voice, people will never see him as he was intended, as original yakuza 5 localization Correctly painted him, and now they're coming for kiryu. god help us. we used to be a proper fandom. before everyone was subjected to the remastered localizations and shaky eng characterization. no one had even played yakuza 3-5, people still called morning glory "sunshine" orphanage, kiryu was our only protagonist and people still called him "boring", it was beautiful...

anyway gaiden uses affective instead of effective because the current localization team is full of careless dumbasses who don't give a fuck about ensuring they're using correct english grammar and this is not an isolated incident