#civilized though...

[morganbritton132]

The funniest thing Stranger Things could do is reveal that Steve’s parents are like, really liberal. They donate to AIDs research. They were arrested protesting the Vietnam War. They campaigned for Mondale. Steve tells them that Nancy broke up with him and they’re like, “Thank god, that family believes in Reaganomics.”

[eydilily]

would you bite the hand that feeds you?

[aomaoe]

deep in the trenches again.. so defeated my artblock with a tony

[ahkaraii]

Thinking about the early days of Robotnik and Stone... They're both orphans with a dislike of humanity and a fascination with machines of mass destruction, so I wonder if they ever talked about their personal lives and private traumas.

...Probably not. But maybe they came close?

[chropyl]

seeewaatt world is mine

[goosesartblog]

“close your eyes, evbo” or whatever she said

[chocodile]

Worldbuilding time! Let's talk about vehicular travel in modern day Amaranthine, using the snowmobiles from this recent comic as a jumping off point.

"Prowler" - Ironfrost patrol snowmobile - (year of manufacture: 1912)

These half-track all terrain vehicles are used by Ironfrost soldiers to travel long distances over the tundra. Originally adapted from older, four-wheeled automobiles, the half-track Prowler design became increasingly standardized over the years as eternal winter continued to creep southward. They are capable of operating in a wide variety of terrain conditions and are fairly modular. Common mods include removable skis, hardtop and softtop roofs, gun mounts, and towing attachments.

Like all vehicles, Prowlers are steam-powered. The external combustion engine runs on kerosene. In snowy conditions, feedwater can be obtained automatically through a scraper port on the underside of the vehicle, though manual feeding is required in muddy or dry conditions.

Though not as fast, reliable, or efficient as trains, their agile nature have made them an essential part of life in the far north… and, increasingly, in the middle country as well. The Rising Dawn have stolen several Prowlers for their own usage.

"Aspire" - Classic automobile (year of manufacture: 1890)

Four-wheeled vehicles are an unusual sight in the modern day. Ironfrost-made cars were in vogue among the southern rim upper class for many years, but the worsening climate has made them more and more niche as road conditions outside of major cities deteriorate. The majority of higher horsepower automobiles were converted directly into half tracks, while older, lower-end vehicles were generally scrapped for parts.

The Aspire was the last four-wheeled vehicle widely available to the public. Advertised as a stylish, powerful, modern vehicle for the elite on the go, it boasted a sleek, classy aesthetic, a removable softtop roof, and a powerful steam engine with a large kerosene tank suitable for travel between cities. Preorders were advertised to southern rim wealthy in local papers. However, a series of unusually bad winters soon after its debut scared off buyers, shutting down production early and ultimately spelling doom for the entire four-wheeled automobile industry.

One of those Aspire preorders went to Baroness Jocosa North. Though she has since passed away, her son, Theopolis North, still maintains the now wildly impractical car in near mint condition. It is almost never seen outside of its garage.

"'Icebreaker' Class E 250" - Northern cross-country train (year of manufacture: 1903)

The majority of modern-day overland travel is accomplished via train. Massive long-distance rail lines, laid before the world became quite so cold, connect the remaining cities, allowing (relatively) safe travel and trade across vast expanses of tundra.

Southerly locomotives typically operate with only a basic wedge plow attachment. However, trains that run further north must be fitted with gigantic rotary snowplows. These complex machines require significant maintenance. Though they can and will chew up most things that get in the train's way, encounters with particularly large and bony beasts have been known to jam them.

Ironfrost's line terminates in a massive, sprawling rail yard where Icebreakers are fitted and maintained. Those who have visited it tell of a dark, dreary wasteland of twisted scrap metal and ice where coal dust and smoke have turned both the sky and ground black. All northern trains must pass through that place eventually.

"Chariot of the Dawn" - One-of-a-kind luxury automobile (year of manufacture: 1920)

The only place where four-wheeled automobiles still thrive is the City of the Sun. The eternal summers and paved roads are well-suited to cars and trolleys, though they are, of course, still something of a luxury good. Licenses for ownership and operation are ultimately controlled by the church, with His Radiance having the final say. (His most devout followers, of course, tend to get preferential treatment here.)

The City of the Sun manufactures its own vehicles, adapted from Ironfrost designs in a sort of divergent evolution. Freed from the road and weather concerns of the outside world, their automobiles favor sleek, swoopy body shapes, ornamental trim, low-slung bodies with limited ground clearance, and pastel paintjobs. Additionally, the engines are far less powerful and far more finicky, requiring regular maintenance.

His Radiance himself owns several custom automobiles, all of which are egregiously bedazzled to a degree that would look grotesque to anyone who wasn't used to it. Some are open-top, allowing his loyal followers an audience with his beautiful face and glittering halo, while others feature tinted windows. You know, in case he wants subtlety.

[slavhew]

ww

[huldrabitch]

Regardless of his erased mind, Tony always returns to this memory.

[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.

[scarapanna]

I liked your art, you won🎉🎉🎉

WE WON NO REDEMPTION WAHOOOOO/silly

I'm still terrified of the redemption route for this clown though hdhghfg, I want his silly self to stay evil and wimsy and goofy and with redemption uhhh

We're like

I dunno I'm sooo scared devsis is gonna take away that aspect which is what makes him just so funnn. Please pretty please let him be god awful and rotten and rude and goofy if you take that route Devisis I want him to keep his funny wimsy qualities. Please please pleaseeee write him well y'all are doing sooo good with him don't fumble by taking the redemption route (And if they do it better be good and he better stay chaotic and goofy and sassy and condescending and all his "rotten rabid thing" qualities)

If they do him (And his fun aspects justice in this dreaded hypotetical) then I may be cool with it. Though the mean ass possum has grown on me so much I'd 100% miss that evil and unhinged part of him TONS, devsis have mercy pretty please/silly

[Longer more insane ramblings are in the tags hsfhfhhv]

[phoe-ix]

Ok so like. Anonymous friendo came up with a silly idea so i made it real

[chamoemileclown]

Okay art where seawatt is a human and evbo is an oblivious clueless vampire

strange guy vs an even stranger guy

[teapot-of-tyrahn]

hey evbo buddy why did you heart that comment haha . haha that's not going to happen right . haha right evbo

[in-parkour-civilization]

Evbo is illiterate, no reason to read on the noob level.

Therefore, God is illiterate.

[yourfavouritecharactersasdragons]

Newt Geiszler from Pacific Rim, please? OuO