#lemme just tag

[vraisetzen]

Hiya V! How’re you? Hope you’re well! 💛

Out of curiosity, who are your top ten favorite ‘Demon Slayer’ characters and why? I’m really curious!

Thanks! Xxx

Hi Anon! I'm doing well, thank you!

This is a really good question! I've never really thought about my top ten KnY characters before because I love all of them, but if I absolutely have to single out ten of them, with a few underrated ones:

Kokushibo: Need I say more? Or rather, in the immortal words of Jane Austen, if I loved him less, I might be able to talk about him more. His unearthly beauty, his appreciation for talent and skill no matter who he fought, his envy for Yoriichi's gifts, his fear of his legacy being forgotten — all at odds with what is ultimately his all-too human desire to be seen and appreciated for his own skills. Kokushibo has done many unforgivable things in his long, long life — things which not even I can excuse nor downplay — but he is also an immensely complex and compelling individual fraught with at once the ugliest and most beautiful parts of humanity.

Muzan: I have read many manga series over the years, but seldom have I seen an antagonist as single-minded as Kibutsuji Muzan. Certainly, there are better written villains out there, with greater depth and harsher backstories, but the simplicity of Muzan's aims — to conquer the sun and become a perfect being — stands out in a sea of moustache-twiddling foes with schemes to take over the world. That he was born to comfort at a time of Japan's culture epoch, who saw nothing wrong with dirtying his aristocratic hands to kill a lowly doctor; that he did not mind subsisting on humans, but could not tolerate the idea of sitting in the shade whilst other languished in the sun; that he created demons as a tool for his objectives but ultimately saw them more as a hindrance — he is truly a man for himself. As he said in the final battle, was it not enough for the rest of you lot to still be alive? He is not trying to rule over the world, mind you — and even if one were to be so unlucky as to cross paths with him, it was, well, because they were down on their luck. He does not wish to play God, for he does not even care about these lowly mortals; this is truly his world, and we are all just living in it.

Douma: Douma IS brat, y'all. I have always loved unsympathetic villains as much as sympathetic ones, and the second Upper Moon is no exception. Make no mistake, there is nothing redeemable about Douma — he is a cult leader who takes pride in objectifying women as nothing but sustenance. I adore the moment when the light in his dazzling eyes shut off after Kanao calls him out his act. Yet, unlike other delightful sociopathic villains (Tsukiyama Shū from Tokyo Ghoul comes to mind), Douma never fully crosses the line into camp, as in the case of Gyokko; in his mind, he is as sincere as he can be, and he comes across as someone who truly enjoys being a demon and the benefits that come with it. In that sense, he is delightful to watch and even more delightful to hate, and I wished we saw him riling up the other Upper Moons more.

Nakime: In a different world, Nakime would be the perfect protagonist of a psychological thriller/slasher film a la Black Swan. Killing her husband was one thing, but finding the trembling of her fingers post-murder so musically inspiring that she did it again and again — this was a level of artistry that not even Gyokko could fathom in his wildest imaginations.

Rengoku Shinjurō: Reader, I can fix him — was the first thing I thought of when we saw Shinjurō properly for the first time. He is an interesting comparison against Uzui — both of them are retired Hashira, yet the former did not so much as leave a trailing blaze as he fell from grace. How useless must he have felt by the time of Rengoku Gaiden — losing his wife, disgracing his family's name? Likewise, he was no doubt feeling like a mutton dressed as a lamb when Uzui and Himejima joined the ranks of the Hashira. Though his abusive treatment of his children are reprehensible, they also stem from a deeply seated place of mid-life crisis, insecurity, and self-hatred.

Urokodaki Sakonji: There is a wonderful art from Chapter 90 which depicts Urokodaki carving two wooden dolls of Tanjiro and Nesuko — it moves me in a strange way that I cannot put properly into words, only that it encapsulates Urokodaki's compassion, empathy, and kindness in a manner that sets him apart from the typical elder mentor that we see in other shōnen works.

Kanroji Mitsuri: If we are talking about relatable characters, then there is no one I see myself in more than Mitsuri. Though I may not have her generous heart and endless capacity for kindness and love, I understand her struggle of not feeling like a good enough young lady of marriageable age. Her dyeing her hair, eating less and suppressing her naturally bubbly self in a bid to be more likeable — haven't we all been there? Truly, if there was someone in the entirety of KnY to whom I aspire, it would be Mitsuri.

