#AND MAKE EXCUSES FOR HER

[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:

[inkskinned]

at some point it's just like. do they even fucking like the thing they're asking AI to make? "oh we'll just use AI for all the scripts" "we'll just use AI for art" "no worries AI can write this book" "oh, AI could easily design this"

like... it's so clear they've never stood in the middle of an art museum and felt like crying, looking at a piece that somehow cuts into your marrow even though the artist and you are separated by space and time. they've never looked at a poem - once, twice, three times - just because the words feel like a fired gun, something too-close, clanging behind your eyes. they've never gotten to the end of the movie and had to arrive, blinking, back into their body, laughing a little because they were holding their breath without realizing.

"oh AI can mimic style" "AI can mimic emotion" "AI can mimic you and your job is almost gone, kid."

... how do i explain to you - you can make AI that does a perfect job of imitating me. you could disseminate it through the entire world and make so much money, using my works and my ideas and my everything.

and i'd still keep writing.

i don't know there's a word for it. in high school, we become aware that the way we feel about our artform is a cliche - it's like breathing. over and over, artists all feel the same thing. "i write because i need to" and "my music is how i speak" and "i make art because it's either that or i stop existing." it is such a common experience, the violence and immediacy we mean behind it is like breathing to me - comes out like a useless understatement. it's a cliche because we all feel it, not because the experience isn't actually persistent. so many of us have this ... fluttering urgency behind our ribs.

i'm not doing it for the money. for a star on the ground in some city i've never visited. i am doing it because when i was seven i started taking notebooks with me on walks. i am doing it because in second grade i wrote a poem and stood up in front of my whole class to read it out while i shook with nerves. i am doing it because i spent high school scribbling all my feelings down. i am doing it for the 16 year old me and the 18 year old me and the today-me, how we can never put the pen down. you can take me down to a subatomic layer, eviscerate me - and never find the source of it; it is of me. when i was 19 i named this blog inkskinned because i was dramatic and lonely and it felt like the only thing that was actually permanently-true about me was that this is what is inside of me, that the words come up over everything, coat everything, bloom their little twilight arias into every nook and corner and alley

"we're gonna replace you". that is okay. you think that i am writing to fill a space. that someone said JOB OPENING: Writer Needed, and i wrote to answer. you think one raindrop replaces another, and i think they're both just falling. you think art has a place, that is simply arrives on walls when it is needed, that is only ever on demand, perfect, easily requested. you see "audience spending" and "marketability" and "multi-line merch opportunity"

and i see a kid drowning. i am writing to make her a boat. i am writing because what used to be a river raft has long become a fully-rigged ship. i am writing because you can fucking rip this out of my cold dead clammy hands and i will still come back as a ghost and i will still be penning poems about it.

it isn't even love. the word we use the most i think is "passion". devotion, obsession, necessity. my favorite little fact about the magic of artists - "abracadabra" means i create as i speak. we make because it sluices out of us. because we look down and our hands are somehow already busy. because it was the first thing we knew and it is our backbone and heartbreak and everything. because we have given up well-paying jobs and a "real life" and the approval of our parents. we create because - the cliche again. it's like breathing. we create because we must.

you create because you're greedy.

[othercrossee]

One fault of making my oc adithya the seamstress of every angel and demon outfit is if I hate a mf outfit I have to curse my own oc 😔

[zombie-bait]

happiest girl in the whole entire world

thinking about my favourite kind-hearted eldritch horror trapped in the body of my favourite traumatized goth girl

(+ purple variant)

[tav-marcio-leles]

Ohhh, I'm rereading Mystra's entry in the Sword Coast Adventurer's Guide... and this detail:

This means Gale was punished for trying to restore and preserve what he thought was a lost piece of Mystra's magic. Gale being Mystra's ex-lover put aside. He as her follower, she his goddess, was punished for attempting to do the one foundational rule of her faith.

I'm seething and so sad at the same time.

Edit: I used the word punish loosely, as in, toxic/abusive people will take any small mistake or action and twist it into something they can take advantage of. This post was also largely from the stand point of a toxic deity rather than a toxic partner, but both takes are valid here. Especially with the, “you didn’t stay compliant so now I’m giving you the silent treatment” part of it—from a god and a partner perspective.

[pygmypouter]

This place is a message... and part of a system of messages... pay attention to it!

[sojutrait]

week in the life of the most interesting girl in the world

[orbitsuns]

i saw this hair & it screamed brandi to me . she's always been one of my favourite townies since i was a kid + plumbellas iceberg video gave me a save file idea..

