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Mini doujinshi “She can not see me” ٩(●̮̮̃•̃)۶

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Smooching notes~!

So the people on Twitter seemed to find my notes very useful, So I am sharing them to you guys as well

have fun!

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The TADC cast: [In a Mad Max candy hellscape and on fire]

Zooble:

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Rukia and Orihime Drawn by Koyoharu Gotouge (Demon Slayer)

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Like i mentioned a few times, Chloe's family has been training her to be the new Bee miraculous holder since Zoe and her were kids. Unlike Kagami who was basically raised by the Supreme, Chloe didn't really know about the Supreme or what exactly her parents were preparing her for. She just knew that her parents were involved in some shady organization, but not any details.

Zoe was the Supreme's original choice for the Bee Miraculous, but due to her running away from home, it was given to the second candidate. Chloe got what she wanted, but she has to deal with lots of angst about being the second choice and constantly getting compared to her sister who excelled at everything. Basically Tahani and Kamilah Al-Jamil, but with magic bee jewels.

As Hornet Queen / Sting (can't pick between those two names) she doesn't usually fight alongside Kagami, Luka and Felix. She usually does her own solo thing, but would occasionally be assigned to missions with the trio, or with Lila, much to their annoyance.

Full Re-Verse lineup below

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Thank you @loserbabes and everyone who got me to 1000 reblogs!

In the music video, Blitzø is represented by the Moon, while Stolas is associated with the ocean, initially walking on it before being submerged in it. This is actually very symbolic of their dynamic. The Moon controls the tides, but at the same time, it orbits around the Earth. Blitzø relies on Stolas and is drawn to the force of his power that he needs to accomplish his goals. However, Stolas is controlled by Blitzø's gravity as well, to the point of drowning in his emotions for the imp. They both profoundly affect one another.

Even the string that ties Blitzø and Stolas together is deeply symbolic. The majority is Stolas's blue, which is representing how much he's put into the relationship so far, as well as the massive amounts of feelings he's going through dealing with possibly losing Bitzø once he gives him the crystal. He has so much length to it because he's being so much more open about his feelings as well.

Meanwhile Blitzø's red is barely there because he doesn't, and possibly can't, put more into the relationship than he currently does. He has so much self-hatred that it's almost impossible for him to love anyone romantically, considering he doesn't even love himself. That and he's scared to put himself out there only to be hurt. He shows so few emotions and so his portion of string is immensely shorter. When it snaps, it all goes back to red on his end as all his trauma and repressed emotions about it flood back and envelope him in the moon once more.

Pay attention to the size of the moon. At first the moon was small, that is, these "walls" were thin or insignificant (this can be recognized from the childhood of Blitzo and Stolas, Blitzo was full of enthusiasm and hope, but now it is slowly fading away). Previously, Blitzo was more open, but after many events in his life, his walls began to increase (he was used by his father for profit, his best friend Fizzaroli suffered because of him, etc.), and eventually became huge and impenetrable (he does not share many things, not even with his own daughter, and he's afraid to trust Stolas on purpose). Even Stolas, with his tall stature, cannot compare with them. This literally shows that Blitzo can't trust anyone.

Stolas sees this and tries to break through them, but until they talk, the walls will not be possible to get through. It is precisely because this "barrier" cannot be destroyed that Stolas will give Blitzo the opportunity not to depend on him because of some kind of grimoire. The Moon's increasing size may also indicate that Blitzo is becoming a significant figure to Stolas. He wants to be with Blitzo not only physically (by type of sexual attraction), but also emotionally. In other words: Stolas fell in love with Blitzo seriously, not in childhood, when it was just sympathy, but real love, which is difficult to get rid of.

The symbolism of Blitzo as the Moon is very reflective of his and Stolas' relationship. Not only is it a callback to the fact that they mostly see each other once a month on a full moon to do “the deed”, but it it's also just a great metaphor for Blitzo as a character. Humanity has been fascinated by the Moon for a long time and tried to reach it for centuries and it was only in 1969 (relatively recently) that they managed to do it. The moon had always been this gorgeous, desirable, yet unreachable thing and that's exactly what Blitzo's love is from Stolas’ perspective.

