#what's my evidence for this?

[acearohippo]

When the Truth Unveiled event drops, I am expecting a dramatic reveal that Li Xiao is Li Ling's older brother.

I want no less than a heartbreaking flashback, from Li Xiao's POV as he watches his baby bro grow more and more wild and takes on being an officer (police? Military? Somefin else??) and climbing the ranks in a twisted, pseudo-selfish way to protect Li Ling from continuing on a path being on the front lines.

Something along the lines of "if I can remove the threats or the severity of the threats altogether, Li Ling won't need to be in danger" or "You might've become an esper and protected our family, but as our youngest- you shouldn't have had too take on that responsibility"

You know, what I think dislyte is trying to do with all these "older sibling union members/younger sibling decree members" dynamics, except you know, not clearly as black/white. Also, Li Xiao is explictly NOT shadow decree.

[lizardkingeliot]

I was lost. I was in a dark way.

[yuwuta]

you ask yuuta if he wants a bite of your food and when he says yes you offer your plate to him, but he’s just sat there looking at you with his dumb big bambi boy eyes and his mouth slightly open and he will not look away or blink or close his mouth until you lift your fork to his lips to feed him and then he grins like shit’s sweet and hums about how good the food is like nothing happened like he’s not ridiculously attractive. gonna chew on steel

[800db-cloud]

spare some spy hcs? 👀

OKAY. ok. so i have been putting off answering this ask because i’m admittedly very shy and very afraid of sharing my headcanons. and also because i have A LOT OF THEM.. but here we are!

here are my headcanon spies :) René works for RED and Jacques works for BLU!

where to start, where to start… i have a LOT of headcanons for them, i’ll be talking for FOREVER here. i’ll just start with story because why not! xP

René’s parents were also agents/spies, so he was always destined to be one as well. And he lives up to his parents’ legacies! He’s most notorious for destroying gangs and mobs and the like from the outside in. He was brought to America years ago to take out a dangerous mob boss, but unfortunately found himself infatuated (and involved) with the boss’ daughter. Luckily for him, the boss’ daughter wanted the guy dead, too.

René’s story is honestly a lot more fleshed out than Jacques’, but here goes anyway:

Jacques’ father was a very rich and powerful man in politics. Jacques himself was the result of an affair, and to keep it hush-hush, his father decided to raise him. Raise is a strong word, though— but he did help his father gain intelligence and blackmail on opposing political parties. Jacques proved to be a promising spy since childhood.

If anyone has any suggestions/ideas for Jacques’ story, let me know haha x) he didn’t have the greatest upbringing per se…

last thing on this section i wanna talk about is the Scouts. René is related to both of the Scouts; he’s RED Scout (Jeremy)’s biological father, and he’s BLU Scout (James)’ adoptive/step-father. Jacques has no relation to either scout, but acts as a guardian figure to BLU Scout.

anyway, this is the part where i continue talking about other miscellaneous headcanons! and these come with doodles :)

You couldn’t catch René DEAD without his mask, or his suit! He’d neeever take them off around other people (‘other people’ is mainly just Scout. For obvious reasons.) Meanwhile, Jacques is pretty lenient in letting his teammates see his face! Everyone on BLU’s seen his face at least once.

A big part of why René refuses to strip down is also due to the fact he has a LOT of tattoos. No doodle for this one because I’ve yet to decide on what tattoos to put on him (ideas are very welcome!!), but yeah! Most of the tattoos were ‘forced’ onto him/he had to get for jobs and ‘fitting in’ with bad crowds, but a good few of them were of his own accord, too.

Jacques doesn’t have tattoos, but he has a myriad of another thing: scars! Lots and lots of scars on this guy. Faded and old, sure, but they’re there. Most prominent ones are the one around his neck (from when the RED Medic beheaded him) and the ones on his forearms (those are from the LAST time he was imprisoned— looong story…)

René doesn’t cook very often for his team, but when he does, everyone’s always BLOWN AWAY by this guy’s cooking! René’s really bad at taking compliments, though— (“Cooking food that’s remotely edible isn’t a compliment, it’s basic survival.”) —but rest assured he’ll be thinking about it for the next month. Jacques, however… Do NOT let this guy into the kitchen. Ever. The BLU base has a special fire extinguisher “In Case Spy Decides To Turn On The Stove”

oooh, this one is an hc and a HALF to me. René much prefers working alone. It’s just in his nature, being isolated and whatnot. He likes to deal with things by himself– maybe he doesn’t want to burden others? On the contrary, Jacques NEVER works alone. It’s a trait he’s had even before being hired to BLU. You never know when things could go wrong, so it’s best to have someone else to fall back to… or someone else you can blame!

