#please do not tag this as the ship

[professorcalculusstanaccount]

"when strangers mistake me for his father i don't correct them" just break my goddamn heart why don't you. i love this and the rest of your art so so SO much and i'm dying to hear more of your thoughts on tintin and haddock's father-son/chaotic uncle-nephew dynamic, because it's one thing i wish had been developed further in canon, especially with tintin's move to marlinspike hall

Haddock and Tintin invented the found family trope! Their dynamic means so much to me, while my post canon series seems to be about Tintin and Chang's relationship it's actually more about Tintin and Haddock's found family bond and how it changes as Tintin grows older.

My thoughts on their dynamic are under the cut. It's Fathers' Day in the UK this Sunday, so happy Fathers' Day!

Haddock had a terrible childhood and has low self esteem, but values his ability as a sailor. Even that is shaken when his crew mutinies and kidnaps a teenager. As a result Haddock feels an enormous sense of guilt and responsibility for Tintin

He looks up to Tintin a lot, he inspires Haddock to always strive to be better!

He doesn't understand what Tintin sees in him but Tintin's positivity easily outshines any doubts about their friendship. Tintin brings that childlike wonder Haddock missed out on in his own childhood. Haddock goes out of his way to do stuff with Tintin he never got to do with his father, like going to the theatre or trips to the seaside.

Initially Tintin tolerates Haddock, but he proves himself with his sailing prowess in The Shooting Star. While Tintin is brave and proactive he's very introverted and closed off from people, having gained dangerous enemies at such a young age.

At first he's not used to having someone look out for him but grows to deeply appreciate Haddock. A colleague at work said Haddock is like that one middle aged guy you befriend at a job you got as a teenager and you become ride or die with through trauma bonding and I think he's exactly right!

Even though he's his best friend Tintin still keeps him at a distance. Haddock doesn't know his legal name or anything about his past. Tintin rarely opens up about personal problems out of fear of worrying him.

As Haddock has pinned so much of his self worth on Tintin, in my post canon series Haddock is forced to re-examine his friendship with him.

Haddock gets into a secret romantic relationship with Ramo Nash and gets some well earned down time from adventures, taking up painting as a hobby. It's the first time he's had time to find himself outside of being Tintin's adventuring companion, and realises he may have to make the painful decision between his best friend or staying true to himself. It's a decision he knew he had to make for a long time.

Haddock invites Chang to live in Marlinspike during his year as an exchange student in hopes he'll keep Tintin out of trouble. When Chang ends up joining in on the adventures instead Haddock is taken aback by how competent he is, and how seemingly effortlessly he is able to keep up with Tintin. Watching a younger fitter person does bring up some insecurities in him, but he later appreciates that this means he could sometimes take a break and let Chang go get shot at instead!

Tintin's tendency to keep his personal problems to himself drives a rift between them as he desperately tries to navigate coming to terms with being gay. Even though homosexuality was legal in Belgium at the time there's still a stigma, and Haddock and Tintin are terrified of losing each other's respect.

When Haddock finds out Tintin is also gay he is overjoyed, he vows to look out and to always be a safe haven for him. He grew up in fear and in the closet, so is determined to be the father figure he never had himself.

Haddock is very supportive of Tintin and Chang, but as Tintin grows closer to Chang and spends more time with him Haddock can't help but feel a little insecure. It's normal for parental figures to feel that way.

As Haddock grows older and less physically able to travel, Tintin worries if his deteriorating health is his fault. Haddock makes sure to nip this fear in the bud, and lets him know how proud he is of what they were able to do. As Haddock settles into retirement with Ramo, Tintin and Chang visit frequently to help take care of them.

Haddock never officially adopts Tintin despite everything, just in case the Haddock family curse still persists. Also "Tintin Haddock" is an absolutely awful sounding name.

