#how to dislike a post

[theartofangirling]

the world was truly not ready in 2014 for eleanor guthrie as representation for girlfail bisexuals. terrible taste in men, fumbles the most beautiful woman in the world, makes the worst possible decisions at every turn. #progressive

[swedenis-h]

I take your “I don’t remember my mother” and give you “Luke thought Leia and Padmé visions were the same person”

[xxplastic-cubexx]

filler

[emahriel]

new oc - first concept

[bedforddanes75]

im not american but some of you guys are just fucking stupid ong what do you MEAN youre not gna vote because you disagree with like one part of what youre voting for. like okay me when im fucking thick

[flwrkid14]

Tim Drake will never be anyone’s favorite.

And that’s fine. Really.

He’s known it for as long as he’s been Robin. From the moment he slipped on the red and yellow, ignoring Bruce’s protests, he knew he wasn’t what anyone wanted. He wasn’t Jason—the fierce, untamed fire that burned bright and was extinguished far too soon. He wasn’t Dick—the golden son who carried the mantle with effortless charm and unwavering grace. He wasn’t Damian—destined for this life, born of Bruce’s blood, molded from the very beginning to take his place in the legacy.

No, Tim was the placeholder. The patch for a wound no one wanted to acknowledge.

He saw it in Bruce’s eyes—the resentment that simmered under the surface. Bruce never said it out loud, but Tim felt it every time Bruce looked at him wearing the colors of his dead son. Tim wasn’t Jason, and he never would be, and no amount of dedication or sacrifice could make up for that.

With Dick, it was something different. Dick was kind, but it wasn’t the kind of kindness that meant he cared. Tim knew he was a second chance, a way for Dick to atone for the mistakes he made with Jason. To be better. To be a good brother this time. But Tim wasn’t Dick’s brother, not really. He was a proxy for the one Dick had lost.

Even Alfred—warm, unshakable Alfred—looked at him like a Band-Aid on a broken bone. Alfred had loved Jason, mourned him, and Tim could never fill the space Jason left behind. Tim knew Alfred cared for him, but it wasn’t the same. It wasn’t the same as the love for the boy who’d taught him how to hope for a better tomorrow.

When Jason came back, Tim felt the weight of his hatred. It wasn’t subtle, wasn’t hidden. Jason looked at him like he was a thief wearing stolen colors, like Tim had no right to call himself Robin. And Jason wasn’t wrong. Tim had known, from the moment he put on the suit, that it didn’t belong to him.

Steph and Cass were his best friends, his family in their own way, but they had each other. The two of them moved in sync, orbiting each other in a way that made it clear there wasn’t room for anyone else. Tim loved them both, but he wasn’t part of their world. Not really.

Then there was Damian. Tim knew what Damian saw when he looked at him: an interloper, someone who stole his birthright before he even had a chance to claim it. Damian hated him for it, and Tim couldn’t blame him.

Duke, newer to the family but still brighter than Tim could ever hope to be, looked at Dick and Jason with something close to awe. He gravitated toward them in ways Tim could never inspire.

Tim had always known he wasn’t anyone’s favorite. Not Bruce’s. Not Dick’s. Not Jason’s or Alfred’s or Steph’s or Cass’s or Damian’s or Duke’s.

And that was okay.

It had to be.

Because Tim didn’t become Robin to be loved. He didn’t do it for approval, or acceptance, or anything close to recognition. He became Robin because someone had to. Because someone needed to be.

Tim had never expected to be anyone’s favorite. He just wanted to matter, in whatever small way he could.

But sometimes, when he sees the way they all fit together, the way they orbit around each other, he wonders what it would feel like to be the center of someone’s world. Just once. To be someone’s first choice.

But he’s not.

And he never will be.

[casscainmainly]

The thing about Dick and Cass is not only that Dick resents Cass' closeness to and understanding of Bruce, but that Cass resents Dick's closeness to and understanding of Babs. They both make each other feel insecure in their most fundamental relationships, which is why they fight so often, and why many of their fights feel one-sided. Essentially, they're mutually beefing with each other over different people, but because they'll never admit it neither of them ever know what the other is mad about.

[biblically-accurate-dca]

painting test with a limited color palette

here's the moon equivalent!

[just-null]

Have you ever drawn gyutaro or daki? 🤔

m. maybe..

[PROBABLY OLD (SORT OF BAD AND SKETCHY) ART UNDER CUT]

they deserve to be happy. I wish we could've seen how they are outside of battle and somewhere like an upper moon meeting.

i really liked how they were to each other. i cried like a baby during their episode. i love that daki has full confidence that her brother will always protect her no matter what and that gyutaro knows daki will always try to do the same for him even if she'll most likely end up losing or get in more trouble because of it and loves her anyway.

