#people disagree with me

[phoenixkaptain]

My favourite part of writing longwinded (re: way too long) posts and character-study fics is when people tell me that I get the characters, that I understand them or wrote them in-character

Because!!! I don’t! Understand! Anybody!

I have spent my entire life being so fucking confused by human beings! I don’t understand people! I don’t understand why people do things, I don’t understand why people DON’T do things, I don’t understand these strange, inexplicable creatures, and I try, by God I try so hard to understand, to get it, to comprehend the why behind people. I spent my entire childhood watching people and talking to people and I read books with heavy emphasis on the characters and I just

Someone telling me I get characters is like, meaningful in a way they probably won’t ever even know. It’s like they’re saying “All those years you spent trying desperately to understand the human psyche were worth it.”

I just. Really appreciate it.

[ghostslimu]

you will never be a bad person for not reblogging a post on tumblr, please remember that

[poorly-drawn-mdzs]

ghost horses

GHORSES

[dukeofthomas]

I find the fact that the confrontation at the end of UTRH is often summarized as Jason asking Bruce to kill the Joker for him fascinating.

Because that's not what happened.

Jason holds a gun up to Joker's head, gives Bruce another, and tells him that if Bruce doesn't do something (shoot Jason), he will kill Joker.

Jason doesn't give the gun to Bruce so that he would shoot Joker. He isn't expecting Bruce to pull the trigger on the clown. He's asking Bruce to do nothing. To be inactive. Because that will still be a choice, and despite having done nothing, everybody clearly agrees that Bruce would still, at least in part, be responsible for Joker's death.

...And to me, this moment is a kind of- microcosm, of the rest of Jason's point. Because after being captured and carted off to Arkham, the villain will escape again, and will kill more people. The only way to truly prevent that from happening would be to kill them; Bruce refuses to do so, and I respect his right to choose such a thing for himself, but it is still a choice, and if we agree that Bruce's inaction during the confrontation would leave him at least partly responsible for the Joker's death, then we must also agree that his inaction in permanently preventing the Rogues from killing more people means he is also, partly, responsible for all of those deaths.

[sh5]

[bixels]

Always an experience watching the leftism leave FNAF fans when someone mentions that Scott Cawthon financially backed fascist politicians.

The switch from posting hardline leftist tweets about boycotts and signal boosts and critical takedowns of politicians and celebrities to ‘ohhh, well. everyone makes mistakes. who can blame him, listen he. he donated money to gay charities too. that makes it ok! a millionaire in his forties is allowed to have political beliefs. does it even matter? just let it go!’ is whiplash inducing. The antivaxxer celebrities have got to go, but this one horror dev who quietly handed wads of cash to antivax lawmakers? He’s chill, he can stay.

The charity thing is so funny too because suddenly utilitarian positive-negative point counting is the way to go. Maybe an abacus would help calculate the net good of donating to the Trevor Project minus donating thousands of dollars to Mitch McConnell and Donald Trump. -10 points if I push a kid in a lake but +11 points if I help an old lady across the street, so I’m chill. You can’t judge me. Hey, maybe. Just don’t push a kid in the lake period. How fucking low is the bar when we’re excusing maxing out the possible dollar amount of donations to Mitch fucking McConnell. That should be like. Default you’re a bad person.

[mylols16]

not people calling deadpool and wolverine queerbait im begging yall to learn what queerbaiting is. like why is it that straight characters can have romantic subtext and thats all well and good but the minute gay characters have romantic subtext everyone gets out their pitchforks and starts screaming about queerbait. queercoding and queerbaiting are not the same people! i feel the fact that a song about going down on someone plays while the two protagonists hold hands to save the world should be evidence enough that the gayness was at least a little bit intentional. if you want to be mad about the movie not being gay enough thats fine but i keep seeing people praise venom as gay rep when it also doesn't explicitly state the two characters gayness or romantic interest (i love venom btw don't come for me). just can we stop the arguing and enjoy a fun movie please

[stiffyck]

If you exclude aro and ace people from the lgbtq+ community I hope you get run over by a truck btw

[horsemeatluvr23]

hermitcraft s10 is just a documentation of the hermits descent into madness. wdym xisuma spent an hour on his hands and knees recording himself howling like a wolf ??

