#the night before. it would work

[titansarmy]

heroes of olympus should have been 7 books where each book was one the seven's pov. starting with leo in the lost hero and jason for the blood of olympus finale. to storm or fire, the start and the end.

[poorly-drawn-mdzs]

A procession of confessions.

[First] Prev <–-> Next

[saragrosie]

I have been sketching. So much tma. Here's some expansions on my Jon and Martin designs I've been doing.

Another note I forgor to mention is I love how after hearing Simon go "it's enough to make your hair turn white" about Martin's office in s4 many of us collectively agreed his hair turned white because of his association with the Lonely. The shared consciousness is real and we use it to play hot potato with the communal brain cell dedicated to the sillies.

Closeup of apocalypse boyfriends (also to the person who said they love my s5 Jon's fancy white girl updo: I think about that every day)

[tsuchinokoroyale]

Bedhead 🐮👅

[cynda-queer]

The unfortunate truth is I am a slave to positive reinforcement, so when I post things, I'm sitting there like a cat scratching at a closed door like "likes?" "reblogs?" "commint?"

[icewindandboringhorror]

I made a few new wax seal stamps out of clay (like the ones I did for my worldbuilding stuff forever ago), this time just of random symbols that I thought might look good done in the style of painting over the raised part of the wax or etc. :0c Some of them aren't carved deep enough to really show up that well, but overall they worked okay for being clay lol

[hauntingofhouses]

We all already know Mizu and Akemi are narrative foils. But you know what? Lemme just say it, here's what I think:

Taigen and Mikio are foils.

Not necessarily to each other as individuals in the way that Mizu and Akemi juxtapose each other, but mostly in the contrast between their relationships with Mizu.

I've covered specific parallels between Taigen and Mikio in other posts I wrote; but as the number of parallels I'm noticing between them keeps piling up, I'm compelled to just compile them all in one post. So! This is, thus, the post in question.

First of all, let's look at their similarities.

1. Their status in society is the same. They are both samurai who lost their honour and have dreams of reclaiming it.

2. They are also both diligent as they strive to achieve this goal, they both care deeply about their work, but here as they begin to contrast, as the work in question and way they go about their goals is different:

For Mikio, his work is in taming and rearing horses; in order to prove himself, he must tame Kai—a willful and strong horse—and present it to his lord. For Taigen, his work is in sword fighting and martial arts; in order to prove himself, he must kill Mizu—a willful and strong swordsman—and present her dead body to his lord.

In the parallel above, not only are Taigen and Mikio contrasting each other, but Mizu and Kai are placed in comparison as well. And of course, Kai is Mizu's horse, and represents her. Which is why, when later, Mikio sells Kai off, it represents the way he is tossing Mizu (and their relationship) aside.

From there, the rest of the details of their character begin to contrast and juxtapose each other more clearly. So let's look at those differences, shall we?

Their backstory:

Mikio was a great samurai who was banished. A somebody to a nobody. Taigen was a fisherman’s son who rose to the top. A nobody to a somebody.

2. The first time we meet them on-screen:

Mikio is an adult. An older man. Mizu's superior in age. He is Mizu's to-be husband. A love interest. Taigen is a child. A young boy. Mizu's peer in age. He is Mizu's bully. An antagonist.

3. Their maturity and growth:

Mikio is mature, but stuck in his ways. Taigen is immature, but capable of changing and learning.

4. Their overall attitude:

Mikio is generally relaxed, easy-going and unfussy. Taigen is uptight, irritable and severe.

5. How they talk to and conduct themselves around Mizu:

Mikio is aloof, soft-spoken, and serious. Taigen is obnoxious, brash, and sarcastic. Mikio is quiet, speaking only when spoken to, even when Mizu turns to smile at him and shows openness to be near him. Taigen is loud, talking while others are silent, even when Mizu turns from him and shows no interest in conversing with him.

Mikio doesn't show much of who he is to Mizu throughout their marriage, despite their growing affection. Taigen openly shares his traumas and life story to Mizu during their brief alliance, despite their mutual antagonism.

6. Their external vs internal selves:

Mikio is calm, gentle, and considerate on the outside. Taigen is hot-headed, rude, and selfish on the outside. Mikio is cowardly and deceitful on the inside. Taigen is brave and loyal to a fault on the inside. Mikio tells Mizu that he wants to know and see all of her. But he scorns and betrays her, the woman he loves. Taigen tells Mizu that he wants to duel and kill him. But he endures torture to not betray him, the man he hates.

