#your fanon

[carlyraejepsans]

fandoms love to go ooooo you have to read this fic it's the most popular fic in the famdom it's a fandom classic and then you read it and it's bad

[somewhereincairparavel]

To the people saying "Jason wouldn't have jumped into tartarus for Piper, like Percy did for Annabeth" as a way to demean him. Jason, plunged into the sky from the grand canyon to catch Piper in the first few pages of the lost hero without even knowing who she was, and without the knowledge that he could fly. so he basically jumped to his death attempting to catch her. In the first few pages of his journey, he didn't mind dying to save Piper, and ironically, that's also what he did in the last few pages of his journey. Y'all just be making the most out of pocket claims abt jason fr

[niftukkun]

welsknight fanon v canon : aka the funniest contrast ive ever seen from fanon v canon.

heres the textless version and some thoughts

the contrast between canon and fanon with welsknight is so funny to me. every single fanon piece (usually writing but sometimes art) i see of him hes so knightly and goody two shoes and like. posh?? and then i watch his videos and he puts a bridge on hypnos front lawn without asking for permission. he made a secret tunnel between him and hypnos storage rooms for shits and giggles. hes doing an old man impression of kids these days with their gadgets and he brings up papyrus paper of all things. he gives off such mischevious little man vibes and he is at best a knight wannabe but realistically seems to be just be in it for the aesthetics and fandom takes it all way too seriously. its hilarious and i genuinely cant take any fanon depiction of him being all knightly and pretentious without thinking of the fact that he spent so much on mangrove to line the secret tunnel between him and hypnos storage rooms which he built without telling hypno. peak smug cat meme vibes

anyway uhhh tldr welsknight is not a knight that armour is made of foam and its hilarious how seriously the fandom takes him. send post

[tubbytarchia]

Missed drawing these two too

Bonuses

[batcavescolony]

I like fanon and I can enjoy it but like with all those "Tim Drake, the poor little wet cat, gets thrown into another universe and he's adopted cus no one in his universe loves him 🥺" fics are cool and all but it be more canon complaint I'd have to be like "Tim Drake goes through the multiverse to get a moment alone cus he's got so many people that are around him 24/7" he's got super friends, he's got civilian friends, he's got villain friends, he's got villains that are interested in him, he's got bats and other related heros. He'd willing jump into a portal to another universe to get some time to work on a project or something.

[tendermimi]

Palestine will be free. (frantz fanon, the wretched of the earth)

[onesidedradiostatic]

concept of katie killjoy having sold her soul to vox because she thought he was an honourable Straight Man and low-key had a thing for him but then later found out he was one of the QUEERS but it was already too late by then

she thinks valentino turned him gay (only because he's more openly queer and it was more obvious with him than vox)

[feralforbeanix]

Thinking about how Trucy Wright seems to do her best to just...brush past all her trauma. And I don't mean this in a "it's bad writing" way, I mean that her way of dealing with things seems to be to mostly ignore it. To move on as quick as possible and try to ignore the more emotional implications.

Yes Zak Gramarye was her dad and yes he abandoned her but Trucy doesn't talk about it more than she has to. She just immediately accepts Phoenix's offer to adopt her, calling him Daddy as soon as he told her it was okay to. She even seems to take the Wright last name with no complaint, she even seems to take pride in it!

When Apollo finds out she's actually adopted and her real father was gone, this exchange happens:

Yes Trucy is visibly sad here, but she just as quickly moves on from the subject

When Apollo reveals to the court that Zak was the victim in case 1, he looks at Trucy. Presumably expecting her to be upset, cry, or something

Yet all she does is encourage Apollo to continue with his case

I've seen people compare her to Maya, and while they definitely both have the "smile through the pain" thing going on, I do think there is a subtle difference. Maya downplays her trauma, but it seems Trucy doesn't like to let herself feel at all.

No, I think she acts more like Phoenix.

Phoenix, who is practically known for being cagey and as vague as possible about important events in his past. Especially in this game.

He doesn't talk about his ex girlfriend who framed him for murder, he just moves on to becoming a lawyer. He doesn't talk about Edgeworth "choosing death", he just continues trying to be a perfect defense attorney. He doesn't even talk about important details about his disbarment until he absolutely has to, when it's relevant for his jurist test.

Phoenix, who has been betrayed and left before, who desperately clings onto every person who shows him even a little kindness, who focuses on everyone else's problems and pasts before he acknowledges his own.

This is the man who adopted a girl who most certainly had abandonment issues, because chances are so does he.

He understands her better than anyone not just because he's her legal father but because it takes one to know one

[oraclenthusiast]

batfamily fans pretend that they like complex parent-child relationships until the parent isn't bruce wayne. and the complexity isn't very easily resolved communication issues

[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.

[kanalaure]

-sighs-

your friendly reminder that "maedhros and maglor took elrond and elros with the intent to ransom them for the silmaril" is fanon, not canon

it's a fun idea to play with sometimes, and i've seen it done well, but the actual published text states "maglor took pity on them and cherished them" not "maglor thought, 'whoopie! finally a potentially bloodless way to get our hands on a silmaril,' and started sending fruitless letters to the king about it"

you can't make accurate judgements about a character's.... well. character, when you are mixing up fanon and canon events in your analysis

[briseise]

hi honey!! how about cat + gem for the hermit swap ask gam? <3 love from tuna

u want kitty gem? meow meow meow meow? =^. .^=

[farshootergotme]

What's the worst lie the popular batfam fanon has made you believe?

I'll start:

'Worst' might be an exaggeration, but the fanon that says Jason is Bruce's favorite son.

[fluffyartbl0g]

If you asked me to describe them in one picture it would be this

Here’s the scene in question ^^^^ ITS SO GOOD ITS SO GOOD ITS SO GOOD

And here’s the exact screenshot I redrew

[batcavescolony]

You know what I find funny about the fanonization of Tim Drake? In fanon content he's like seen as meek, weak, shy when canon Tim Drake is the opposite. Canon Tim's favorite game is jump rope with boundaries. He will do genetic experiments on his friends, he literally became Robin because he dug into the bats business, he stalks so many people. Canon Tim is a little shit who talked back to Jason as he was getting his ass beat. Canon Tim isn't meek or weak or shy, he's a funky lill freak, who will make it known if he hates you or likes you.

[cairoscene]

Brian David Gilbert on Sad Boyz

feels fandom relevant.

[ID: A series of screen captures of Brian David Gilbert speaking on a podcast: "The thing that you invest your time in can feel so important to your identity that occasionally you feel, like, you need to close it off from other people in order to keep it safe. And I think that's where a lot of nerd culture, all that gatekeeping stuff, all of the toxicity stems from that thing where it's like, "In high school I didn't have a lot of friends or connect with a lot of people, but I did have this comic book, and now this comic book is super popular, but these people don't like me. That must be because they're not real fans."" End ID]