[carnivalcarriondiscarded]

themthemthemthemthemthemthem-

[elitadream]

Lately I've been thinking about Peach's healing power again; only this time, I wanted to draw it in a pleasant context rather than a dramatic or bittersweet one! The idea that her soothing magic can not only alleviate others' pain but also make them relaxed to the point of inducing sleep is one that I really like, and I couldn't resist using this element for a bit of fluff. 🤭💖

(Based on the original concept by @drones-of-innocence and inspired from @peaches2217's lovely headcanons 🙏)

[citrlet]

a girl, her grandma, little half-sister, and boyfriend

[lowkeiloki]

here's a hot take

i love gwen stacy BECAUSE of all the dumb shit she does in ATSV when she meets miles again. for opening his collectable, going through his sketchbook and all the other (admittedly) horrifying stuff she does because it shows her socially awkward side. she isolated herself from everyone after losing her peter, she doesnt really know how to act around her peers anymore, then she starts warming up to miles, but had to leave him too and then when she got to see him again she got overly excited bc ofcourse she did. she opened the collectable probably thinking its a harmless tease, possibly as a "revenge" for him ripping his hair, she goes through his sketchbook potentially wanting to show interest in his hobby, she calls his parents by their first names bc maybe she didnt wanna sound overly formal or because its just a normal thing in different cultures (and gwen is from a whole other dimension so god knows what the culture is like there)

in so many movies (especially action movies) in teams where there is one woman, that woman has to be the collected and serious one that rolls her eyes at the boys screwing around and i cannot stress enough how refreshing it is to see a female character who is not that, a female character who is allowed to be awkward and silly and cringeworthy and genuinely wants to show affection but doesnt quite know how, ESPECIALLY in a marvel movie

[writer-room]

Listen when people say they want Percy to go on a villain arc most times I see it as they want him to go dark, want him to start murdering, maiming, going full Luke, etc. And I support that. If anyone deserves to kill people it's this kid.

However, let us be realistic for a moment, because I quite like the other alternative. Villain arc Percy usually entails "he's finally had enough of the Gods bullshit & will do things his own way". Let us think on this. What would Percy most likely do in this situation? Would it really be murder right off the bat?

I think he'd be the pettiest, annoying little shit there is. And because one can't usually threaten the Gods in a way that truly matters, but they can make them sweat really hard.

This goes beyond ignoring their calls and leaving them on read. He refuses to give food offerings unless it's the nastiest shit known to man. Bribes the cyclops into hucking huge objects up Mount Olympus before they all scurry off. Finds the olive tree Athena gave to Athens, and while he wouldn't have the heart to destroy it, he'd for sure rip off a branch & mail it to her (Annabeth nearly had to put them in witness protection).

Eventually it gets to the point he has Nico on speed-dial and offers him a shit ton of fast food & a 'get out of Percy's quest bullshit free' pass if he could hop into the Underworld and yoink up some annoying spirits or dead monsters to piss off the Gods. When the Gods get pissed at him Percy just silently pulls out some safe-for-demigods phone like "hang on I wanna see how many happy meals I owe Nico for bringing Typhon back up". They know he is not bluffing.

Could the Gods counteract him? Yeah, sure, Hera gave him amnesia and it was like 90% effective for a while. However, he kind of went off the rails, everyone else went off the rails, and then they had even more Roman nonsense to deal with. If anything it both solved but also made even more problems. And a much angrier Percy. So, frankly, they're very confident it could work, but they're a little worried about what the aftermath would be.

Ares suggests just killing him. Poseidon takes offense to this. Artemis scoffs and says even Ares couldn't beat him. Everyone stops for a moment. The question is not asked verbally. But it is seen in the darting eyes and shifting seats.

Can they kill Percy Jackson?

Well, sure, they must be able to. He's a powerful kid, no doubt, with powerful allies, but they are Gods. Of course they can kill him. So that's not the real question, they wouldn't dare really entertain such a thing to ever confirm if it was true, but this is rather the layer of frosting hiding the real atrocity of a cake underneath it.

What will they lose trying to kill Percy Jackson?

What will remain standing in the face of some 18-year-old who lived one of the hardest knocks of life, loves so much it makes them sick, is so completely unaware of his own strength not even they know its full extent, and currently has absolutely zero fucks to give about the end of a reign longer than he will ever understand?

They decide to quietly shut the lid on that whole fiasco and let Percy do whatever he wants.

Unfortunately, they can't exactly ignore everyone else. And everyone else is who Percy cares about the most. So, think of it more like leaving a grenade in a locked box in the attic. Just hope and pray you've moved out before something gets curious and starts rummaging around up there.

[imnotfinebutimfine]

begging y'all to be mature if Nora doesn't make jerejean canon

[wyrmswears]

its only been a day since the new episodes dropped and im already making a libber centric au out of it

anyway, heres some doodles of if libber was in super-hell all these years and thats why we never see her

[crushpomegranates]

goth shart!!!