Stolas' love for Blitzo is represented by the moon. First small and bright, something he can hold close and dear. Then larger, something harder to hold but something still fully within his grasp. Then at the end, impossibly large while also just out of reach

The moon also mirrors the power dynamics between Stolas and Blitzø, at the start with Stolas holding all the power, then Stolas putting himself at Blitzø’s level when he finally tries to look deeper and see what Blitzø needs and his walls. Then the moon grows larger than Stolas as he intends to give Blitzø the crystal so he doesn’t have to depend on him anymore. And now the power in the relationship shifted towards Blitzø. Whether the relationship continues is now up to him.

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Think Adam THINK!

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Word up, its chapter Two.

Part 1

Au redesigns Haha they suck

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They forgot to tell him

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Previously on Beach Day series 🏖️

We got newcomers this time 👀🚢(1/3)

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You already know what this is. [deep breath] ROYAI ROYAI ROYAI I LOVE THEM I LOVE THEM SO MUCH I NEED MORE OF THEM PLEASE GIVE ME ANYTHING YOU HAVE ON ROYAI I NEEEEED MOOOOOOOORE [flails and sobs simultaneously] [clears throat] I mean, uh...I really enjoyed the relationship between Roy Mustang and Riza Hawkeye when I was watching Fullmetal Alchemist: Brotherhood. It's such a mature, subtle, well-developed relationship. I'd love to hear (see?) your thoughts on it.

Few fictional romances appeal to me in media. And then there’s Royai. I cannot get enough of it. This is a powerfully distinctive and well-written story of love andloyalty of which you never see the like in fiction. 

Royai is writtenuniquely, in many ways contrary to a typical contemporary love arc. There’s noslow boil awkward stage growth over time or sudden passionate sexual intimacyafter a few days knowing each other. Neveronce do they say “I love you” or kiss. Theyaren’t an end game romantic pair and in fact they never even enter an official romanticstage! And yet they are far, far, far more real and tangible a pairthan almost anything you EVER see in fiction.

It’s incredible.

This is on accounts of several things. To pick out just a few, we have:

Unspoken understanding. We understand Royai notthrough blatant passionate actions or confessions, but through what is unspoken. There is a lot implied. However, that’s the very point why they’re powerful together. Roy and Riza understand each other so deeply that they don’tneed to speak up; they coordinate so well mentally that they alreadyknow.

Though much is unspoken, it doesn’t mean it’sunwritten. Rather, we viewers can see this coordination of loyalty and mutualunderstanding. It’s everywhere, in every gesture, every action, every reaction.Why does Riza lose the will to live and launch into an usually uncharacteristic explosionof emotion when Lust says she killed Roy? Because it’s what Roy means to Riza.Why does Mustang panic and rush to the scene to save Hawkeye when Gluttonyattacks? Because it’s what Riza means to Roy. Over and over and over again, wesee constant affirmation that these two understand and care for one another andwill always stick around – be it in simple daily interactions wherethey understand each other’s facial expressions… or in the most dramatic momentswhen their emotions cave in and their hearts get worn on their sleeves.

They are written as a fully equal pair. Theybalance one another through the highs and lows of their experiences. There’s no damsel in distress, love triangle, or unrequited loveangst. Instead, Royai is powerful because they are an equal – utterly equal –duo.

I’ve seen many amazing analyses discussing the firsttwo points, and indeed I could write my own theses about what’s so great aboutRoyai here. But I want to talk about the third point because I never see it analyzed. But it’s undeniable. Arakawa wrote Royai as a very intentionallyequal pair. Not only are they meant to match each other in capabilities, buteven structurally the story revolves around Royai being presentedas equals.

That’s what I want to talk about here. This analysis is less about the ticks of how the relationship works, and more about how Arakawauses one specific writing device to make Royai shine. The reason Royai is sowell-written is in part because of an amazing scaffolding devicethat hits all of Royai’s key moments.

Here’s how it works:

For everything major Mustang undergoes, Hawkeyeundergoes later. Everything major Hawkeye undergoes, Mustang experiences anequivalent. Whatever circumstance happens between Roy and Riza, their roleswill be reversed shortly later – in fact usually in back-to-back sequences. Key Royaimoments are not single instances… they are written in reciprocal pairs. Royai is written through a constant process of structural reciprocation! 

