#yeah I am gonna post this

[lcs-library]

Hiiii<3 *hands you an imagine that will NEVER be used for a fic but I love it and want to show you*

Sharing a bed with Chikage. He’s very adamant about sleeping facing away from each other with space in between. He would really rather die than share a bed with you. A few hours in, you’re fully knocked out, and you unconsciously flip over, your arm draping over Chika and pulling him into you. He sleeps lightly because of having to be in gekka for so long, so he wakes up, his brain immediately registering it as a distress signal. He looks around, only to notice you’re holding onto him. He sighs angrily, then tries to wake you up, but fails. He just accepts it, trying to fall asleep again. The longer he lets you stay there, the more he realizes he likes being held. Tears prick his eyes, and he tries to brush it off, but it’s becoming obvious that he hasn’t had this. It’s strange, but comforting, and he finally falls asleep. When he wakes up, he realizes that he actually slept well for the first time in who knows how long. He turns to try and find you latched onto him again, but you’re nowhere to be found. He slowly gets up and puts on his glasses, then makes his way to the kitchen to find you making food. That’s when he really snaps. He breaks down in the bar stool in front of the counter, his head in his hands as the tears start to make a growing puddle on the wood. You start to worry, but try to keep calm on the outside as you go over to sit next to him. You begin rubbing his back, not saying a word for fear of making him more upset. The room is completely silent with the exception of an occasional sob from Chikage. It hurts. He hasn’t had anyone to truly care for him in such a long time, and now when he has it, he doesn’t know what to do with himself.

[canon-gabriel-quotes]

Transcript:

LET'S SETTLE THI- Oh hang on. Hang on, Machine, um.

It's 8 PM I need to take my testosterone.

Sorry I'll just be a second. Uh wait here, alright?

Audio Source

[inkskinned]

the thing is there's like, a point of oversaturation for everything, and it's why so many things get dropped after a few minutes. and we act like millennials or gen z kids "have short attention spans" but... that's not quite it. it's more like - we did like it. you just ruined it.

capitalism sees product A having moderate success, and then everything has to come out with their "own version" of product A (which is often exactly the same). and they dump extreme amounts of money and environmental waste into each horrible simulacrum they trot out each season.

now it's not just tiktokkers making videos; it's that instagram and even fucking tumblr both think you want live feeds and video-first programming. and it helps them, because videos are easier to sneak native ads into. the books coming out all have to have 78 buzzwords in them for SEO, or otherwise they don't get published. they are making a live-action remake of moana. i haven't googled it, but there's probably another marvel or starwars something coming out, no matter when you're reading this post.

and we are like "hi, this clone of project A completely misses the point of the original. it is soulless and colorless and miserable." and the company nods and says "yes totally. here is a different clone, but special." and we look at clone 2 and we say "nope, this one is still flat and bad, y'all" and they're like "no, totally, we hear you," and then they make another clone but this time it's, like, a joyless prequel. and by the time they've successfully rolled out "clone 89", the market is incredibly oversaturated, and the consumer is blamed because the company isn't turning a profit.

and like - take even something digital like the tumblr "live streaming" function i just mentioned. that has to take up server space and some amount of carbon footprint; just so this brokenass blue hellsite can roll out a feature that literally none of its userbase actually wants. the thing that's the kicker here: even something that doesn't have a physical production plant still impacts the environment.

and it all just feels like it's rolling out of control because like, you watch companies pour hundreds of thousands of dollars into a remake of a remake of something nobody wants anymore and you're like, not able to afford eggs anymore. and you tell the company that really what you want is a good story about survival and they say "okay so you mean a YA white protagonist has some kind of 'spicy' love triangle" and you're like - hey man i think you're misunderstanding the point of storytelling but they've already printed 76 versions of "city of blood and magic" and "queen of diamond rule" and spent literally millions of dollars on the movie "Candy Crush Killer: Coming to Eat You".

it's like being stuck in a room with a clown that keeps telling the same joke over and over but it's worse every time. and that would be fine but he keeps fucking charging you 6.99. and you keep being like "no, i know it made me laugh the first time, but that's because it was different and new" and the clown is just aggressively sitting there saying "well! plenty of people like my jokes! the reason you're bored of this is because maybe there's something wrong with you!"

[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

[spilycoris]

etc etc that one madoka comic but make it cotl etc etc . .

[aringofsalt]

some highlights from buck's instagram ft. tommy, maddie, and the 118

911 social media series 🚨

[starlightomatic]

"these jewish bloggers keep saying it's possible to talk about gaza without being antisemitic but keep saying everything i say is antisemitic so clearly they just don't want us talking about gaza"

it's actually really easy to talk about gaza without being antisemitic if you're not antisemitic, and really hard if you are antisemitic. hope this helps

[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.

[b4kuch1n]

polymer broadcast signal hijack

[polin-ista]

Wait up, wait up...

And then he says

"if you are going to make me say it out loud"

Colin how many times did you say i miss you in the letters you sent Pen? 🤣😭

I'm also of the opinion that she probably read them (i mean do you really think she could help herself after seeing her with his journal?) only because she had this response locked and loaded 😭🤣

[keeps-ache]

overgrowth and languor

[recommended you click and zoom] (alt versions below)

[kaiserouo]

if ordan karris wanna complete that sentence does that mean he also likes us?

[turtletoria]

beardleitner revival

[skaryskeletons]

i think the reason i love 92sies spot is bc they hype him up SO MUCH like "noo none of us wanna go to brooklyn spot conlon is scary 😟" and ur like woah this guys gotta be pretty tough and then we finally get to brooklyn and its just some little blonde 13 year old who likes marbles and wears pink suspenders

[mossy-paws]

Sword PHIGHTING! period cramps moodboard

Gods mightiest warrior…….

Og image:

ANYWAYS EXTRA BITS!!!! So. Yeah. I wasted exactly 27 hours and 29 minutes of my life making this over a period of like. ~a week and a half LMAO????? I THINK IT WAS LONGER?? Yeah all of these are completely redrawn from the Og “panels”, replicating the dungeon meshi style is. MISERABLE I don’t know why I did this to myself holy fucking shit, all of you blame @squiffer-salad for this monstrosity she’s the reason why this exists in the first place /silly

anyways, I highly recommend looking at the panels individually because I put a lot of fun extra bits in them and just. A LOT of effort in general, any likes, reblog’s, or comments are insanely appreciated since this did take such a long time :’DDD, everything in these minus the backgrounds are completely redrawn/shaded/and colored by hand, this includes mid/screen tones as I used specific layers for those! anyways thank you for coming to my period cramp projection ted-talk I’m going back into my Everglade hole.

[scourge-sympathiser]

SCOURGE SUNDAY 015/???

a mask of my own face. id wear tht