It's a double-edged sword.. shE WENT TO HELL FOR HIM. DJKSAFEKJ REJECTING SALVATION??? CAUSE YOU MADE A PROMISE WITH YOUR BIG BROTHER??? BC TOGETHER YOURE THE STRONGEST????? OH FUCK IM GONNA cRYRFHE

dawg, im actually going to cry. shut the fuck up. SIBLINGS. SIBLINGS!!!!!!!!!!! I LOVED THEIR RELATIONSHIP SO MUCH, DAWG..........

and ofc, gyutaro head locked my heart

ofc i drew gyuatro, my cult member, HE WAS ONE OF MY BRAIN ROTS

I DREW THIS MAN LIKE MY LIFE WAS ON THE LINE. SKETCH BOOK, TABLET, PHONE, THE CORNERS OF MY NOTEBOOKS, NAPKINS, YOU FUCKING NAME IT. i just wish i could finish drawings......... sobs..........

I WAS YOUNGER AND IN SCHOOLING SO I THOUGHT ITD BE COOL TO HAVE A TUTOR AU WITH GYUTARO SET IN KIMETSU NO GAKUEN WHERE HE TUTORS FOR MONEY...... CAUSE I HEADCANON HIM TO BE A FAST LEARNER?? HE JUST DOESNT GIVE HIMSELF ENOUGH CREDIT CAUSE HES INSECURE AND SOBS.... HE ONLY THINKS HES GOOD FOR BEING UGLY AND SCARING PPL AWAY AND FIGHTING. AGHGHGHHH

THIS FEELS LIKE IM LOOKING BACK ON PHOTOS OF MY PAST LOVER...... GYUTARO..... MY BELOVED... I JUST WANTED HIM PAMPERED...............

SHUT THE FUCK UP //CRIES INTO MY HANDS

HOW DID YOU CLOCK ME SO FUCKING FAST???? DOES IT SHOW ON MY FACE???? IS IT A TELL IM NOT AWARE OF????????

[millidew]

*~ red danced the chansey dance! ~*

[thefloatingstone]

Trying to figure out how to make squid boy emote because every time I've drawn him so far he looks very stern and it just didn't sit right with me. Also the more I played the more I noticed how his expressions change.

Anyway this is what I got so far. I plan to do more because hoo boy is it tricky to pull certain emotions out of him.

[flovoid]

♬ BUT I MISS YOU, C’MERE! ♬

‘Your Origin’ girlies gettin the special treatment nods x3 

[bukashki]

@ninadove YOU.

Thank you for making me appreciate the tragic nature of slithering-out-of-grasp design of Aspik. I could not resist :(( I BLAME YOU FOR EVERYTHING <3

rest of you read It brings the world back into tune

Bonus: A familiar voice

[kidspawn]

as funny as it is to joke about Adam taking matters into his own hands and shooting his Latin teacher (and you can rip all those jokes out of my frigid and lifeless hands) i feel an obligation to remind people that Adam did not have that gun with the intent to kill anyone, doesn't view it explicitly as murder, and expresses multiple times he's very uncomfortable having aforementioned gun in the first place. which speaks to his overall character in ways these jokes can forget. like, yes, playing semantics over whether it "counts" as him killing a guy is genuinely hilarious in retrospect, and Adam absolutely brought that gun knowing he might use it despite hoping it wasn't necessary. He also took the gun from his father in the first place to make sure it was never pulled on his mom and holds onto it to prevent a random kid finding it. He feels better when Whelk makes him get rid of it. It's used less as a weapon and more as a bargaining chip. I think it says a lot about Adam's age and his relationship with violence, actually, that he has a general disdain (and fear) surrounding guns and is all too eager to get away from it.

[parkerstorms]

im sorry i dont usually do this but this post pissed me off so fucking bad and op has replies turned off (because of course they do)

fellas. is it gay to wear pink and have long hair and sing and dance? cause i didn’t realize we were using bioessentialism in movie analysis now that’s crazy

sarcasm aside this is literally why i don’t go in tags anymore because none of you are media literate. not a single one of you. longlegs is not wearing makeup in the movie. it’s shitty plastic surgery; that’s why his lips are red. you can literally tell by just looking at him that it’s not lipstick. the clothes he wears are all off-white or white. the falsetto he’s doing is very obviously meant to mimic that sort of “goochie goo” baby talk a lot of adults unironically use towards children. also coding? ‘coding’ is not when you interpret something from a movie as anything you want because you feel like it. coding is an intentional act committed by creatives to further their story and allude to specific real life things for a specific narrative purpose. it is an intentional act of storytelling. it is not you looking at a movie and assuming something as fact based off slight vibes

and i’m just gonna say it. if you see a male character with long hair that’s acting generally creepy in the vicinity of a child and automatically assume that that character is being coded as a transwoman, YOU ARE THE ONE BEING TRANSPHOBIC.

like holy fuck some of y’all have never actually looked inwards once in your life and it shows

[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.