#own your future

[komorebi-musings]

February 1

I didn’t post anything on January 1, 2025. It wasn’t because I forgot or because I didn’t have anything to say. It was because I didn’t want to be another voice in the overwhelming wave of New Year motivation. Every social media feed was filled with resolutions, goal-setting strategies, and “new year, new me” energy. It felt loud, forced, and temporary. And now, here we are. February 1. The…

[biggest-gaudiest-patronuses]

getting older can be so amazing? you get more familiar with yourself. learn tips & tricks for troubleshooting your own brain. trial & error helps you build routines that minimize discomfort, maximize reward. your preferences/interests don't get set in stone, but you do find out which ones are going to stay with you in the long-term, and which ones are fun but transient joys to appreciate in the moment.

you learn that the world is so much more complex than you were taught, and that that's okay, and that there's an endless supply of things you can learn or watch or experience or think about if you want to. if you're lucky, you loosen up, stop putting so much pressure on yourself. if you're lucky, you learn to recognize that negative inner voice, and whack it with a baseball bat until it hushes up. if you're lucky, you learn to treat yourself gently, not because you are fragile but because you are worthy of gentleness. (i hope you are lucky.)

and some things will change. some things will get better. some things will get good. and maybe you start to recover from the dehumanizing stress of childhood/education. maybe you learn the power of your own autonomy. maybe you learn how to walk away from bad situations (which is a superpower even if you don't realize it yet). and you get to choose your own clothes. and your own food. and which relationships to pursue! and what you do with your free time. and with your life (but don't worry you get to choose that gradually). and that's crazy! and sometimes scary. and extraordinarily, indescribably precious.

[arttsuka]

So, @wolfythewitch 's gravity fowls au...

[poorly-drawn-mdzs]

For moment, you are home.

[First] Prev <–-> Next

[wilsonsmcgillsweatshirt]

I love how Wilson is just like, involved in all of the teams' cases. You are an oncologist. Why are you sitting with the diagnostic team discussing if their patient has lupus? There's literally a scene where he just sits down with them and says, "I was lonely." I'm convinced Wilson only ever actually does his job as an oncologist when House is not available or there's a terminally ill patient to have sex with. Which is rarely

[minzart]

Going togheter with this

[paperglader]

they really put alicent in bridgerton blue on the reunion and genuinely expected me to think that she didn’t in fact march all the way to dragonstone to get wifed up? bfr

[brightside-brigade]

Alright. I'm probably gonna lose moots and followers for this. But I've kept quiet about it since I became host and I don't feel right not saying it for multiple reasons.

I, and this system and blog, support systems of all origins, including non traumagenic. We consider ourselves mixed origin, for multiple reasons. I know some (a lot) of you don't agree with or are uncomfortable with this stance, so if you need to unfollow for your own comfort, that's fine. But do not announce your departure unless you want us to unfollow as well.

I feel like by hiding this, I've been lying to all of you and hindering our own ability to talk about our experiences. Overall, I cannot in good conscious keep it quiet.

This is not an invitation for debate. I hate syscourse and always will, especially with our previous hosts involvement.

If this is where we part ways, then farewell and I wish you the best. And I'm sorry I couldn't be honest sooner.

Plurals of all origins, you are safe with The Brightside Brigade

[kit-screams-into-the-future]

bro chill. that's your girlfriend

transcript:

JENNIFER: Well, what d'ya think? Do I make a good cowboy? MARTY: o////o MARTY: Yeah! Good! Great! Good. Good cowboy. Great. Good. JENNIFER: Ah. JENNIFER: Aw, you really think so? MARTY: Aaugh. JENNIFER: Y'know, Marty, you make a pretty good cowboy yourself- MARTY: I do? JENNIFER: Yeah, you do. DOC: [LIVE DOC REACTION] DOC: *AHEM*. When you're done with that... about the Delorean... JENNIFER: (forgot he was there) OH MY GOD.

[allastoredeer]

If there's one headcanon I will die on a hill defending, it's that Alastor experiences and indulges in the neurodivergent impulse of nibbling as a means of affection. Just nom. :3

Usually without using his actual teeth, but only light pressure with. He bites Rosie's knuckles when he holds her hand. She has of course made the joke that if he wants a finger he'll have to bite harder than that. Haha, cannibal humor!

