#yeah I still ship them

[hollowhero13]

I just remembered my mlbb/lol phase

antis fuck off

[snowthedemonfox]

more sketches of this dumb bunny from various conversations with @gen-toon. there's context for all of these but i think its funnier if i post without

[lucabyte]

On autonomy, and what it means to be Obliged to Help.

Bonus:

[hauntingsofhouses]

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.

[knifearo]

ultimately when it comes to shipping and fandom space treatment of aspec characters i just don't accept "aro/ace people can still date/have sex" as an answer from nonaspecs. like yeah. mhm. okay. now i think we both know that you're not saying that out of real interest in the diversity of aspec experiences. so you can turn in your seventeen-page essay on why and how you plan to examine this character's aspec identity within the context of a romantic or sexual relationship complete with evidence from canon and peer reviews from multiple aspec people within the next week or i'm putting you in the pit from the edgar allen poe story

[nazumichi]

friendchip means everything. to me 🫶

[fistfuloflightning]

Winterfell

[limonjarritos]

I think if Rody didn't have Manon to obsess over and therefore for Vince to make her into food for Rody I still think Vince would go cannibalism route. Like I think we're talking Vince giving a small piece of himself to be eaten by Rody as a form of love, just want to make that clear. This man is not normal.

I also think if Rody did have an obsession with Vince, he would have given a piece of himself for Vince to eat. He is all about giving the most to his partner even at the detriment to himself. He would hand over the whole of himself.

[theorahsart]

Robespierre and Saint-Just can hold their own against other politicians just fine. But, when it comes to each other...

[cozylittleartblog]

happy Make A Terrible Comic Day 2024. dealing with some Shipping Dwama today

[turrondeluxe]

Lovers Rock

[angy-grrr]

spoilers for chapter 429

idk if you guys remember but ochako does have parallels with All Might, specifically as the side who saves. It’s not that he feels the same for them both or something like that, they serve to represent the type of heroism he naturally goes to; his friend is not his love interest, from his perspective she’s out there having a crisis over not being able to save her, and Izuku reminds her that she is a hero bc she is his hero -she saved him multiple times, and she should be able to feel like a proper hero.

This conversation is not about the nature of their relationship, is about heroism; Izuku relates to a conflict between being a hero who saves and failing to save someone, and doesn’t want to see Ochako ending spiraling because she couldn’t also fulfill that role as expected. She’s his hero not because he loves her romantically -he’s a nerd I’m sure he would be way more nervous and blushing if he was confessing anything he thought was romantic- but because she’s able to go and do what All Might does to Izuku, save him physically and emotionally.

He knows she hides her feelings in order to not be a burden, yet he doesn’t talk about his own feelings outside of his guilt in heroics -what does he feel about losing OFA? About his own failures? About the people he personally lost? He can’t talk for others and claim Ochako is everyone’s hero, but he can speak for himself, and that’s his personal perspective -she is a hero to him, she’s his hero. And then the class appears to make sure she’s able to get support and understand she’s not alone, and she’s important to them too.

but Izuku doesn’t get support. Izuku cries a little and talks a little about himself, but he doesn’t get supported. If this was meant to be romantic, I don’t understand why he would hold back what’s inside of him.

the end of the chapter reveals that boy is going to be helped by that woman who regretfully ignored Tenko, and they both witness it and are happy about it while hearing izuku inspired that change, and iida wonders what’s up with them -this is the conclusion to their relationship. In their hearts these two are saviors who struggle to be heroes who save others, and they are happy there are appearing more people who want to be heroes like them. Heroes who save. Save like All Might.

That grandma for example, interpreting the narrative as what I think is intended, would be that boy’s All Might; she’s his hero.

Izuku and Ochako are heroes who save, and Deku is here to remind her at least she did save him many times, that she is still a hero because she is his hero. I don’t believe is meant to be interpreted as romantic, not that Izuku sees that phrase as it neither -after all, he said he does want to be like All Might and feels good to imitate him, but he doesn’t love him.