9. Their hair, a symbol of their honour:

Mikio's topknot is untied by Mizu during their spar. This humiliation occurs in private, the two of them alone in a rural location where no one can see them. Taigen's topknot is cut off by Mizu during their duel. This humiliation occurs in public, the two of them being watched by many others in the Shindo Dojo.

10. Their power dynamic with Mizu:

Mikio believes he is Mizu's mentor. He teaches her to throw knives, how to ride and care for horses, and about the tactical benefits of using a naginata. Taigen believes he is Mizu's equal. He views Mizu as a samurai like himself who received all the same teachings he did, and who possesses the same values.

11. Their perceptions of Mizu:

Mikio sees Mizu's feminine side first. He sees her as sweet and gentle, but also clumsy and incompetent. Taigen sees Mizu's masculine side first. He sees her as terrifying and deadly, but also strong and skilled.

12. The way they approach sparring with Mizu:

Mikio only spars with Mizu once. As the fight progresses and she is beating him, he tries to put a stop to it. When she teases/provokes him, he starts taking the fight personally and seriously, finding no enjoyment in it. Taigen spars and brawls with Mizu all the time. No matter how many times Mizu beats him, he doesn't back down. When Mizu challenges him with a chopstick, he is eager to compete with her and gladly rises up to the challenge.

Mikio and Mizu's one and only spar is a friendly match; Mizu is smiling and having fun while he grows increasingly frustrated. Taigen and Mizu's last-seen spar is a playful wrestling match; both him and Mizu are having fun and laughing.

Mikio cannot deal with Mizu being better than him, so he scorns her and walks off, avoiding her thereafter. When Taigen cannot deal with Mizu being better than him, he follows her to observe her moves and continues training in hopes to eventually beat her. After being bested by Mizu once, Mikio leaves her and sells the horse he'd previously gifted to her. After many times losing to Mizu and fighting alongside her, Taigen commends her and admits she is better than him.

13. When Mizu pins them down in a friendly spar:

Mikio sees Mizu's whole face objectively. Taigen stares at Mizu's mouth and eyes.

Mikio gets angry when she kisses him, throwing her off of him and snapping at her, calling her a monster. Taigen gets aroused, apologising, so she pulls herself off of him.

14. Mizu's blue meteorite sword is a reflection of her soul. She believes most are undeserving to face it, let alone hold it. And on that note:

Mikio is the first person (chronologically) that Mizu fights against using her sword. Taigen is the first person (we see on-screen) that Mizu fights against with her sword. Mikio is the first person (chronologically) to ever hold her sword, as she passes it to him, letting him wield it. Taigen is the first person (we see on-screen) to ever hold her sword, as she passes out, and he picks it up and carries it for her.

15. Then, last but not least, in Fowler's fortress, when she is drugged and in pain, she hears Ringo's voice in the dungeon. She then follows it to an open cell:

Mizu first sees Mikio as a hallucination, the sight of him haunting her and causing her to lose her grip on reality. Her eyes glow a surreal blue to represent this. Her Mama appears then and says Mizu's name accusingly.

Mizu then sees Taigen, but he is real, the sight of him a relief and grounding her back to reality. Her eyes return to their normal blue colour to represent this. Taigen looks at Mizu weakly and says her name softly.

Then, later, when facing Fowler, her revenge awaiting her, she instead chooses to follow her conscience (represented by Ringo's voice in her mind), putting aside her vengeance for a time, in order to save Taigen.

So that's basically all the ones I've noticed so far, but even then, I feel there's already so much that forms a contrast between these two.

What makes it especially incredible about these juxtapositions is that Mikio was Mizu's husband, the man she had fallen in love with, the one person she had ever been intimate with, the man who made her begin to accept herself, to put down her desire for vengeance and instead live a life of peace and happiness.

So for Taigen to have so many parallels with him... Do you see what I'm saying here!

Not to mention that Mizu clearly already has some burgeoning attraction to him, as indicated by how she thinks of him when asked about her desires. And Taigen clearly has shown interest as well (see: him getting a boner after their spar, him holding her hand and telling her, "We're not done yet.").

And on the topic of speculating future possibilities of this relationship, this post by @stromblessed has pointed out yet another parallel between Taigen and Mikio:

Mizu promises Taigen to meet him for their duel in autumn. Mizu fell in love with Mikio and duelled him during autumn.

With all that said, I do believe Mizu and Taigen's relationship is definitely hurtling towards something. But whether they will actually end up together in a sustainable relationship and have a happily ever after? Well, that is a whole other story; we'll just have to wait and see.