He nibbled Husk and Niffty exactly once each. Husk swiped at him once the shock wore off, and Niffty tried to reciprocate with way more force.

Shipping wise, I imagine he'd do it while sleepy if someone touched his face.

Drunken Deer Nom's On Those He Tolerates - More At Ten!

I like to think that Alastor nom's on Rosie, Niffty, and Husk often enough that they're completely desensitized to it. This is new for Charlie, though, she's never been nom'ed by a cannibal before, much less Alastor.

Lucifer gets chomped because Alastor is catching feelings and he's not happy about it.

[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.

[reality-detective]

No words necessary 🤔

[ganondoodle]

(totk rewritten)

finally, all the arm and spirit abilities- for the first half of the game (rauru) and for the second half with the shiekah arm replacing links arms instead and the spirit abilities gained through ganondorf

(please excuse my handwriting and sometimes repeated info on the first two, i lost motivation/patience at the end and couldnt get myself to basically redo it all from scratch just to make it a bit more cleaner)

note, the camera rune is unconnected to the arm, its the shiekah stone copy link has (zelda carries the one from botw, a copy was attempted to be made for link but it lacks all runes except the camera, the map and its teleportation, and journal/archive)

note for the heal effects of some spirit abilities- im also reworking the healing system, making it more like the older games, so healing isnt as easy and much more restricted, thus making those effects of spirit abilities more valuable ( lil potion icon on the d pad will act a little bit like in skyward sword, opens your limited selection of healing items and if chosen link switches to holding it and letting you consume it with -a- while walking around in real time- to avoid more pausing and mass healing on regular items while in menu)

additional note, the automatic recharging of the magic meter depending on the environment gives you a reliable but less abusable way of using abilities and allows for even more creative dungeon/challenge design by using it effectively- it works by absorbing magic from its surroundings, so if its an area with little magic it recharges slower, if its a very spiritual or healthy place it will recharge faster, it can be used to make things more challenging and also as subtle storytelling (example, theres a graveyard with the magic energy around being off the charts, even if there are no spirits to see, it could hint at the people buried not having died peacefully, no matter what their gravestone says...)

the usage of magic and how much the different abilities cost also allows for a much more dynamic fighting style for players to choose and try out, balancing them all out with their cost instead of a fixed timer, and the recharging beign affected by the environment perhaps forcing players that favor high cost magic abilities to use the lower cost ones for example, or not being able to charge one up bc the enemy is too fast and doesnt give you enough time to charge it

about half of the small overworld dungeons (not shrines) are also locked/inaccessible for the first half and new quests appear as the second half commences- together with the additional changes raurus return brings with it (sonau buildings, enemies being mostly cosntructs that he summoned etc) and whole set of new abilities giving you a fresh new way to play while (hopefully) not making you feel too restricted for the first half

... making these detailed concepts took me longer than id like to admit q-q

[gatekeeper-of-witchcraft]

correct me if I’m out of line bc I’m not a detransitioner, but I hate hate hate how common arguments against transition/“in defense of” detransitioners is “they can’t have kids!” or “they can’t breastfeed!”

why should mitigating harm always come down to what a woman can do for a potential child (or a man’s ability to father children)? why isn’t it enough to keep HER from harm? it’s just prioritizing women as broodmares all over again. why isn’t it enough to keep HER from chronic pain, heart and blood pressure issues, incontinence, necrosis, limited mobility and death?

[thevulturesquadron]

Anyone who claims that the secret ending in Veilguard is disrespectful or nullifies agency in the previous three games is either unable to traverse layered storytelling or is being ignorant on purpose.

I am not sure how someone assumes that it was about mind control or magic when games upon games the fantasy setting in Dragon Age has been a medium for telling stories about the nature of people, about different perspectives, about the dangers of applying singular ideals to a complex existence, about how people and the ways in which they interact shape destinies.

How can you not be excited to learn that there’s a world outside Thedas, that the web is more complicated and that when one wrestles to break the threads it vibrates all the way to the spider letting it know it’s dinner time?

[ireton]

Eva Vlaardingerbroek - Agenda 2030