Ochako’s All Might hair moment, the parallels with Toshinori telling him he can be a hero, the trying to save from black suffocating quirks, the we can do it and do your best…

Do I need to remind you heroes arent a romantic thing for Izuku Midoriya?

[happybunnykat]

LOVE how Alice tells Sam he can't stay in the past while bringing him his favorite coffee and a pastry and high-key flirting with him. Like, sure, don't live in the past. Sure.

[robertsugden]

[necrotic-nephilim]

jealousy really is the driving force of DamiTim as a ship. love that for them. love how Tim has the Robin mantle ripped away from him and he has to suffer the jealousy of watching Dick and Damian bond. how possessive over Dick Tim can be, to have him stolen by Dick.

even more so though, is the jealousy from Damian. how on earth do you cope when you finally get to be Robin, a role you've convinced is your birthright, and no one really likes you? every prefers the Robin who came before you? Dick regularly reminds you that he can always go and call Tim back when you act out? like the complex Damian has over Tim is unreal. Tim, who was born with a silver spoon in his mouth and had everything handed to him his whole life. he never had to struggle or fight for his place like Damian did. Damian has spent his whole life fighting and proving himself, and yet he can't ever seem to truly claw the mantle of Robin away from Tim. even when Tim lets it go, becomes Red Robin, they seem to share it. Tim can slip back into the role of Robin whenever someone like Dick or Bruce need him to, because *he's* the Robin who they need. he's the Robin who was able to find Bruce. he's the Robin that Ra's wants an heir out of. he's the Robin who even Jason respects. in Damian's eyes, everything Damian has fought tooth and nail for, was handed to Tim.

so of course he's going to react to Tim with violence and aggression, especially after finding out Tim has contingency plans for him. no matter how much Damian proves himself, he's never going to be enough, especially not to Tim. and so his deep refusal to see Tim as family, to acknowledge Tim's legacy is all driven by such an angry jealousy. Tim understands aspects of Bruce's legacy that Damian doesn't, like the need to sweet talk and play nice with the elites of Gotham, even if they're corrupt. they exemplify different aspects of Robin, and the aspects that Tim exemplifies are the aspects that Damian knows he'll never fully understand and therefore holds such a deep contempt for. he wants to fight criminals, not play nice with politicians. Tim understands the side of Gotham that's utterly foreign to Damian. if anything, he represents that side of Gotham, to Damian. a pretty little rich boy who's nothing but a know-it-all and not a real son of Bruce. he can't be a Wayne. he can't be Damian's family.

and all of that angry jealousy leading to unhealthy obsession turned a weird, angry crush from Damian is just my bread and butter. that is how DamiTim should be. to me. Damian obsessed over hating Tim Drake so much he accidentally ends up sort of in love with him and that only makes Damian angrier. because he can't prove everyone right by *also* liking Tim. he can't let Ra's win like that, because frankly why wouldn't Ra's be delighted by Damian and Tim getting together. and it builds and builds with angry passive aggression towards Tim that culminates in angry hate-fucking-that's-not-just-driven-by-hate. love and hate are always viewed as opposites in shipping and i think they're the same intense passion just in different directions. and for the best ships, they're very intertwined. what is DamiTim is not the peak of that. "i put so much of myself into hating you i had no choice but to fall in love with you somewhere along the way" core. love that bleeds into hate and hate that bleeds into love. "you make me so angry i regularly passively try to kill you but not with any real effort because who would i obsess over if you were actually gone" core. murder attempts as a form of courting. contingency plans to take each other out as a love language. they're unwell.