These situation reversals give us an incredible result. It’s not just that it gives us more amazing Royai moments to experience. But this also means Royai is written as fully equal partners whose point of views are equally expanded upon, explored, and understood. This means that we audiences see actions of dedication from Riza and actions of dedication from Roy both. This means that we understand both their emotional vulnerabilities when the other is in danger. This means that we understand how both work to help the other in times of weakness. This means that we see how both act through their strength to provide for the other. And on and on and on. And by doing these in back-to-back reciprocating instances, it builds even better that sense of reciprocal love. It’s the perfect way to manifest their powerful relationship. You can’t make it more tangible than this.

Admittedly my analysis tackles more about the amazing structure behind how Royai is written rather than how Royai is amazing. Still, I hope you can see that, by understanding structure, we can also understand how Royai is just so damn beautifully written into glorious, effective romance.

So let’s take a look at key scenes.

Keep reading

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Why Royai is Objectively Canon

I love this topic so much and had to enthusiastically yak about it. I’m also nervous making this post… but you know what? Life’s too short to not talk Royai. I said about a week ago that I’d write a post demonstrating why canon material presents romantic Royai as objectively canon. Haha, I don’t believe this is Royai shippers perceiving skewed information for what we want! ^.^

For my perspective, I’m someone who tends not to be drawn to romantic ships, canon or fanon. I rarely ship and I’m almost never gungho about ships. I’m aroace and I find the greatest celebrations in familial platonic and familial relationships. Those are the things I emphasize and look into in my own fictional fixations. I’m slightly cynical by nature that authors intend a close relationship to be implicitly, implied romantic unless there’s obvious sign posts demonstrating that. I’m more likely to argue something implicit isn’t romantic rather than argue it is, honestly. Even if I find myself shipping something (and I do hardcore ship Royai), I keep a strong distinction between what’s canon and what’s fanon, and I don’t care if my ships become canon or not. It doesn’t mean I’m without my bias, but hopefully this gives everyone an angle on what my biases or not are.

Regardless, I firmly believe that Hiromu Arakawa - and in fact every iteration of the FMA franchise - intends Royai to be perceived as romantic interest. It’s written subtly at times, but it’s written intentionally.

Some points I make below will be more objective, undeniable, concrete proofs than others. For each section I’m writing, I’m (generally) putting the strongest, most concrete evidence on top, alongside asterisks to say that this is a VERY important point. But my list also includes minor moments that on their own wouldn’t “prove” Royai. However, in the context of everything else, they provide a gestalt understanding of how Royai interact and are intentionally written/drawn throughout the franchise and especially the manga/FMAB.

I could honestly write essays over EVERY bullet point on this list, but I’ll restrain myself. Yes, this long post is me actually restraining myself. XD

A BRIEF STARTING ESSAY SUMMARIZING KEY POINTS

Grumman, who’s rather keen in sensing motivation, suggests Roy marry his granddaughter, Riza. Roy’s foster mother Chris suggests that Roy should “play with Elizabeth” when he’s feeling blue. When Roy says another man takes Elizabeth-chan away from him, Vanessa asks if this means Roy’s now romantically available - indicating that Riza is where Roy’s romantic interests lie. In fact, both Roy and Riza demonstrate occasional moments of jealousy when someone shows romantic interest in the other. Roy gets disproportionately defensive when Barry hits on Riza. Riza, meanwhile, tries to sabotage one of Roy’s dates by overloading him with paperwork. When she fails to prevent the date, she goes to the shooting range to noticeably vent, catching both Falman and Fuery’s attention for her abnormal behavior.

Royai tend to use formal language to one another, Riza almost exclusively addressing Mustang as「 大佐 」 (colonel). Roy makes sure to put in「 中尉 」 (lieutenant) lots amidst various second-person pronouns. However, when both are emotionally vulnerable and speaking from their heart about each other, like when Riza thinks she might have to shoot Roy, they drop formalities. Roy then never calls her “lieutenant,” instead exclusively uses a term that can be endearing and affectionate, 「 君 」, and uses this word when he says, “I can’t afford to lose you.” Riza, even more tellingly, calls Mustang 「あなた」- something she never calls him in formal situations - an affectionate term wives use to call their husbands. 