[rinachains]

true form!sukuna x gn!reader; mentions of cannibalism; sukuna deals with emotions (kind of); biting as a love language

The king of curses, seated on the soft upholstery of his bed with you facing him in his lap, ogling one of his bare arms as you trace the defined, bulging muscles with your fingertips, would surely paint an obscure picture to any intruder.

You’re so small underneath him, his cursed energy draped over you like a veil – shielding and trapping you - and he could crush you so easily, in a matter of a few seconds, and nothing and no one could stop him - except for you. And you don’t even have to do anything. You’re just sitting there, sharing each other’s warmth, while he observes you, one pair of his arms holding your sides, the other crossed over his chest. That’s all it takes.

Sukuna isn’t a whirlwind of emotions, he’s simple and aware of what feelings reside in him; he’s in control of himself. Not a victim of weak, futile desires. Not like other humans – that’s what makes him superior, a king.

So he knows how he feels about you; but not knowing what to think about it and what to do with it, he decides to listen to what his body and his mind are telling him, and he even finds himself listening to that irregular beat hidden behind the resilient muscles on the left side of his chest, one that he believed he’d never hear.

He once mistook the pit in his stomach for mere hunger, so he ate and he ate, but the hunger didn’t vanish, he was never fully satisfied, so he kept on eating and eating, tearing into flesh after flesh. Assuming that he was cursed with an unfulfilling life – a repetitive routine of killing and eating presumptuous humans who dared to cross him, providing little to no entertainment  - he figured that nothing would change and that he would continue to go on with this life.

And then you came along, and he felt hunger overtake him. However, it was different from simple hunger, it wasn’t just a growl in his stomach – there’s another spot inside of him that he didn't know existed until he met you. And that spot is reserved for you and you alone. No one else can fill it.

His mouth itched, his fangs ached, and he wanted – still wants - to devour you, but not in pieces, but all of you. Your whole, entire self.

"Are you hungry?" you break the comfortable silence, gaze still lingering on his arm, as you realize that this would usually be the time for him to eat his first meal.

"No."

"No?" Surprise drips from your voice at his answer, one of your brows lifting in disbelief.

"My hunger is satisfied for the moment. I’ll eat later."

That makes you peer up at him for a few seconds, an indecipherable expression, before returning your attention to his arm.

“Hmh, alright.”

Another few beats of silence pass, and then, suddenly, your fingers stop dancing along his tattooed skin, replaced by your hot mouth as it latches onto him.

Sukuna makes no noise at first, the muscles in his face barely moving as if he anticipated your attack, but you can feel his fingers twitch and then tighten around your sides, his strong arms visibly flexing.

A low chuckle emanates from him at your attempt to break his thick skin, your eyes momentarily flickering up to his face at the guttural sound that shakes your body.

You’ve become shameless, he notices, unrestrained craving swirling in your eyes that is usually found in his own when he’s around you.  

His tongue drags along the sharp tips of his canines, glinting at you. The image of a menacing predator, dangerous and meant to frighten and devour you, yet you find yourself melting willingly into his arms, the claws digging into you granting you security.

To him, your bites are akin to tickles, like nips that a cat gives its owner, and his first instinct is to laugh. He doesn’t, but the urge remains.

Instead, Sukuna’s face splits into a wide grin, “And what exactly are you trying to do?”

All four of his piercing eyes are pinning you in place as he stares down his nose. Sukuna isn’t sure what to focus on, so he takes his time to memorize every single feature of your face, from the curve of your cupid's bow to the soft flutter of your eyelashes casting shadows across your cherubic cheeks. 

“What do you think it looks like?” you grumble, your voice muffled by your mouth still pressed against the resistant limb, “I’m trying to bite you the way you like to bite me, Sukuna.”