[mulders-too-large-shirt]

my favorite scully and mulder moments from s1

the evergreen classic mulder reaction to a terrified scully knocking at his door in the very first episode- how he checks over her, holds her close, and brings her into his room

(and then ANOTHER instance of examining each other for aliens in episode 8 which was wild. if i had a nickel for each time they had to look at each other's bodies for evidence of aliens, i'd only have two nickels, which isn't a lot, but its weird that it happened twice)

him playing with scully's necklace in episode 3, while admitting he feels "territorial"

the first time he calls scully "dana", right after her father dies- which surprises her so much she mumbles her name back to herself- and he follows up by grabbing her face and gently running his finger over her cheek

(and the first time she tries to call him "fox", after he had been awake for 3 straight days on a stakeout, and she begs him to go home- he laughs and says he even made his parents call him mulder)

((still, she brought him a sandwich and a drink- “if there’s an iced tea in that bag, could be love” “must be fate- root beer”))

scully in Doctor Mode™ after mulder got stuck in the fire in episode 12, trying to give him water as he lays in bed, while he gets all emo and pushes her hand away

when scully gets kidnapped in episode 15 and mulder calls her "dana" again over the phone, her first name slipping out in his fear, then he tells the kidnapper "listen to me, you lay one hand on scully, and so help me god..."

(and THEN he tells everyone going on her rescue mission that this is a very important mission to him, so please everybody do their best)

the endless banter: "i still don't get it. what does this have to do with us?" "robbing a jewelry store is a federal crime" (flatly) "thank you."

when he is at an autopsy with scully in episode 18 and makes it very clear he does Not Want To Be There (but she still is sad he won't join her on her next one in episode 22!)

"happy birthday scully!" (pause of confusion) "you're two months early!"

when she finally listened to the psychic to get evidence for a case in episode 13, trying to make mulder proud- "i'd thought you'd be pleased i'd opened myself to extreme possibilities"- only for him to yell at her for putting herself in danger

(later in the same episode she screamed at the criminal, saying that if he did anything to mulder, she'd kill him herself)

((AND their conversation at the end of that episode when mulder is laying in a hospital bed: "why can't you believe?" "i'm afraid"))

the very empire strikes back coded fighting in the arctic compound in episode 8

"you think it's remotely plausible that someone might think you're hot?" (stunned silence. scholars are still trying to figure out what was going on here)

oh, this one made me weepy: "i have never met anyone so passionate and dedicated to a belief as you. it's so intense, sometimes it's blinding. but there are others who are watching you, who know what i know, and whereas i can respect and admire your passion, they will use it against you. mulder, the truth is out there, but so are lies" aka the episode 17 monologue… what if i melted into a puddle? how would you react to this news? how about mulder the protector turning into mulder the protected?

(also, episode 17 had a moment where he grabbed her shoulder and leaned in and i had to restrain myself)

them having hand signals to indicate watch what you say, we’re being listened to

in episode 18, the preacher’s kid tries to taunt mulder with information about his sister and scully tries to shut him down Immediately

they’re looking for each other in the dark in episode 19 while a wild beast is on the loose and mulder finally kicks open the door and finds scully while she whispers “it’s okay, it’s me, it’s okay”

episode 20, when he shows her a bunch of lumberjacks, which he describes as “rugged manly men in the full bloom of their manhood” and he says she should look for anything unusual or a boyfriend among them... and she laughs

scully losing her mind when the evil cocoon bugs get on her, screaming at mulder to get them off of her, while he holds her still and explains it’s okay as long as they're in the light

(and then they sit on the bed, side by side, talking through the night)

when mulder’s friend dies and she kneels and says to him, “you’ve been through a lot… more than I think you realize” and encourages him to take some time for himself

any episode where they both wear big coats (for the snow in episode 8, or the rain in 20) is an instant classic to me

“mulder, you’re rushing me out of the room… is there a girl coming over?” from episode 11... yeah I laughed. and then laughed even more when he was just hanging out with deep throat in the next scene!

episode 23’s “how was the wedding? Did you catch the bouquet?” “maaaaybe 😊”

and who can forget the finale! she apologizes for doubting his alien leads; “I should know by now to trust your instincts” “why? no one else does” (both smile and i, once again, collapse)

there's so much to unpack here and i could spend a lifetime doing it, but before i watch s2 for the first time i needed to make note of the things that especially made me happy or brought great angst to the forefront; i am studying their dynamic and putting it in a bottle <3