Uzui Tengen: Though he may resent the Shrek comparison (or own it; it's tough to determine Uzui's actual taste when he brushes so close to being trailer trash), Uzui has layers — his flamboyant exterior belies a true concern for his wives and young charges, and if I may repeat myself once more: it is only when he is the most quiet (sneaking up on the shop owner to demand the whereabouts of Zenitsu, feeding Hinatsuru the antidote, giving Suma and Makio head pats) that he is the most himself. His inclination for all things shiny and extravagant is not merely an expression of himself after escaping from his family, it is also a way for him to cloak his true feelings of care — just as a true shinobi would.

Ubuyashiki Amane: There is so little we know of her besides that she was a shrine maiden, but her actions speak volumes. Her arranged marriage to Ubuyashiki could have left her resentful for it was tantamount to an arranged widowhood, but she nonetheless loved and took care of her young husband, and stayed firmly by his side till the very end. The anime does a stunning depiction of this through the eyecatch of her holding his bandaged, disease hand; and that close-up of her impassive face as the explosives set off around the estate, engulfing her and her husband in flames — she has always known what she was signing up for. A lesser person might have left, or ended their life, but Amane stayed true till the very last moment.

The magistrate who sentenced Hantengu: A true underrated favourite, so hear me out on this one; I think this man is easily one of the most righteous of the entire KnY series. He reminds me so much of the real-life historical figure, Ōoka Echizen (played to perfection by Katō Gō in the 1971 series of the same name, but this is a rabbit hole I shan't force on anyone...), who not only exposed Hantengu's lies, but also saw through that pitiful blind man act and gave him a proper sentence. In a kinder world, he could have adopted Daki and Gyutaro; or delivered justice for Akaza — but that is an AU for another time.

xoxo, V ♥️

[looking-cool-joker]

ANTHONY PADILLA JOINED SMOSH AGAIN?????

[noornight]

Long distance besties. This definitely happened after the third movie (source: trust me bro)

Based on this

[wattse]

[faeriekit]

"Do you like this character?🥺?" I want to see him sobbing and writhing in a ditch. Leave me alone

[xxplastic-cubexx]

Hi!! Your Cherik is so good and gorgeous 🤩🤩 If you don't mind wanna try to draw some Fall of X Cherik please?

thank you so much !!

i have a couple of ideas relating to the fall of x period specifically since theres. A Lot i wanna play with, so i hope this lil thing may be a satisfactory start :]]

and the obligatory bonus:

[maskofnova]

If sega were cooler and let them get more injured, I imagine the freakout Surge would have about what she is would be next level.

[civetside]

hello guys it's me miss consistent art style!!! wrestling AU????? sorry i am smashing my 2 current interests together as ya do, gideons trying to be a cool pro wrestler and harrow is her manager

[spicyvampire]

AFFAIR (2024?) Official Pilot

[linterteatime]

I'm so sorry

[punksalmon]

[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.

[fiveminuterice]

my shining star, when will he come home :(

[alastair-1205]

New AU Idea

(Click for better quality I beg lol)

HI HELLO! For the past couple of months me and @childdevourer1 have been losing our minds over and au where Jay became the green ninja instead of Lloyd (we saw that one fun fact about how it was originally gonna be Jay and went fucking feral).

Anyways I made a comic about it. We may write a fic about it one day but for now it's just a lot of strung together ideas.

[krysmcscience]

Saw this post and couldn't resist because,

1.) @tesscourtes' human!Bill is a lil cutie-patootie menace that I very badly wanted to draw, and,

2.) I have a - M I G H T Y - N E E D - for any version of human!Bill to find any way he possibly can to annoy Ford a whole lot :D

Also, 3.) I like to headcanon that Bill's knowledge in The Sciences is mostly limited to 'Ways I Can Make A Really Cool Doomsday Portal', and everything else he knows is just a slapdash mix of the stuff he remembers from whatever schooling he went through on Euclydia, a whole awful lot of lucky guesses (which he WILL gaslight you about if you tell him he's wrong), and - naturally - conning all the rest of the answers he needs out of any more educated saps who are unfortunate enough to be around him at the time (answers which he will then proceed to take credit for), so as far as I'm concerned, this "outfit" is perfect for him.

Ignore the shitty backgrounds, I am sick to death of doing backgrounds, I just want to draw goofy shenanigans, okay???

[salemoleander]

Gem said she needed Grian's skull, and this exchange followed:

<joehillssays> There may be a spare grian skull at -534, 112, 1990 <GeminiTay> did joe just give me coords to murder grian <joehillssays> murder has a degree of intent I can't speak to here