#who was made after her

[shkika]

It was 5am and I asked twitter why Moon isn’t talked about more and I… not starting discourse or anything. Civil discussion. I’m just so lost with this response. Sure if her personality is boring or not is super subjective. Up to you.

But doesn’t stand out? I hope you don’t forget the story isn’t about only Pebbles. It’s about Moon and Pebbles and their relationship. She’s literally one of the TWO leads. It’s just that her feelings are looked at less.

Most of what we know about anything is through her! She’s such a big part of the lore/story side of the game this is so bizarre to me.

Also everyone has the right to their favorite character. You can like whoever, discourse or trying to guilt people is stupid. You are allowed to not be interested!! I was just curious and this surprised me.

[umblrspectrum]

hi heres art so you pay attention to me now go read the tags

[poorly-drawn-mdzs]

Daddy, don't go.

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[archivebottles]

finally free from not being able to draw the past two months omg..to celebrate here are some elsters from last week...i like her

[yesokayiknow]

i think it'd be fun if while the master was on gallifrey and messing around in the matrix he found about abt the confession dial. not the sanitised story that twelve might've told missy during the vault but the actual real 4.5 billion years of the time lords using twelve's own will and testament as a torture chamber story. and he loses it. and he burns gallifrey. except he can't ADMIT that's why he did that he'd look SENTIMENTAL he'd look like an IDIOT so instead he makes up a story about how he found something in the matrix something so horrifying and awful and unbelievable that he HAD to destroy the time lords. and then thirteen ends up on gallifrey and digs a little deeper than he had and manages to reconstruct some of the missing files and when she runs back into him she's like i finally found out why you burned gallifrey and i can't believe they did this to me i can't believe they wiped my whole life and experimented on me and built the time lords from my stolen dna and the master's like yeah while mentally he's like hm i'm sorry they fucking what

[recycledraccoon]

[crocodilenjoyer]

he's our little brother. take care of him.

anne carson - antigone / alec benjamin - if we have each other / dan pearce - single dad laughing: the best of year one / kodaline - brother

[clambuoyance]

[DC] doodled these two a lot this week

[stromblessed]

Mizu was wrong to let Akemi be taken because they both deserve better

First, a confession. When I saw this for the first time:

I was relieved. I knew that was what Mizu was going to say and I felt like it's what I would have said in that situation too.

When Akemi does this:

I cringed, because if we know anything about Mizu, it's that she (1) isn't quick to make friends (though to be fair, even though Akemi did try to kill Mizu, so did Taigen - multiple times! - and look how that turned out lol), and (2) doesn't take orders.

So when Akemi and Ringo and later Taigen get angry at Mizu, are they being unfair?

Sure, Mizu isn't obligated to treat Akemi - or Taigen or Ringo or anybody else - nicely, or to serve them, or to be honorable, or be a hero to them, or whatever. No human being is obligated to any other human being. We all have the choice to do whatever we want to anybody else. But the point of flawed characters in storytelling is the tension between those characters and their potential. Their growth into someone who can choose the higher, harder path, who chooses to be obligated to others, who chooses kindness and compassion.

Because Mizu's problem isn't revenge. Nobody is preaching at Mizu that revenge isn't the answer. Her circumstances do suck, her life has been incredibly unfair, she is marginalized, and as far as we and Mizu know for most of the season, she is a child born of violence and no one is saying that that violence doesn't deserve to be repaid in kind.

Mizu's problem is isolation. And the fact that she thinks she has no responsibility toward her fellow human beings, because her hatred of her own circumstances and her having no life outside of her quest devours everything else. This is a problem because it turns Mizu into the worst version of herself. A version that hurts the people who like Mizu, the people who care about her.

Practically, Mizu has just taken on an entire army almost by herself. She's hurt. She's exhausted. If she were to defend Akemi now, it'd be yet ANOTHER fight, this time against horsed and armored samurai.

But that's not the reason Mizu gives Ringo. Mizu's ability or willingness to fight isn't even on her mind. All she says is, "She's better off."