The body language and facial expressions Royai give each other is notably different from how they interact with family and close friends. Mustang isn’t someone who engages in much physical contact, be it with his aunt or his best friend Hughes. He sometimes appears irritated if Hughes hops in for an arm around the shoulder. Riza in turn doesn’t reach out for notable physical contact with Rebecca or other friends. But the look of affection Roy gives when Riza is injured in his arms and he realizes she’s safe… is a look he gives no one else. He cradles her and embraces her so tightly that Mei has to remind him Riza’s still injured. When Mustang loses his eyesight, he doesn’t just grab Riza’s hand to get some navigation guidance… but manages to sling his arm around her shoulder. And while it makes sense for Hawkeye to hold onto him in the final fight to keep him oriented, there is a certain level of intimacy to not just holding him by the shoulder, but putting her hand on his chest, too.

Royai demonstrate extreme closeness for one another and preference for the other above all else. Romance doesn’t have to be your closest relationship, but the fact that Royai are so emotionally close only adds support to the rest of my points. Riza would be devastated at the thought of losing Mustang, so much she starts crying and gives up on life in “Death of the Undying,” and then in “Beyond the Inferno” says she’d kill herself alongside Mustang. Roy, in turn, has traumatic flashbacks imagining that Hawkeye might get killed by Gluttony, and is so frantic about her health in “Lost Light” that he is oblivious to an enemy almost attacking and killing him from the back. Mustang even admits to Bradley that he almost risked his physical health and the entire country’s safety… because he wanted to do human transmutation to save Hawkeye’s life. He would risk all that for one special woman.

Multiple characters beyond Chris Mustang, Grumman, and Vanessa indicate that they know Royai is close. Envy immediately believes Riza when she suggests she and Mustang are intimate. The gold-toothed alchemist and Bradley both know that Riza is the specific way to get to Roy’s heart. And throughout the story, Royai is written as a parallel point to Edwin. Riza tells Winry that she sticks with the military in support of one man, which helps give Winry the resolution to support the own man she loves. Riza understands Ed’s desire to protect Winry - a woman Riza knows Ed loves - because Riza, too, has someone dear she needs to protect. Everything from in-story parallels to official art often put Edwin and Royai as counters to each other.

An oft-quoted interview with Hiromu Arakawa published in the thing manga art book has the writer answering a question of why Royai aren’t married. If they weren’t romantically inclined, Arakawa would have said that. Instead, she explained that the thing preventing them from joining in matrimony was military anti-fraternization regulations. 

Other material outside of what Arakawa wrote herself or was placed in FMAB depict romantic Royai as well. 4Koma Theatre (which Arakawa also drew panels for in Chronicle) contains jokes where Mustang shows attraction to Hawkeye. The 2003 anime ends with Mustang reaching out to Hawkeye’s hair and calling her beautiful, and the two of them sharing smiles in the marketplace that show emotions they’ve given no one else. The 2003 character song “Rainy Day No Thanks” contains extremely flirtatious lines from both - it’s in fact a love song. Hawkeye calls Mustang’s actions “cute” and says she wants to hold him close, while Mustang says Riza is “a sexy lady to escort with a kiss.” Art from Daughter of the Dusk and Conqueror of Shamballa show Riza with her hand on Roy’s arm, much as you would see couples walk down the street. Mustang, sparkling and grinning in flirtation, calls Hawkeye so beautiful she takes words away in Prince of the Dawn, and is rather keen to hold onto a sexy photograph of her in a stunning dress in (I believe) Daughter of the Dusk. Maes Hughes seems rather interested in the idea of Roy and Riza pairing up for a team event in Dream Carnival, and teases them to the point of suggesting he could see them making out - which gets Riza abashed. 

All this material combined presents what I believe is a clear case to canon Royai romantic affections, regardless of whether or not you wish to ship it! (and no worries, we can all ship what we please!)