these hcs both have something to do with how René and Jacques show their trust in other people :) it’s a bit convoluted but it gets there:

René is, amusingly, very bad at remembering names. Almost laughably bad. There have been many-a-story of his days before RED where he’d get a target’s name wrong, even after he’d repeated it in his head dozens of times over. Names are difficult for him, so if he remembers yours, it means you mean a lot to him! He prefers using his teammates’ names rather than their titles. René is unaware of how charming this specifc trait is to his coworkers (they saw how much work and effort it took for him to memorize their names, they’re just happy with how far he’s come!)

Jacques has a… to put simply, very complicated relationship with food. But the one thing he’ll never turn down is sweets. His favorites especially being chocolate bonbons. Jacques has a hard time eating in front of others, let alone sharing his food! But if he genuinely likes and trusts you enough, he’d have half the mind to share with you. Admittedly, he hasn’t brought himself to share with most of the members of his team yet, except for a select few. Mostly BLU Medic and BLU Sniper.

—

and of course, eventually, EVENTUALLY, these two also become friends! it took a little bit but believe me, they both respect each other’s skill in their job :)

AHHg i could go sooo much longer about them— from things like their physical traits (how much teeth they have? it’s a pressing question) or different periods of their life (why did rené have to leave his family? why was jacques imprisoned for the last time?) BUT this post is so… so, so long. My fingers hurt from typing

If you’ve managed to read through this Beast, THANK YOU RAAHH!!! thanks so much for asking this, too. i hope to spare more hcs someday. hehe ^_^

[hychlorions]

a what-if i've been thinking about for forever... trucy knowing the truth before anyone could tell her

[ohitslen]

*Vampirizes your Vashwood*

keep reading for more :)

If there needs to be much closer close-up please let me know!

[skunkes]

really really love drawing cute kitty nyalon doodles and remembering what he actually looks like

[rabbithaver]

psychologists would have a fucking field day with him

[goodoldfashionedengineer]

Teacher: Sorry for being late, in exchange, we'll end the lesson earlier

Jason Todd, aka 'Robin': (⁠●_⁠●⁠)

(internally: *appalled* how can the lesson be shortened when we already began later, the math doesn't add up)

----

Jason Todd, aka 'Red Hood', being particularly mad at the Batfam over something: Sorry for being late for the mission. In exchange, I'll end my part of it earlier

[cozylittleartblog]

also in the face of people deleting their blogs, that's another reason why you guys are supposed to reblog stuff. if somebody deletes a post, your liked version will disappear, but the reblogs remain. i'm insane about preservation and archival, every single piece of art i have ever enjoyed is reblogged on my 450k+ posts main account so if the artists leave I still have their work. i even tag things (though just with the main fandom tag) so I have years and years worth of fanworks saved that the terrible general site search will never show you.

please reblog art. not just to support the artists who make it and share their efforts, but also so you have your own copy of their works saved for yourself, and the future users of this site.

[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.

[lonelyoleander]

CHOOSE YOUR CHAMPION

[iyohme]

and i know that you mean so well;

but i am not a vessel for your good intent!

("Tongues and Teeth," - The Crane Wives)

my serotonin got jetpack bursted into the stratosphere with this blurb by OP. Your brain is so juicy and moist and wrinkly OP. Godspeed. I'm not even into DC but the whole "Burnt out and neglected, and now a bunch of people driven by guilt guilt guilt want me back so they can feel less guilty?" just made the racoon in me rub its hands menacingly hoho

Just imagine not even living your best life; just a shadow in the lives of the illustrious Waynes, a ghost in a castle, visible only to the loyal servant and the occasional curious paparazzi who shrugs and looks away--after all, there was no mention of you in any occasion: must be the kid of in-house staff. How nice of Brucie Wayne to allow even the children of in-house staff the opportunity to study at such a high-end college! (The reporters chortle and snicker at your barely-passing marks, sighing at such a wasted opportunity. Oh well. And then they move on to the tabloid topic of the week, after the strutting socialites and the rich and the arrested Rogues.)