"She's better off" is Mizu deciding what's best for Akemi. Akemi's entire story is about her being a caged bird longing to fly free.

One after the other, every man and woman in Akemi's life makes her decisions for her. She has to grovel and smile prettily and lie through her teeth just for the chance to be heard. Mizu judges Akemi for being a rich princess who isn't being more grateful for what she has, all without understanding Akemi's situation, and without any curiosity for why Akemi feels the way she does. From Akemi's perspective, Mizu is just one more person (one more man!) in a long lineup who ignores Akemi's wishes and (casually!) makes a decision for her that impacts Akemi's life greatly.

In the end, even Seki concludes that Akemi should get to decide what's best for Akemi. What others think that Akemi SHOULD want does not matter compared to what Akemi wants for her own life. As Madame Kaji said - Madame Kaji, who despite calling out the weirdness of Akemi's situation as well as the childishness of her decision to run away - is the only person Akemi meets who doesn't try to make decisions for Akemi, but instead only challenges Akemi to work for and be worthy of what she wants - she needs to decide what she wants for her own fucking self, and then take it.

Mizu being born female does not make her automatically wiser for letting Akemi be taken, and it does not preclude her from having a hand in giving Akemi back to her jailers. A patriarchy that Mizu knows full well would stop Mizu from achieving her own goals if she didn't present as male.

Mizu is still understandable here. She just had to kill Kinuyo, a disabled girl sold by her father into prostitution, a girl in a situation so far beyond Akemi's worst imaginings that I can practically feel Mizu's world being rocked just by comparing them in her mind the way she most likely is. That still doesn't make it right for Mizu to let Akemi be carried off to be sold into marriage by her father against her wishes. Those "good options" Mizu thinks Akemi has don't exist, no more than they ever existed for Mizu. Akemi and Mizu both have to get creative, make the best of their circumstances, take dangerous risks, and break rules in order to have any control over their own lives.

Even on my first watch, when at first I thought that Mizu had made the right decision and that Akemi was being unreasonable, Akemi screaming Mizu's name while being dragged, LITERALLY DRAGGED, back to her father was haunting as hell.

Mizu had the power to help Akemi, and simply chose not to.

Mizu lets Akemi be taken, Akemi who has just begun to trust Mizu. Mizu calls Ringo weak and quickly - seemingly easily - turns her back on him. Mizu values her quest over Taigen's life, after Taigen has endured days of torture to protect her, and she not only risks his life in the process, but doesn't tell him that Akemi is engaged to someone else, or that she came looking for Taigen, or that she is in danger.

Mizu's sword breaks because it is too brittle. Too pure. Too singleminded. Mizu only melts down the meteorite metal when she mixes the metal with objects from parts of her life that have nothing to do with her quest. Objects from the people she cares about, and who care about her.

All I'm saying is - Mizu doesn't have to be a hero. But she is the better version of herself when she reaches out to help and connect with others. When she's just a decent, kinder human being. And I think that's what this story is telling us that we should want for Mizu.

[inamindfarfaraway]

I love how Spider-Man: Into the Spider-Verse said “Anyone can be Spider-Man”. I love how it inspired everyone to imagine their own Spider-People, saving the day in their own universes, with all kinds of cool, interesting personalities and aesthetics and mutations and life stories and relationships. We all put pieces of our soul into these homemade heroes. We had fun. We found community. And then Spider-Man: Across the Spider-Verse said, “Wow, great job! You’ve really taken our message to heart. Well, get ready for even more of everything you liked from the first movie and a new message to complement the first. Anyone can be Spider-Man… and anyone can be pulled into a cult.”

So now we all have to contemplate whether our lovingly crafted heroes would ever be on Team Mandatory Trauma Because Martyr Complex or not and why.

[irisbaggins]

Spoilers ahead for the finale!

An aspect of the final battle that got lost after Viola's amazing attack, was the fact that Tula nearly killed her son. And that, I think, is something I would really like to delve my teeth into, to properly look at what happened.

