#the-peaceful-blue

[hinamie]

spiraling

[demaparbat-hp]

Water Half-Child

[bluerosefox]

Got a new idea cooking in my head.

Another DPxDC idea.

A reborn into DCverse Toddler!Danny but also Dad!Dick and Talons.

Danny is reborn into the DCverse (either he's a clone of Dick, a created test tube baby, OR a kid Dick unknowingly had during his amnesia year) and wakes up in the Court of Owls who finally have their Gray Son and will turn him into the greatest Talon ever.

Thing is, Danny still has his ghost powers (King Danny? Idk leaving it open, either that or just able to control clean ectoplasm) and knows whatever fruitloops have him, this will not be fun. So, when none of the Owls are watching him, he uses his abilities to influence a few Talons and they all book it out of the place.

Danny later finds himself walking the dirty Gotham streets with a few Talons, one holding his hand while the others hide in the shadows in case they need to protect the baby Talon they all care for.

Of course, the sighting of a Talon holding a toddler's hand catches the camera's and Oracles attention very very fast.

One of the Batboys is sent out, not Dick he's on a space mission right now, and whoever it is, is shocked to see a toddler that has a LOT of similarities to Dick.

[academic-vampire]

𝔟𝔩𝔲𝔢 𝔪𝔬𝔬𝔡

[originalleftist]

For all that some are noting Vance's "civility" tonight, I think the most important thing to take away from the debate is this:

When pressed, he would not give a straight answer either on whether Trump lost in 2020, or whether he himself would respect the election results this time.

A civil fascist is still a fascist. A polite traitor is still a traitor. And a well-mannered liar is still a liar.

[elk64]

Water dragon doing their stuff

[tattoossurffitnessandmore]

[calmshort]

Take a deep breath.

[nobeerreviews]

For whatever we lose (like a you or a me), It's always our self we find in the sea.

-- e. e. cummings

(Constanța, Romania)

[churchyaoi]

been thinking about these two a lot lately

[unholyeldritch]

A touch of blue.

[bluerosefox]

Test Tube Babies, Spleens, and Fruitloop Father?! NOPE. No thanks.

Danny and Ellie take a small, reincarnation, vacation from their duties in the Infinite Realms (King Danny and his most trusted Knight/Princess Ellie). Don't worry, they leave the Realms in good hands (Jazz, Pandora, Frostbite, CW, etc, basically Danny's main council takes over for a few years)

They both weren't expecting to wake up in an assassin cult though.... Nor to find out they're five year old twins now... Twin, somewhat clones of the leader and this guy Red Robin their 'father' is kinda obsessed with....

Great their 'father' is an insane assassin leader fruitloop and their 'dad' is named after a fast food joint... whose barely out of his teens btw.

Danny al Ghul Danyal, cast a glance as his full blooded and twin sister this time around Helen Ellie al Ghul who rolled her eyes as they listened to their 'father' ramble on and on about their 'dad' and how they were created to be his heir (Danny mostly, though he had plans on Ellie going to be trained to be his body guard by someone named Lady Shiva soon)

Yeah, no. Ellie dealt with one evil fruitloop father who cloned her once before, she's not dealing that again or falling for the 'I created thus I love you but not really' bs. They need to leave, like yesterday.

Hopefully their 'dad' is... okay he doesn't need to be okay with it at first but hopefully comes around to it, okay with the two of them showing up on his doorstep soon.

And you know what, they're gonna bring him a gift.

His spleen. Yeah it'll be good to give that back to him.

Since you know that was how they got clones to begin with... Maybe don't leave your DNA with people that can make clones next time.

[bluetaho]

Maybe in another life, another time, another world

I could have held you forever

(part 1)

[enii]

I hope you win all the battles you don't talk about💕

[tattoossurffitnessandmore]

🍺

[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.