#this is very fanon

[wileroadfoolery]

[bereft-of-frogs]

There’s that post that’s like ‘everyone should get into a tiny niche fandom at least once’ fully agree, that was really fun -- but I would like to add that everyone should get into a fandom where their opinions run counter to major fanon because it really teaches you about sticking to your guns and trusting your interpretation of the text without having to rely on peer validation

because WHAT are people talking about sometimes

[lilacgaby]

katsuki would not be overly sweet to his crush. he would come off as mean.

it's not his fault! you make him feel things he'd never felt before. especially if you met him when he was in middle school or early on in his first year. he didn't know why his heart beat fast around you, why his hands sweated more around you, why his mind blanked when you asked him simple things.

his solution? avoid you and get out of conversations with you as soon as he can.

it worked, for a while. but he found that your friend groups overlapped, and sometimes you'd even be grouped together in class.

most conversations between you went as such. "hey, uh bakugo?" you'd ask, moving to face him. he'd stay still as a board, ignoring the rush of his heart and hot feeling on his cheeks. his grip on his pen tightened.

at no response you'd continue. "do you have a-"

"no."

"??? i didn't even-"

"leave me alone."

good thing his friends picked up on his behavior and diagnosed him with said crush. and good thing they shoved the two of you into a closet for seven minutes in heaven, forcing him to finally talk to you, finally realize these feelings brightened him up inside and weren't as bad as he made them out to be.

after that he begun to treat you differently, it was seen in the small things like offering you his jacket, fixing your hair for you, walking you home.

but more than everyone, you'd be the most surprised. because the same guy who avoided you like the plague would be offering his shoulder for you to lay on.

taglist: @k0z3me @darhinadadragon @maddietries @i-the-fluffo @uy242c @irenne-stans

[catpriciousmarjara]

Every single day I'm grateful for that time I stumbled on the SVSSS headcanon that while Bingqiu is considered highkey confusing and lowkey cringe in the demon realm, Moshang is known as the Power Couple™. They're the demonic love story. The 'It Couple'.

Just generations of demons sighing over the dramatic and bloody love story of the Northern King and his right hand man plus spymaster, yearning for one of their own filled with such glorious violence and betrayal! A classic childhood friends to lovers narrative filled with ups and downs and copious murder and gore! Love at first sight! The story of the loyal spy who rose up the ranks of the brutal Northern Court, culling his competition while providing vital intel to his liege, all the while infiltrating the most powerful cultivation sect in the world and eventually even becoming a Peak Lord! The slow burn of all slow burns! All kinds of spicy complicated power imbalances! Sexy, unexpected age gaps! Years of heavy plot! Decades of passionate courting! The pinnacle of inter-species forbidden romance! The tale of a man who swore eternal loyalty after falling violently in love at the very first meeting, calling a mere Prince His King in his desire and determination to see his beloved's ascension to the throne that was his birthright, and the Demon Prince who was unexpectedly presented with fierce loyalty in a life that had until then been rife with treachery and grabbed it with both hands and never looked back!

...and there's Junshan and the weird human he keeps around. Somewhat interesting if you're into that teacher-student thing I guess. There were very few deaths. Some bland murders. The trial arc and the self destruct thing plus corpse hoarding was interesting but overall very vanilla. Unseasoned. Not even a proper decade of drama. Kinda boring. And Junshan's half human so they're like Walmart version inter-species romance. But whatever the Emperor's into I guess. His dad was kinda weird too but at least his relationship with that human woman had some kick to it. The new generation just doesn't appreciate a long drawn out painful romance tsk tsk...

Like infinitely grateful to whoever first spawned that headcanon. Never fails to make me laugh. Honestly the most hilarious thing I've ever seen in this fandom. Hope your pillow is always cold and you never stub your toe.

[hey-hey-j]

they were on their way to Mount Rageous. John was on his way back from Mount Rageous. They bumped into each other. Misunderstandings ensued.

anyway here's some bonus gags

me when I sprinkle Johnkory crumbs into my Flickory AU

(★ my Kofi)

[phantom-of-the-keurig]

“Unmmmm there’s NO evidence Kamino CULLED clones who were different that would be MEAN and no clones were decommissioned it doesn’t exist!!”

Begging y’all to think before you speak please 😭 these are direct screenshots from the canon wiki, and I even have the actual source book where these come from

[charlie-artlie]

Bonnie in the real world 💖

[silicated]

legacy

1 | 2 | [3] | 4

[ew01z]

as much as i love that klapollo is the epitome of an Interesting Cool Guy Ever falls for Just A Guy dynamic ... klavier very clearly thinks apollo is the coolest guy in the world. like he calls apollo cool several times in 4-2 Alone

let's be soooo for real. if someone referred to apollo as Just A Guy klav would be flabbergasted. offended even. what's cooler than a 5'5 transmasc guy who stares autistically in court for a living?

[undercover-stories]

Wei Ying didn't 'break' Jiang Yanli's engagement to Jin Zixuan. Their fathers did, and no, it wasn't because Wei Ying started a fight with Jin Zixuan. It was because he brought to the surface the truth, which was the clear contempt Jin Zixuan had at the idea of being trapped in a marriage with Yanli. Jiang Fengmian broke it because he realized that Wei Ying was right. He couldn't let his daughter marry someone who obviously didn't want her and more importantly might fail to protect her the way a husband should especially since as a woman in ancient china, the person 'responsible' for her would be her husband and her husbands family. He knows what it's like to have constant internal conflict with your partner, and he didn't want Yanli to face that with her own.

Not to mention, it was only through the break of the engagement, and Yanli ceasing her acts of affection during the sunshot campaign did Jin Zixuan finally take notice of her.

The only person person who blamed Wei Ying was Madam Yu Ziyuan because of her prominent and unfair hatred towards Wei Ying. Just like the way she blamed him for the Wens attacking the Jiangs when no, the blame of that attack lies solely on the Wens. Blaming a kids actions as being the cause of inciting conflict is Dictatorship 101. It didn't matter what the Jiangs did. The Wens would have attacked them regardless, especially since Madam Yu refused to lower herself the way the Wens wanted her to. The way Wang Lingjiao was trying to. Blaming Wei Ying for the Jiang Massacre would be like blaming the destruction of Gusu by the Wens on Lan Zhan for trying to protect the library. The only ones to be blamed for all the destruction are the Wens. No one else.

[twstem]

[nyoomerr]

the authorial intent was to get that man wifed up

[astronomodome]

Could you do an eldritch pearlescentmoon or a fae pearlescentmoon, please? :3

how about a little of both? :3

[wickjump]

i hope everyone who preaches about how the only way to enjoy fandom spaces (especially in this fandom) is by strictly abiding by canon interpretations and thinks everyone else is ruining fandom spaces remembers that uwu baby cutesy dream is not in fact fanon but very much so how dream is canonically portrayed so if you want to stick strictly to canon and villainize fanon you’re gonna have to make that guy fucking insufferable and infantilized to hell and back sorry. it’s canon and if you do anything else you don’t actually deserve to be in the fandom that’s just how it works i guess

[driftsart]

TERMINUS REDESIGN :D KDKDKDKDKSKJDS

I love him sm you guys don't understand...

[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.