[ganondoodle]

(wip) totk rewritten botw2 edition

rough ideas for the reworked healing system- bottles+potions are back and must be used in real time, cooked meals are not storable but better than potions, different types of portable pots?

wasnt sure if the portable pot should have different effects or just have designs you can change, but decided to add a few different types for roughly different types of players without too many options that could overwhelm but still add some variety to any gameplay AND a more meaningful reward for bigger quests!

-my goal with this is avoid the pausing to spam apples into links mouth to heal problem, to readd some difficulty with more limited healing in general (bottles must be found or gained as a reward, usage in battle like in skyward sword via wheel menu and then used in real time) and adding more variety via the design of the pots, a neat new item since they are portable (set up a campfire, then option is added to add the pot for cooking), and make cooking a lil more interesting besides it spamming your inventory even more with healing stuff AND add some meaning to bottles and potions again bc imo they were one of the most useless things you could get when playing botw/totk- which is why cooked meals are not storable but with better effects, think of it like a bit more customizable and zeldafied elden ring mechanic with the usual heals and the one time physic buff

so if you got into a bossfight and lost it, you could set up a cooking spot before the arena to give yourself a temporary buff via a meal and restock your potions for in battle healing and/or effects depending on how many bottles you have, if you have trouble dealing damage for example you can use the firey pot to add some extra attack dmg (and yes it stacks if you do attack effect in the firey pot it adds extra attack damage, maybe even with a hidden bonus)

(got similar planned for the parasail .. like dif types with dif effects like faster gliding speed but more stamina usage- one used like koga does in aoc that lets you glide fully soundlessly ...)

(legend of zelda)

(also no NPC will give you a shitty cooked thing as a 'reward' anymore, if anything its a bottle that you can use like in the old games ..)

[caramelldansenu]

i had this in my canvas for 2 months

[explodingstarlight]

slee,,,bb,byyy,,,,,

[crystallizsch]

uhhhh pocky game doodle continuation or something

[dollarstoreartsupplies]

forever thinking about johanna shooting fogg and what it says for both her and anthony as characters

because the whole show, from the very first scene, we've been set up to see anthony and sweeney as parallels of one another; anthony is sweeney back when he was benjamin, he's full of hope, he's in love (with a woman who looks almost identical to lucy), and then he gets that love brutally ripped away by judge turpin

in 'no place like london' sweeney says: "you are young, life has been kind to you-- you will learn" and by the point in the show where anthony is going to rescue johanna we're almost inclined to agree with him

except anthony cannot shoot the gun, he's not like sweeney in that he cannot kill another person even if it was to save someone he loved. anthony is never going to become sweeney todd.

and then we realize that we've been looking at the wrong person the whole show, and it's so obvious it's laughable: johanna shoots the gun.

johanna who has been raised to be silent and obedient and perfect, johanna who, without knowing the half of it, has had everything taken away from her by judge turpin, her mother, her father, and her freedom. johanna who we've been led to believe is the lucy to anthony's sweeney.

she is fully justified in shooting fogg, no one could fault her for it, but she doesn't even hesitate.

in that moment she is her father's daughter.

that isn't to say that I think johanna is going to go on a killing spree after the musical, obviously, but it's such a fascinating scene in terms of their development: because despite it all anthony is still the same, and because of it all johanna is not

anthony is the last bit of hope left in the story, and johanna is the last bit of sweeney

[w1f1n1ghtm4r3]

stopping the hands of the clock and do a selfless suicide / no one can hear my cries, no one can reach me

good night cold sleeper

[coyotecares]

1-a somehow finding out that their stoic, hardass homeroom teacher is absolutely stupid head over heels in love with their goofy, ridiculous, eccentric english teacher and subsequently reading WAY too much into how they interact in passing when they switch periods every morning

ie: in that scene where shouta takes too long to conclude class and makes mic wait, there's a slight pause in his canter before he calls hizashi "mic"-- class 1-a would be gripping their seats to bring that up in the dorms later about how aizawa-sensei probably almost accidentally called mic-sensei "pookie bear" since that's most DEFINIETLY what he calls him at home

they talk every morning when shouta is leaving the room and hizashi is walking in, and every day, class 1-a will watch for subtleties in behavior so closely that some of them don't even breathe or blink

[kacievvbbbb]

The gag is Zoro and Shanks aren’t that different. Zoro is also completely reckless with his body less so now but I have no doubt that even now if he needed to cut off any part of his body to win, to save his crew he would do it without hesitation just like shanks.

And the thing is Mihawk would still fight him as long as Zoro can pick up a sword Mihawk would still fight him and relish in it.

Zoro loses an eye, Mihawk still trains him.

And Shanks…..Shanks loses his mind a little bit

[talia-kane]

Alfred starts secretly dosing the manor with antidepressants and they stop wanting to fight crime