Now, this isn’t about the idea that romance is inherently “closer.” Roy and Riza are clearly close. Familial and platonic bonds can be just as close as romance, though. But the proof that this is coded as implicit romance is clear throughout the franchise, and clearly intended by the creator of the characters herself. So many of these things I mentioned would never be the case if not intended to be romantically coded. Vanessa asking if Riza’s departure means Roy’s now romantically available; Hawkeye sabotaging a date; Riza calling Mustang an affectionate term that’s not familial or platonic in nature; Arakawa herself saying Royai would get married if not for work regulations. Roy and Riza might never be able to act upon romantic interests in one another, but their affections are nevertheless underlyingly romantic. 

And now… the list I have. It’s not even anywhere close to comprehensive. But it should more than enough get the point across.

Keep reading

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While Blitzo was paid to be Stolas' playmate and was manipulated by his sleazy father into being a thief, Stolas was genuinely happy to have a friend his own age in childhood, which probably saved his sanity from Paimon's less than competent parenting.

When Blitzo explains his dream of running his own circus business, Stolas is incredibly supportive, if somewhat amused at a circus having an office. When the prospect of Blitzo hiring him comes up later, Stolas says he hopes he'll qualify and that Blitzo will make a good boss. While the start of their playdate had Blitzo being bored and clearly not thinking much of Stolas, and even if it comes after Blitzo tricking Stolas in helping him rob the palace, by the end they are laughing together and happily discussing their futures with mutual interest.

During the anniversary party, Stolas was so desperate for emotional connection that, when he met Blitzo again, he convinced himself that the imp was sneaking into his room to seduce him. Blitzo, who hadn't seen him in 25 years and was only after the book, took advantage of this not realizing Stolas was after a genuine connection and leading to the collapse we saw in "OZZIE'S".

It also turns that Blitzo was planning on just tying up Stolas so he didn't see him steal the book...then changed his mind and decided to give Stolas a fun night after discovering just how empty Stolas' life was, looking genuinely guilty upon realizing what kind of emotional damage that abandoning someone in makeshift BDSM would do to him. Especially someone who, in that bondage, called Blitzo his “first ever friend”. "OZZIE'S" has made it very clear that Blitzo might put on a front for everyone else, but I.M.P is his attempt at creating a family "circus", and he doesn't actually have very many friends of his own, having pushed his old friends away years ago (Fizzarolli, Verosika and even kept Stolas at arm's length as a child), and continuing the pattern with Moxxie and Stolas.

Stolas and Blitzo's relationship seem to have been very much headed for doom from the beginning, and it's clear that both Blitzo and Stolas has never had a healthy and meaningful relationship with anyone except maybe Octavia for Stolas and M&M and Loona for Blitzo, and even those relationships are fraught. It probably isn't a coincidence that both Blitzo and Stolas seem to be trying to make up for their horrible fathers by being better father figures to the people in their care. Stolas has been so deprived of love and affection for his whole life, other than Octavia, that he has no idea how real, non-transactional relationships work even though he desperately wants one.

Blitzo's the same, though he's spent more time hiding that, which is understandable given that he's a trained clown that has to hide his emotions. Just like Stolas, Blitzo desperately craves intimacy and a relationship of his own, but he doesn't understand intimacy without some non-love motive behind it, and he pushes others away to the point of resentment because his upbringing/mistakes with relationships in the past have led him to see himself as a failure and horrible person who doesn’t deserve love, despite being terrified of dying alone as a “wrinkly, old, withered waste”. Not to mention that Stolas, being a very sheltered member of the Goetia family, has a very poor understanding of power dynamics and as such, his "kinky fantasy" of “favors for favors” has real implications that he failed to consider, which may have permanently impacted his relationship with Blitzo. Only time will tell if they can make things right.

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Thank you, Kubo! 💐🍓

I love how Kubo loves Ichihime as much as we do.

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i honestly don’t think im ever gonna get over this scene 💔 its the way ichigo KNEW abt her ptsd and made sure to assure and comfort her..

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There is a more symbolic reason behind Alastor's and Lucifer's mutual dislike between each other, in biblical lore the stag is meant to represent Christ while Lucifer is represented by the snake.