You gather things.

You gather pieces of a cracked dream, a single plastic teacup you had brought into the cavernous mansion the day you held Alfred's old, gnarled hand. Ears ringing and slippers still stained with your parent's blood as they were gunned down before your very eyes. You gather your things, what made you before you were "Wayne," so to say. Your mother's old cigarette box, smuggled from the crime scene, your one memento of the woman who you could not forget but never forgive.

A juxtaposition of love and hate, forever crucified. The image of the Virgin Mary inside the tin box seems to be a mockery of faith, across from her image lying cheap cigarettes.

You gather test papers, all barely passing and with more reds than blacks, and grind them up into strips with the shredder you had brought; just one time the black card Wayne had given you, and it left the bitterest, sourest aftertaste in your mouth. They burn so cozily on the school Bunsen burners, especially when sprayed with alcohol, immediately immolating like timelapse sparkler videos. You gather your name before the Incident, you cherish it, and you repeat the syllables in the dead of night, spilling past your mouth. Even if it was the name of a child-abusing monster, it was still yours, and it was still of use.

And use it, you would.

While they go and be a family, you work to begin yours.

You gather funds: it's easy to take on odd jobs when people do not suspect you. You tuck away that black card at the bottom of your study table drawers, forgotten there like scribbled-out pages of an essay, an unfinished drawing, and leftover candy wrappers. It's a bit-by-bit work, but you know the Waynes wouldn't even see it happening. Your brothers and sisters (an absurdly alien concept, as they don't even acknowledge you exist ninety-five percent of the time) are prodigies paraded around at every event. You are the unseen ghost flitting through their shadows.

Graduation comes and goes. It's laughably easy to falsify having lost your social security number and other documents--Gotham is that much of a shithole, you suppose. The man in the cowl notwithstanding. His efforts are admirable, but weak. Recidivism is common in this place, as if there were some sort of pull that incited the people in Gotham to cruelty, to madness.

It's absurdly Lovecraftian, in its own way.

You are not even living your best life, and yet you are free. Alfred knows; he always knows. If you are The Ghost, then the aged butler is a man one step between the doors of death, and he sees you every time you move. Your room is empty, and he raises an eyebrow at your satchel: all your items already stored elsewhere or given away.

("I suppose this was a long time coming, Little Master."

Tap tap tap. Footsteps on marble floors, setting sun.

You shrug. "Eh. The Waynes gave me a roof and education. It's all good."

You grunt. "Well, people change. Like you know, how kids being gifted stop being gifted when they grow older." You say, instead of 'Well, if a child doesn't get any praise or attention if they do good and probably even less if they were bad, why even bother?')

A pause. "Your academics were not so lackluster when you were younger."

You promise to try and stay in touch. (You crossed your fingers behind your back.) You leave, sunset on your face.

The nap you had in a dingy hotel with far too many odd stains and not enough locks you could put on was the soundest you've ever slept in years.

Freedom smells like summer air and the last rays of sun, followed by the cold blue hour.

It takes three months for an out-of-state college to accept you. It's far from Gotham. It has a dormitory. Excellent. While you were indeed a mediocre academic student, you had banked everything on band scholarships.

Who knew more than a hundred clarinet players had unclaimed scholarships yearly? Packing up your small life in bags, you take a train upwards to another state.

(Meanwhile, in Gotham, there is an odd sense of unease as Bruce Wayne stops by an inconspicuous door. It's relatively clean, as expected of his manor, but the worn out brass on the handle suggests that someone had lived there before. He opens the door. Steps in. A bed, a dresser, a study table. Bare bones.

The unease intensifies. But who?)

Someone had lived in here, yes.

[deimosatellite]

like idk it just seems actually nefarious to take one of the very few widely known instances of queerness in older history being a symbol to show queer people that we've always existed and aren't alone for CENTURIES and taking away the queerness from it. like. i know some people say that ''the queerness isnt important in the book" which i mean in my opinion i could go off for 10k words in an essay as to how basil's love for dorian is integral to the story BUT EVEN APART from that its really just. having a real explicitly queer character in such an old and widely regarded classic novel is HUGE for queer history and this is just. literally like. its 2024. why are you doing queer erasure to DORIAN GRAY

[buried-l0cket]

Polygun but it’s how they all see each other

i always really like in books with different narrators when how a character looks itself is unreliable narration bc they describe themself differently compared to how the other pov characters see them, and the dungeon meshi shapeshifter chart scratched that itch for me art wise and I got inspired ✨

To be more specific this is what they each picture when they think of each person 👉👈

Details under cut!!

