#its not even about the ship

[a-random-fangirls-stuff]

Me when i have to talk with izuchoa shippers that want a confession in the middle of ochako’s breakdown:

[opikiquu]

iknow my comics are ugly please just hear me out

[bowenoke]

in scott's pov (ep7) he refers to scar as grian's husband. no one tells him this is not the case. this is because traffic!scott decides who is and is not married like some sort of contractually binding arbiter of love. to me anyways

[bytebun]

my piece for @thecodywanzine! thanks to the mods who let me go completely ham and cheese on this bad boy. this one's about living longer than you ever expected and not knowing what to do with it

[sigsfigs]

let's dance

close up of them........... theyre soooo super cute to meeeee v_v)) i love you bisexuals of color............. i love them too much i think fabian deserves to be with a sweet passionate girl who loves him for who he is and not go through messy toxic situationships anymor e wuhhhhh

[jazforthesoul]

every time someone reduces CAPTAIN !!! elizabeth "lizzie" lafayette down to "a sad lesbian" a fairy dies bc i shoot it with my gun. like you're telling me you were spoon-fed a character that has one of the most realistic and RAW representations of grief and perseverance in the series and all you got from that was "she's sad" ????

is she a constantly happy character? Fuck no! that's acknowledged!! but to take EVERYTHING that she is, which has positive and negative aspects THAT ARE BOTH SHOWN, to take the fact that she is THE DRIVING FORCE OF THE MAIN BACKGROUND PLOT, and reduce her down to NOTHING but her relationships?? ?what the hell!!!

[hauntingsofhouses]

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.

[gunstellations]

In the world I love

_

In a different world

[beescake]

sollux and karkat

[chkn-kit]

something stupid that's been cooking in my brain for a while MOOTS LOOK AWAY

[deimosatellite]

like idk it just seems actually nefarious to take one of the very few widely known instances of queerness in older history being a symbol to show queer people that we've always existed and aren't alone for CENTURIES and taking away the queerness from it. like. i know some people say that ''the queerness isnt important in the book" which i mean in my opinion i could go off for 10k words in an essay as to how basil's love for dorian is integral to the story BUT EVEN APART from that its really just. having a real explicitly queer character in such an old and widely regarded classic novel is HUGE for queer history and this is just. literally like. its 2024. why are you doing queer erasure to DORIAN GRAY

[templegate]

Something something about rebelling against the predetermined roles given to you by switching places. About muddying the waters of your archetypes until you can't tell whos who anymore. Idk man i just like drawing these two posed up

[tategaminu]

I don't think I will ever understand people getting upset at Callum getting taller than Rayla. He is a year younger than her and it's just logical than he got taller? Boys are usually taller‚ and elves and humans have the same height growth. Maybe I think this way because I care more about their writing and relationship rather than being obsessed with straight ships having to break every rule ever‚ even tho friendly reminder than rayllum breaks the stereotype of asian guys being short and the least attractive kind of men.

Rayla considers Callum handsome‚ she probably think hes the hottest guy ever (he is) and doesn't care he's taller or bigger than her‚ in fact she probably loves it like

He will probably get even taller in Arc 3 because he's just 17 and she already hit 18 and you know what? Good for them. Rayla clearly loves her taller‚ muscular‚ assertive and gentle boy. She will love kissing him in tip toes and his big arms around her always 🥰🥰🥰

[snoozerin]

thinking abt canpru dumbshit again

[skillbattle]

being brave and posting self ship art on main you all gotta promise to be niceys to me ok 🤓☝🏽 anyways I love my boyfriend hooray!!!🧡🩵 (sona uses he/him)

[marimeeko]

After the fifth time that Katsuki pops up at UA, surprising Izuku with Bento for lunch, calling him "sensei" in a cocky(affectionate) tone, Kouta just stops at Izuku's desk on his way out of the room and asks him point blank,

"So are you and DynaMight actually dating, or what?"

Izuku sputtering and dropping all of his paperwork and avoiding the question out of sheer dumbfoundedness.

Then, the sixth time that Katsuki barges in, as he is thrusting the bento into Izukus hands as usual, Kota raises his hand, and stands up from his seat and yells out,

"DynaMight, sir!! Pardon me, but are you dating Deku-Sensei??" And the whole class gasps and whispers. Katsuki appears just as dumbfounded as he looks wide-eyed at Kouta and the students.

"Kouta!" Izuku balks, but then Katsuki suddenly grins mischievously. Izuku doesn't trust that look...

"Well, brat, maybe I SHOULD date him, then I could make sure Sensei doesn't forget to eat every day, right??" Katsuki looked entirely too pleased at the louder gasps and chatter that came from the students. He has a wicked grin as he turns his sharp red eyes back to Izuku.

"K-Kacchan, what are you doing?!" Izuku stammers, beet red and grabbing his arm. "This is not the time for--"

"If you don't want me disrupting your class, then stop leaving your Bento in the fridge!!" Katsuki scolds Izuku before swinging himself back out of the open window. There was a fresh wave of gasps and excited murmuring at the insinuationthat the two lived together. "We're ROOM MATES, OK?" He adds hastily, pointing his finger at the noisy classroom of kids.

He drops out the window and blasts off.

Izuku is left, stood at his desk, hands planted and hanging his head, trying to collect enough of himself to quell the riotous theories now flying around his classroom.

Kouta stands at his own desk amidst his unruly classmates, eyes narrowed as if he had just realized something, "I knew it!" He hisses.

"You're the worst," Izuku texts Katsuki later.

"I know" katsuki replies.

"Now eat your fuckin food or I'll stop making it for you."

--

I think I was inspired by this art post ^^;