#its for my own enjoyment

[pr0cyon-lotor]

Y'know what? I'm giving Yue Qingyuan rabies now. He's too nice and wimpy in other fics.

*pulls out comically large needle*

I'll be back.

[starscelly]

im trying to think out an ocean’s eleven au and. i think otter in the role of yen is so funny. like objectively he’s the most flexible out of the team so that was the immediate connection in my mind. but also. im thinking of HOW much he’d have to contort his 6′5″ ass to fit into the things they put yen into in the movies. and thats so fucking funny actually. just fully folded up. putting otter into a duffel bag. 

[lilybug-02]

Eimmet High...temmiE high. OMG!

Part 28 || First || Previous || Next...(Hiatus)

--Full Series--

Next update may take...much longer! I have finals and an internship and not to mention I have to draw- A LOT :')

[undead-potatoes]

Even if you hate all of these, pick the one you hate the most

[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.

[luvaaheee]

i think of this game before i go to bed every night

[tatretot]

nightmare. or, a “double victory” and its consequences

[lopsaii]

Ace attorney has been eating up my summer so might as well post the doodles

[comfort-character-central]

This is your sign to create something selfship/self-insert related for your own enjoyment (without the pressure to be perfect).

[welcometogrouchland]

It's mostly the fault of poor editorial practices that B&R is so heavily misaligned continuity-wise w/ the main batman book. But walk with me for a minute:

You are Damian Wayne. You are 14 years old and have had one of the worst years of your life last year. Which is saying a lot.

Your brother, one of the people you were closest to, got shot in the head and forgot who you were. Your best friend went to space for a week and came back 3/4 years older than you, taking away your previously established dynamic and leaving you to have to bond all over again w/ a new one. You may or may not have gone wayyy too far with your new superhero team, who now all hate you, because you fucked up big time*

And worst of all, when you do try to do the right thing, you end up forced to watch Alfred, a father figure to you, the only one at your birthday that year, the person who has been so patient, loving and trusting with you, even when you probably didnt deserve it...die. you watch him die, and feel it's all your fault.

And your dad never corrects you on that last point. So you run away.

First to your mom who can tell something's up with you, she knows you don't give up that easy, you decide not to stay with her because you remembered how actually, neither of your parents are good at communicating with you despite their best efforts, so now you're 14 and flying solo.

And you do fly solo. For a while. Make new friends, new enemies. You think you're better off for it. You've got your best friend and your brother back. They're not around as much. It's fine.

And eventually your dad tells you that it's not your fault that Alfred died. Bit late but it's appreciated. Really. There's a bit of a hiccup where you get possessed by a demon and wage war against your father but after that, all in all, you two are...together again.

You start to think maybe you want to give him another chance, for the two of you to be father and son.

And in a change of pace, it works out! It's going good, mostly. He insists you go to highschool, you resist, feel like he wants you to be something that you're not (wants you to be normal), but eventually you acquiesce for your own reasons. He cheers you on at soccer and nosies around at your fundraising events with the other parents and gives you a stern talking to about your choice of girlfriend. Because he cares.

Except all the while this is going on, your dad is currently having his brain slowly taken over by an evil version of himself that he created and every time you look away he's slowly tearing your family apart (your brothers are just barely keeping it together. The ones who didn't get lobotmized that is Jesus Christ). You keep taking his side in these conflicts, for whatever reason. Maybe because he promised it would be different this time, and it isn't** and you're going to stick with him until he keeps his word for once.

But at the end of the day?

It's like your brother says. You're not the one who saves him. Broadly speaking, you've made things worse and needed others to come save you. And what else is Robin really for? You thought it was about redemption and teamwork but guess you're wrong. It's about saving your self destructive, apparently two-faced and erratic father. And you can't even do that right.

* TT (2016) by Adam Glass is a racist ooc mess, but unfortunately it's still canon so I'm referencing here, though like a lot of works authors clearly wish weren't canon but are, it's been subsequently glossed over. Win? Maybe? Or not?

** again Zdarky's characterization of Damian is so outdated as to be ooc, and considering the way he constantly and explicitly uses it to illustrate Tim's strengths as robin, I'd argue there's. Also implications there. But the batshit insanity of the main batbook compared to B&R rn is crucial for this post, so I'm attempting to justify it. This time..

[dandelion-roots]

[Image description: a digital drawing of sklonda and pok gukgak from fantasy high, two goblins with shoulder length straight hair and short curly hair, respectively. they're touching foreheads and embracing, both of sklonda's hands in pok's hair, while one of pok's hands is moving sklonda's bangs off her foreheads and the other is clutching at her waist. we only see sklonda's face and the look of silent grief on it. in the background on pok's half is a stylized dragon's mouth with teeth digging into his shoulder, and on sklonda's side are sheets of paper. over the background on the left is text that reads, it's okay, and then on the right side in brackets it says, (it'll be ok). End image description]

[macaroonkitti]

Happy anniversary to Tears of the Kingdom 🎉

[lesbianralzarek]

being able to criticize something you love isnt a chore youre morally required to do, its fucking freeing. yeah, i am "critical of my interests" and after some self-reflection ive determined that everything i love fucking owns even when its bad. im taking an honest look at it, and deciding which parts to hype up without feeling like i also have to downplay its problems, or get huffy and defensive, or be vigilant about steering the conversation away from its issues

"you like this? how can you ignore all of its flaws?" well first off, im not ignoring shit, im aware of all that and dont judge anyone for considering them dealbreakers. second off, did you know ronald reagan died of ligma?

[popfizzles]

oh!! Wait shit how old are they now I feel fucking stupid!!🥲😭😭 also sorry btw I didn’t know😭

I've always headcanoned most Cuphead characters (most NPCs) to be somewhere in their mid-20s to late-30s, while some others like bosses being older than 50. 🤔 specific ages are up in the air, they are cartoons after all! It isn't too important to me to have specific dates.

A sort of a side-tangent, I think Elder Kettle is FAR older than he acts 😅 I always imagined that Kettle taught the boys how to hold and use swords before they got their magic. Sparring with Elder Kettle was a big part of their upbringing, and even still he will put Cup and Mug in their place if he needs to.

But, when Elder Kettle doesn't want to do something, he always pulls the "too damn old for this" shtick ���

[katabay]

trains :)

this is a very rough and scribbly comic, but sometimes that's all a comic is going to end up being lmao. the guy with the jacket is darren, glasses is andy. not featured, andy's dead brother who nevertheless insists on haunting the subtext

the main thing I wanted to draw was the train tho

bsky ⭐ pixiv ⭐ pillowfort ⭐ cohost ⭐ cara.app

[thekingofspin]

I'm watching hazbin hotel now after telling myself for weeks that I would not watch that show.

problem is I can't get through a full episode without clicking off because I keep telling myself I won't do it (even though it's good??)

it's like having the internalised homophobia of a guy in the 1950s but I'm already fucking the postman