The thing that struck me the most during Tula's attack on her son, was that Jaysohn did manage to snap her out of it. In the context of the story, Jaysohn grappled his mom to get her to stop, and even after getting viciously bit by her, he still managed to get her back to herself. He managed to get to his mom fast enough, and used himself to protect the others from the mindless being Tula had become. And, even when faced with near death, this little kid manages to get back up and attack the creature that did this to his mother. Not once did he blame her, having understood enough about the situation to realise his mom was not in control. He knows, he understood, that this was Phoebe, not Tula. And so, the moment he is able to free his mom, still wounded and near death's door, he goes after Phoebe so that his mom won't be taken again.

Tula, however, was aware of everything she did to Jaysohn. She was painfully aware of how badly she hurt her son, how she nearly killed him. And, as Brennan describes;

She is broken, in a way she has never been before. She nearly killed her baby, used as a puppet because she's alive when she should have been dead. The Blue that keeps her alive is what nearly caused her to kill her son. Tula nearly lost everything, yet, once more, it was hope and love that brought her back once more. Her son brought her back.

However, she was silent for the rest of the battle until Phoebe finally fell, and Jaysohn nearly died. She was quiet, too horrified with what she nearly did. Perhaps, had more time been afforded to that moment with Tula and Jaysohn before he decided to retaliate against Phoebe, there would have been...something...that went on. A focus on the fact that it was Tula who went for another member of their family, whilst Ava went for the ground and the reactor. What would that do to her, I cannot help but wonder. What did that do to her, in the immediate aftermath, when she could slow down and process what happened. She must live with the knowledge she nearly killed her own child, and that, had he been just a little weaker or just a little slower, she would've succeeded. She might have been able to bring him back, like she did with Sybil...but she would have to live with the knowledge that she took her son's life. And that thought is horrifying.

Yet, it makes her gentleness with Lukas later all the more significant. Even with the blood of her son on her hands, she still chooses to hope for a better tomorrow. She still chooses to give Lukas - and herself - another chance, another tomorrow. Bad things could have happened, but they didn't, and they all made it out. The "what ifs" will remain in the shadows, in the nightmares, but in the daylight, she will keep her head high. It doesn't lessen the impact of her deeds or her burdens, but it can make them bearable. And, with the addition of her son's refusal to blame her, it makes it just the little easier. She deserves a new tomorrow, too.

[skywerse]

I designed finch's dad!!!!

[arborescreens]

you've got some big pawprints to fill, mailbox ♥ (separate mailbox ref here!)

[jojo-schmo]

I wish I could tell the original artist that this drawing permanently changed the entire direction of my life in 2009. I want to shake their hand, look them in the eye, and admit I would not be who I am today if this drawing didn’t exist.

EDIT: Original artist is @ivynajspyder !!!!

[miracleofunicorns]

Seeing all these fankids running around makes me think of the tmnt 2003 fandom days <3<3<3, there are def more fankids but I only have so much steam

(fankids left to right)

Amaterasu Hamato belongs to @sha-biest Casey Jr. belongs to Leonardo Augustine Hamato belongs to @star-sparkler Lita May belongs to @cupcakeslushie Yummi Hamato belongs to @rednleafff

[s-aint-elmo]

digging out my eah content part 4: the kittycorner (ba-dum-tss)

ID: a set of sketchy digital drawings featuring kitty cheshire. the first five make a short comic. one: kitty earnestly slow-blinks; her catlike eyes are bigger and shinier when she opens them. two: a bemused lizzie hearts playing with her deck of cards asks, “...huh?” three: embarrassed, kitty blurts, “nothing. bye.” and disappears. four: lizzie waves after her, still confused as she replies, “oh--bye???” five: maddie hatter pops up behind lizzie, blushing and delighted, exclaiming, “oh my, kitty!”  six: kitty lounges on a tree branch, smiling mischievously, one paw-like hand raised near her face as she says, “y’know, like nya” with a cat-shaped speech bubble. off-screen, indicated by a wolf-shaped speech bubble, cerise replies in all-caps: “stop.” seven: a grinning bust of kitty in a less cartoony style winks at the camera. end ID.