He used to demand that you call him by his proper title, yet he finds that he doesn’t mind the lack of title slipping from your lips as much as he thought he would; it’s second nature to you, rolling off your tongue so effortlessly, and it tastes like nectar from the sweetest fruit in his mouth.

“You’re trying so hard, aren’t you?”

You huff, “Don’t mock me.”

“I’m not. I respect your effort. It’s amusing – but it’s also welcoming.”

There’s a raw sincerity behind his words that you weren’t prepared for, causing you to put some distance between your mouth and his arm.

Sukuna’s waiting, patient and with mild curiosity.

A wild flame of affection ignites in his chest as he watches how hard you, a mere human, try to put some damage on him, the desire to claim lurking behind every caress of your teeth.

Want swims across his normally indifferent face, something other than vain lust, nothing perverse or violent, but something that goes even deeper, more vulnerable. It takes root in his chest, threatening to burst forth and fall into your waiting hands, ready to catch it.

“Are you proud of yourself? Are you giving it your all?” Sukuna taunts, his controlled voice slightly strained as he pokes you in the face, making your nose scrunch up.

He sees how you almost flinch, all four of his eyes tracking your every move attentively, but you try to keep a nonchalant demeanor, acting unaffected, and not pulling away. You’re not scared – you’re merely sensitive to his touch, Sukuna notes.

He levels you with a smirk; as if you’re an amusing little thing, his personal jester.

“Don’t hold back,” he warns you, maroon eyes burning into you, heavy with intent. So you don’t.

Your soul enters Sukuna before your teeth do, and he can't - doesn't want to - stop it.

There’s noise, emerging from the back of his throat.

A wave of ecstasy washes over his body as you finally manage to draw blood, lapping at the small wound with your tongue, the sting sending goosebumps across his skin and briefly blurring his vision.

You hold him in the palms of your hands without realizing it, your teeth - your pitiful, useless fangs - unintentionally releasing venom that spreads through his guts, paralyzing him against your electrifying touch.

Sukuna’s immune to poison – he himself is a lethal poison - but not to your venom; for it is not filled with poison, but with something else, something he can’t quite identify, having never experienced it before.

One of his hands tangles in your hair, holding your head in place, urging you to continue on with your gentle assault.

“C’mon, try harder. You can do better than that.”

You could tear him apart for all he cares, and he’d let you. Chip away at the flesh that protects his bones and swallow his cursed energy until it merges with your own. Become one.

Sukuna wouldn’t fight back, wouldn’t protect the gaping wounds you have inflicted upon him, and to him that is the strongest sign of devotion he could present you with. And you’d understand.

“Are you even feeling anything?” you ask him as you withdraw from his now marked arm, forehead creased and lips pursed.

Removing his arms from his chest, he brings one of his hands up to cup the underside of your jaw, the gesture oddly tender. His thumb glides along the plush, pillowy flesh of your lower lip that is stained with blood – his blood – and he relishes how the single digit covers your lip completely, and how the lids over your eyes grow droopy, that particular look sending a tingle down his body.

“I’m feeling everything.”

[demonlorddante]

spock chart that came to me in a vision

[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.

[theminecraftbee]

it's fun because the things that appeal to me most about the three canonical evil clones/twins of hermitcraft are similar, but they're all different.

evil x appeals to me because he is very much Just Some Guy, for all that he's an evil force of nature; when he's sympathetic, it's because he's Just Some Guy who's been shackled to the terrible fate of being "evil", but when he's a villain (like in season eight!), the things that make him villainous also aren't the supernatural aesthetics, but the ways he is also the evil of being just some guy. for all the lightning and thunder and echo of xisuma's appearance, he isn't anyone special. (xisuma is.)

helsknight appeals to me for almost the opposite reason: this isn't just some guy, this is you, explicitly, a demon that possessed your clone and possesses all the things that are bad about you, magnified. he's a mirror, inherently, in his very creation. in the stories where he's a threat, he's menacing because he's a mirror of someone we should like; in the stories where he's sympathetic, we must confront how much of ourselves are also mirrors. (what happens if you don't like what you see in those mirrors, anyway?)

empires!false is somewhere in-between; she's not a mirror but she is the result. she's learning something you'd rather have forgotten about your past, and at her most sympathetic, we feel for the way she's been cast aside so false can 'fix her', the things done to her memory. at her least sympathetic, though, she's reflecting these pains onto others; violence begets violence, and even with it missing, the past begets her. there's no looking at empires!false without seeing the echoes of what false did to her. (there's no looking at false without it either.)

