#there's certainly more

[silverangel19]

Hi...if you don't mind me asking, who are your favorite romantic relationship's couples in books/ manga/ anime/movies/tv series (can be canon or non-canon)? And why do you love them? Sorry if you've answered this question before......Thanks....

Here are some of my favourites, in no particular order. None of them are canon xD

Terumob (Mob Psycho 100) I love how Teru is so supportive and devoted to Mob?? He is just so sweet to him. And they both love Hagemon! They're just too cute. Sheith (Voltron) They never give up on each other and are always there for one another. I love the devotion and protectiveness they have for each other.

Singyue (Banana Fish) Despite what went down, I liked how Sing was still willing to help Yut Lung. in the end, they became really close to the point where Yut Lung entrusted everything to Sing. Kirisae (Gokuto Jihen) They're best friends! Saeki is very sweet to Kirishima, and Kirishima trusts Saeki immensely. Ninojean (ACCA-13) Best friends! Nino has been watching over Jean since he was young and is very loyal to him. Nino, too, is very important to Jean. Romantic or not, they need each other and will always be a pair. Sormik (Tales of Zestiria) They're childhood friends and practically soulmates, no one can deny that. And Sorey thinks Mikleo is beautiful!! Miritama (Boku no Hero Academia) They are total opposites! I love how someone outgoing like Mirio approached the quiet Tamaki to be his friend. They know each other since childhood and are each other's motivation to improve and be better. Makoharu (Free!) Okay.. I'm seeing a pattern here lol Another childhood/best friends pairing haha USUK (Hetalia) England is a total tsundere. But America is one as well, in a way. They might've hurt each other before but definitely still cared for one another. It has a lot of potential to be an angsty pairing because of their past, and I love angst very much.

[noodles-and-tea]

How the gentle wind,

Beckons through the trees,

As autumn colours fall.

[egophiliac]

buckle up lads we're going BACK INTO THE BOOK

[stromblessed]

Mizu, femininity, and fallen sparrows

In my last post about Mizu and Akemi, I feel like I came across as overly critical of Mizu given that Mizu is a woman who - in her own words - has to live as a man in order to go down the path of revenge.

If she is ever discovered to be female by the wrong person, she will not only be unable to complete her quest, but there's a good chance that she'll be arrested or killed.

So it makes complete sense for Mizu to distance herself as much as possible from any behavior that she feels like would make someone question her sex.

I felt so indignant toward Mizu on my first couple watchthroughs for this moment. Why couldn't Mizu bribe the woman and her child's way into the city too? If Mizu is presenting as a man, couldn't she claim to be the woman's escort?

However, this moment makes things pretty clear. Mizu knows all too well the plight of women in her society. She knows it so well that she cannot risk ever finding herself back in their position again. She helps in what little way she can - without drawing attention to herself.

Mizu is not a hero and she is not one to make of herself a martyr - she will not set herself on fire to keep others warm. There's room to argue that Mizu shouldn't prioritize her quest over people's lives, but given the collateral damage Mizu can live with in almost every episode of season 1, Mizu is simply not operating under that kind of morality at this point. ("You don't know what I've done to reach you," Mizu tells Fowler.)

And while I still feel like Mizu has an obvious and established blind spot when it comes to Akemi because of their differences in station, such that Mizu's judgment of Akemi and actions in episode 5 are the result of prejudice rather than the result of Mizu's caution, I also want to establish that Mizu is just as caged as Akemi is, despite her technically having more freedom while living as a man.

Mizu can hide her mixed race identity some of the time, and she can hide her sex almost all of the time, but being able to operate outside of her society's strict rules for women does not mean she cannot see their plight.

It does not mean she doesn't hurt for them.

Back to Mizu and collateral damage, remember that sparrow?

While Mizu is breaking into Boss Hamata's manse, she gets startled by a bird and kills it on reflex. She then cradles it in her hands - much more tenderly than we've seen Mizu treat almost anything up to this point in the season:

She then puts it in its nest, with its unhatched eggs. Almost like she's trying to make the death look natural. Or like an accident.

You see where I'm going with this.

When Mizu kills Kinuyo, Mizu lingers in the moment, holding the body tenderly:

And btw a lot of stuff about this show hit me hard, but this remains the biggest gut punch of them all for me, Mizu holding that poor girl's body close, GOD

When Mizu arranges the "scene of the crime," Kinuyo's body is delicate, birdlike. And Mizu is so shaken afterward that she gets sloppy. She's horrified at this kill to the point that she can't bring herself to take another innocent life - the boy who rats her out.

MIZU'S ONE MOMENT OF SOFTNESS AND MERCY, COMING ON THE HEELS OF HER NEEDING TO KILL A GIRL TO SPARE HER THE WORST FATE THAT THIS RIGID SOCIETY HAS TO OFFER WOMEN, AND TO SPARE A BROTHEL FULL OF INNOCENT WOMEN WHO ARE THE CASTOFFS OF SOCIETY, NEARLY RESULTS IN ALL OF THEIR DEATHS

No wonder Mizu is as stoic and cold as she is.

And no wonder Mizu has no patience for Akemi whatsoever right before the terrible reveal and the fight breaks out:

Speaking of Akemi - guess who else is compared to a bird!

The plumage is more colorful, a bit flashier. But a bird is a bird.

And, uh

Yeah.

I like to think that Mizu killing the sparrow is not only foreshadowing for what she must do to Kinuyo, but is also a representation of the choice she makes on Akemi's behalf. She decides to cage the bird because she believes the bird is "better off." Better off caged than... dead.