Meryl clothing details aside because I think she’s just short and the boys aren’t looking at her traveling clothes too hard (and vash clearly likes making his own clothes with how much his overly intricate jacket design changes so ofc his version of her outfit just looks like another one of his designs 🙄) all of the clothes are based on specific parts of the manga!

A big thing with these designs was taking moments that were important regarding each characters relationship with the pov character and adding in visual nods to that to show what memories stuck with them to shape their image of that person.

The clearest example of this is everyone thinking of a different Vash coat, for Wolfwood it’s what he was wearing when he turned him over to Knives, to Meryl it’s his final fight coat, and for Milly it’s when she met him.

It may be Trimax but I will always have a soft spot for 98 millywood so those two’s impression of each other has been influenced by that, but more specifically just the idea of them both alone together, layers and walls down, hair messy from sleep. Their relationship is one I just see very clearly developing over a lot of late nights at inns and bars during traveling!

Vash is the trademarked inventor of Savior Martyr Victim complex supreme and when he thinks of everyone he sees times they’ve been let down by him. To me he’s the biggest broken gear in their dynamic because of the way he holds himself back and isolates, the ship really works in spite of him most of the time. But he also sees traces of times his desire to be by their side was cemented. His Meryl is heavily based on after she was kidnapped by the GHGs and he lost control in front of her, but her hair is longer + earrings are gone like when they saw each other again after Knives released the ark, and she has a black turtleneck peaking out from under her traveling clothes the way it did under her space suit during the final battle. His Milly has the hair and undershirt of the final battle but her outer clothes are from when they traveled together for the majority of Trimax. His wolfwood isn’t doing too well.

Meryl’s versions of Milly and Wolfwood are both pretty similar to how they looked when she first met them, wolfwoods hair is just a little longer like I imagine it being towards the end of Trimax and is very windswept, from their short first meeting in the original Trigun manga run I always got the impression she thought he looked very cool lol, she was staring up at him like ://0 the whole chapter.

I mentioned it before but honestly most of Wolfwood’s Vash is based on how he looked when he turned him over to Knives, not only do I think that moment stuck with him but I feel like it’s a good visual summary of all the mixed feelings he has towards Vash. He’s drawn to him and sees how sad he his but he also sees how inhuman he is and the threat he and knives pose for the people he cares about and prioritizes. At the end of the day Wolfwood chose the orphans over Vash twice and never went back on that, and a big part of why he broke Vash our of Knives prison was just so he could go fight Knives to the death for humanity’s sake, and I think that’s important to his character and their relationship.

Similarly, Meryl’s Vash is really just final arc Vash. She’d already developed a very strong impression of him before then but they would go weeks to even years without seeing each other and each time the way he looked and the way she felt about him would change drastically, it seemed to me like it wasn’t till she was on the ship advocating for him and the people living on gunsmoke that she knew how she felt about him and what kind of person she saw him to be. It was also a huge moment for her character wise with the way she faced her fears in the name of human connection and made the active choice to not be as apathetic and closed off as she realized she had been in the early manga.

I think Milly’s first impression of Vash was strong and accurate enough to not change much, this nice guy is Vash the Stampede and there is definitely something weird about him.

I don’t know why Wolfwood doesn’t know what Meryl’s hair looks like, what’s wrong with that guy? In general his version of Meryl is very inaccurate now that I’m looking at it, I promise he likes her

+small details that are my personal headcanon and not the characters interpretations are Meryl and Wolfwoods hair being a bit more curly/textured than canon, Milly’s eyes being green, and Meryl’s earrings being silver (gold earrings with a white black and blue outfit and silver guns?? C’mon girl accessorize properly)

[xxplastic-cubexx]

If you were to like redesign Magneto's classic outfit in a way that both suits the character and your own tastes, how would you redesign it?

uhhhh errrmmmmm i dont know i really couldnt improve upon perfection but i have still tried for you my friend !!!