............then they also all appeal to me by being ridiculous failguys but like if you want to be DRAMATIC ABOUT IT, the ways they appeal to me are like the above,

[bread-wizards]

I actually think Dorian and Orym should fight more.

Remember when their slowly building tension over and entire episode (full of passive aggressive remarks and blame throwing) led to threats? And how after, Orym thanked Dorian for handing over the crown sadly because he knew Dorian would be mad at him? And Dorian couldn't even look at him because he was legitimately hurt, thinking Orym was disappointed in him for doing what he thought was right? That was peak.

The fact they went from that to their current closeness and trust is the best part of their entire dynamic. Their relationship was hard fought and still will be. They will fight for it because they respect and care for one another deeply, and their disagreements don't change that, only improve it.

[somewhereincairparavel]

The fandom's bias and tendency to wanting to agressively associate EVERYTHING with Percy and getting upset when a character isn't associated with him really taints their view on actually significant relationships, and it ruins Percy's canon character tbh.

I came across a video edit appreciating Jason and Nico's friendship, and the comments were just filled with people raging on how Percy should've been included instead of Jason because he was "much closer friends" to Nico than Jason was. It's appalling how much ppl can turn to a blind eye when it comes to Jason.

People hate Jason SO much in this fandom that they literally refuse to admit that Nico canonically considered Jason as his first ever friend, not Percy (this is literally said in Tower of Nero, by the way)

You guys are seriously so hell bent on wanting to take away every little thing jason had that makes his character meaningful, simple to give it to percy when it isn't even necessary. Doesn't percy have enough good characterization already? Why deprive Nico of a genuinely good friendship? Jason spent time and effort to make Nico comfortable and succeeded in earning nicos trust. He taught nico to never push people away and not to be ashamed of being himself, Isn't that beautiful? Why do people get salty abt that so much? Because of course, it's about appreciating Jason for once, and not Percy, isn't that it?

My perspective on Percy and Nico is that, they were never really "close" to begin with and never ended up being close either, and that's okay. Percy tried his very best to be a brother to Nico, but they somehow always had tension with eachother because of Nico's internal turmoil of idolizing and crushing on Percy whilst simultaneously associating him with Bianca.

Sure, they talked it out a little in the end, but I'd like to think that some tension would always be there, because they started off at the wrong foot, and there was too much bitterness and resentment to come in their dynamic. And them never actually being close "brothers" makes their dynamic very significant and authentic. In the end, Nico acknowledged that Percy was a good person, and I like to think that's the farthest they've ever gone in their dynamic. They both are on amicable terms but the awkwardness still being there is very realistic, the weight of Bianca's death would always be associated with Percy to Nico, and it's neither of their faults. That adds SO much to their angsty dynamic, why get so upset about it when it's such an integral, and meaningful part of the story? Nico and Percy not being close friends shows how complex character relationships can be.

Percy doesn't have to be close with everyone just because he's the main character, it really deprives him of actually meaningful connections. The fandom forcing him to be buddy buddy with everyone simply because they HAVE to associate Percy with anyone and everyone, and getting angry that Jason is closer to Nico than Percy is, is just really weird.

Why do people feel SO threatened about Jason all the time that they have to get all defensive and suppress his connections by dragging Percy into videos that doesn't even have to do anything with him? I swear y'all are creating this whole Jason/Percy rivalry thing because you cannot bear to see someone rival Percy, and you want Percy to be the only powerful/good person in the books.

Let other characters befriend eachother without trying to insert Percy in there all the time.

Percy and Nico would never be like Reyna and Nico, or Jason and Nico, and that's completely fine. I like them better that way. You can't be best friends with everyone. That's just how life works.