But because Mizu doesn't know Akemi or her situation, she of course doesn't realize that the bird is fated to die if it is caged and sent back home.

Mizu is clearly not happy, or pleased, or satisfied by allowing Akemi to be dragged back to her father:

But softness and mercy haven't gotten Mizu anywhere good, recently.

There is so much tragedy layered into Mizu's character, and it includes the things she has to witness and the choices she makes - or believes she has to make - involving women, when she herself can skirt around a lot of what her society throws at women. Although, I do believe that it comes at the cost of a part of Mizu's soul.

After all, I'm gonna be haunted for the rest of this show by Mizu's very first prayer in episode 1:

"LET" her die. Because as Ringo points out, she doesn't "know how" to die.

Kind of like another bird in this show:

[the-kreechur-featurr]

Funny little comic I made while trying to figure out how to draw these queers

[zorangezest]

shattered glass

[poorly-drawn-mdzs]

Put that thing back or so help me.

[First] Prev <–-> Next

[hinamie]

bunch of portraits

[valtsv]

trying to save someone whose throat has been cut is such a fantastic catch-22 of helplessness honestly. you either do nothing and watch them bleed out because of your inaction, or attempt to staunch the bleeding by putting pressure on the wound and watch them asphyxiate with your hands around their neck. either way they'll drown, and your only choice is whether you're going to watch it happen, or help to push them under.

[txttletale]

it is very silly when people say the stock 'dead white guys' line about marxist theory. just betrays a really stunning ignorance of the history of, like, the entire 20th century innit. all my favourite white guys mao zedong and zhou enlai and ho chi minh and frantz fanon and walter rodney and kwame nkrumah &c. &c. &c. &c...

[artsekey]

[huginsmemory]

Been thinking about how Bill legitimately had a horrifying reason (the literal progressive disintegration of the nightmare realm that erases whatever it disintegrates from existence completely) to move himself and his crew into a new dimension. Like that's terrifying. And yet he never utilizes this to his favour. He could have been honest about this with Ford, and you KNOW as long as Bill didn't mention plans of overtaking the earth, Ford would've made the portal for him, both out of Ford's own interest and because Ford when faced with these big moral questions will pull through. But this is a card Bill NEVER plays because although he needs to leave the dimension, he cannot lose face. He can't put aside his pride and admit to the humility that he needs to flee from his dimension, that he's not actually all powerful. And so instead he pretends to be a muse and when Ford figures out something else is going on, instead of being open and humble and saying that his dimension is unravelling, Bill focuses on that he's going to over take earth, that he's actually been a monster all along, surprise Ford!

And part of it is definitely because Bill's built himself up on power and violence and to grovel and earnestly ask for help, to admit that he cannot stop the unraveling of his dimension completely invalidates that; showing vulnerability? Can't do that, even under the guise of lying to get his way. And part of it makes you wonder if it's also a form of self-sabotage, because underneath his deep denial Bill is guilty over what he occurred; he sees himself as a monster and so he'll be that monster, and having people recognize that feels good in the same way that pressing a bruise feels good. But it makes you wonder what would've happened if Bill even just was open about his dimension unravelling and had lied about overtaking the earth.

It's also interesting because although Bill has SOME charisma and can manipulate people decently well (as evidenced by his cult, and pandering to people's desires with Ford, Mabel and Blendin), he refuses to be vulnerable, refuses to not be true to his off-putting self, even when if he was just vulnerable of pretended to not be himself, to put aside the (false) pride he has in himself he would've gotten a portal by now. and part of me wonders if it's because it's this false pride that built on insecurity and denial on who he is he cannot drop that mask.

Further thoughts on this!

[pirateshelly]

I know he's not exactly the most three dimensional character in the show but it's honestly a bit odd how little people seem interested in discussing Santiago's role as the primary villain/instigator in season 2. I think there actually is a lot to say about how so much of the tragedy that occurs in season 2 is a direct result of his fucked up (and implicitly racially motivated) covetous attraction to and hatred toward both Louis and Armand. Like sometimes it seems like people want to downplay his role and act like he was simply a decoy villain and Armand's puppet when that's very clearly like. Not the case at all

[vaguely-concerned]

can't believe garak went from 'hope you have fun following my little breadcrumb trail of maybe-truths doctor it builds character ;)' at the beginning of the show to '*sigh* fuck it here's the whole loaf. the entire fucked up bakery of my soul. if you somehow still wanna have sex with me after this you know where I am, yours in infinite longing etc.' in a stitch in time. has anyone ever been so pathetically horrifically enduringly down bad as garak is for julian (laudatory)

[miphasdream]

THE MARCHIONESS | CASTLEVANIA: NOCTURNE

[starry-bi-sky]

mmm throwaway conversation between Dan and Danny that popped into my head that I had to write out:

"You spent ten years being a one-man mass extinction event, then went back in time and fought me, and lost." Danny snarls, arms crossed and throat tight. His mouth pulls back to bare dagger-sharp teeth, and his eyes burn with the familiar thrum of ectoplasm heating up behind his eyes. "If I didn't believe you were half of Vlad before, I do now."

His other self -- and really, can he even call him that? He's half of Vlad too. Two halves severed from each other and welded together to make a new whole, -- snaps his head over to him. Wild-eyed and furious, he looks unlike the man Danny fought before, the one unruffled and untouched, unbothered by the world around him. It's familiar, but not like the way a reflection is.

"What's that supposed to mean." The Other hisses, matching Danny's scowl one-for-one with fangs much bigger and sharper than his.

But there's a reason lions fear hyenas. Danny matches the rumble in The Other's chest with one of his own, and shoves his face close to his. "I don't lose."