Neither Haddock or Tintin can stand spiders. They get Nestor or Calculus to deal with that

imagine All of Tintin's Father Figures in a group chat in a modern AU, Haddock, Calculus, Skut, Mr Wang, Ramo Nash... The Council of Dads (Castafiore is in it too, she counts)

[erabu-san]

Always have your bestie's back !! ☺️🫶

The event was fun 😔👍

[multicolour-ink]

MARIO IS SO HAPPY TO SEE HIS BRO THAT HE JUST PICKS HIM UP IN PURE JOY 😭❤💚

And just look at his face after he puts Luigi down

"Aww come on bro I'm so happy to see you I just want to hug you a bit longer ❤"

[swedenis-h]

They went together au! (X)

[knife-filled-plushies]

so i saw a video of a cat getting thwacked in the face by a wagging dog tail and got this idea jfksjgjds

this probably happens quite often because catnap keeps forgetting to NOT rest in the crossfire of dogday's tail

[factual-fantasy]

Wow, you guys blew me away! 

The response to my last Mario post was so immediate and so overwhelming that I just HAD to give you more!

This time with some hugs, because I committed a crime by not including some brotherly hugs in the last post... and some more angst! Because too many people walked away from that post unscathed! :D

Also I apologize if not being able to read what the brothers are saying is a bit annoying.. I liked the idea that during tender moments or casual conversation, Mario and Luigi speak in Italian with each other. And I didn’t want that aspect to be lost in my work by just writing in English.. (aside from the last one lol-)

But hey I provided some Italian to English translations at least! <:D

1: “Luigi!! I missed you baby brother!”

2: Mario!! It’s so good to see you!

3: “There there... easy does it. Take deep breaths.

4: “I’m right here Luigi, you can do this. Just breathe..

9: Mario! That was stupid! What are you 5??”

[skialdi]

MP100’s return inspired me to finish/redo an old drawing

[cozylittleartblog]

8th annual nick valentine post! fallout 4 npcs Love sitting. they'll see a chair and ask "is anyone gonna sit here" and not wait for an answer. its like nick is on a personal quest to sit in every chair in the commonwealth. if he sees a chair its on sight

its because his joints are bad, obviously. he's like 140

[unlikelypandahologram]

Who will win the fight for Optimus Prime's love? His canon girlfriend? His worst enemy who's tried to kill him multiple times?? His best friend??? The guy who screams a lot???? Place your bets now folks!!

(Commission for me by the very talented lextodrawstuff! Also, BONUS LMAO)

[kaladinkholins]

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.

[dalvs-wife]

beach day for the uty-found-family !!!

[pumpkster]

[joyfuladorable]

I'm calling them the Shred Red Duo

My reference^^

[multicolour-ink]

Look at how their hands gently crawl up each other 💖

It's such a precious moment, and yet another subtle detail that shows how comfortable and affectionate the Bros are with each other ❤💚

BONUS

- - -

I love these Bros so much 😭💗

[isjasz]

Cherries, from fruit to pit. Atoms. The sun, every day. Worms. Mulch. Perspiration. The moon, every night. Me. You. 

Rebirth. 

The various cycles of life and death. 

<GoodTimeWithScar> fell from a high place. 

——————————

EXPLODES THE DOOR ITS HSBB TIMEEEEE This is my piece for @minecraftbed's incredible fic "Gaussian Blur" in @hermitshippingbigbang :D

Go read it for the full context of the comic (and details if you can spot them!) heheeehehe I love it sm and had sm fun doing the comic! The concept is so cool and the feels are KSALDHTHRGRRHRH (please i have been losing it)

SO *grabs you by the shoulders and throws you directly at it* gogogogo 👉👉👉👉👉

[knife-filled-plushies]

unfortunately, 'love' isn't a proper baking ingredient jdfhskjgs

i have a headcanon that Bobby cannot cook or bake whatsoever-but she always walks into the kitchen with full confidence every time that she's gonna make something amazing-

i can imagine that there's one episode where Bobby insists on cooking and baking for a period of time and everyone just pretends to like her stuff to spare her feelings-but then there would probably be some moral lesson about telling the truth despite it potentially hurting the other's feelings- and luckily for everyone, Bobby is completely fine when they tell her, she just wishes they would have told her sooner