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#BECAUSE THEY ARE LITERALLY SOULMATES
outer-edges · 5 months
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the way frank and karen have an entire conversation and formulate an entire plan to get her away from lewis without even speaking to each other makes me so insane. like those two are SO in sync that frank can simultaneously talk lewis down while giving karen all the tools and info she needs to get herself away from him without lewis even realizing because it is that subtle. and then the little nods and head shakes when karen is feeling around trying to find the white wire. like they are on the same exact fucking wavelength, and they trust the other person so completely that in frank's mind there is no doubt that karen is going to understand what he's trying to tell her and will be capable of doing it. and in karen's mind there is no doubt that frank will save her.
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kennahjune · 2 months
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Thinking of Steddie Soulmates where you feel every pain your soulmate feels.
Thinking of little Steve feeling every backhand and punch from Eddie’s dad.
Thinking of little Eddie feeling Steve break his arm and the pain being so much worse because his parents refuse to take him to the hospital until the school gets involved.
Thinking of Eddie finally moving in with Wayne and sure, the paternal beating are done, but now he’s just a small town Freak that’s constantly targeted.
Thinking of Eddie and Steve in their Sophomore/Freshman years respectively, not knowing who the other is outside of rumors and (unknowingly) their shared pain.
Thinking of Eddie finally escaping pain, the bullying turning to mainly verbal shit.
Only to be thrust right back into pain because his soulmates a walking hazard.
Thinking of Eddie having no idea what’s going on when he suddenly feels like one giant bruise after Steve’s beat up by Jonathan. Eddie watching Steve fall from grace in his Junior year and not connecting the dots.
Billy coming along and smashing a fucking plate over Steve’s head while Eddie’s peacefully sleeping. Eddie jolting awake with a shout because /holy fucking shit ow—/
Neither of them connecting the dots.
Then Steve graduates, and Eddie’s held back. And the pain subsides for a bit.
And then fuck all happens in Starcourt and Eddie literally feels like he’s dying and Jesus H. Christ is his soulmate /ok/??? Like they are getting seriously fucked up.
And then that recedes and it ok for a while— Eddie will still get killer pains that seem to circulate in his chest and head, but that’s to be expected with whatever tf his poor soulmate is going through year after year.
And then the fuckery of March 1986 happens and Chrissy Cunningham is dead in his trailer— his home— and he’s wanted for fucking murder and hiding in Rick’s dingy ass boat house—
And then he’s shoving none other than Steve Harrington up against a wall with a broken bottle helps to his throat. Eddie’s so piped on adrenaline he barely feels the sting in his back, but he does feel the zing of pressure on his throat and ok /ow—/
And he’s staring at Steve Harrington, who looks kinda terrified and so pretty and Eddie’s holding a bottle to his throat and is that Dustin?—
And—
And holy shit.
Eddie’s eyes widen at the same time as Steve’s and the realization hits them both at once.
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kaladinkholins · 2 months
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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.
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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.
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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.
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And that brings me to how Mizu's mask is actually a direct parallel to Akemi's mask in this very same scene.
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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.
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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.
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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).
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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.
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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."
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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.
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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.
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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.
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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.
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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.
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chrisbangs · 1 year
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찬이의 "방" 🐺 200 Episode Special
200! 
I looked back at the message I wrote for you almost 2 years ago now, to see what I said. And honestly, I have to agree with past me. It doesn’t feel like that much time has passed since the first day you showed up on VLive and spoke to us so kind and warmly. 200 episodes later, and well now on YouTube, and you are still doing just that. Week after week, being there for us to cheer us up with your laughter and your jokes and your advice and your terrible pick up lines. I still have nothing in my heart but gratitude towards you, Channie. Thank you for continuing to be the most amazing person ever. 
Let’s meet each other again next week, okay?
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kateis-cakeis · 5 months
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Do you guys ever think about how Merlin was only born because Arthur was born?
Two babes born who never should have existed, pulled from the very fabric of the world, magic.
One born from a ritual fraught with consequences, a mother dead, a terrible retribution sought.
One born after a man was forced to flee, the last of his kind, taken in by a woman across the border.
And while it is possible Balinor could have made it to Hunith regardless, it seems it was only the terrible circumstances that led to him going to Ealdor at all.
Arthur and Merlin, two sides of the same coin, soulmates right down to their mere existence at all.
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midnightcaptions · 5 months
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Soul and Maka tho 👀
I love them a normal amount. I wonder why I ship them. Gee, it couldn't be any number of these little things.
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bickers like an old married couple, compares a partner exchange/breakup to infidelity. "Cool men don't cheat." literally the narrator: "Maka, and her partner and weapon, Soul Eater-"
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dies for her. dies for her. dies for him.
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bonus: breaks her fall
(this post keeps going, i'm putting the rest under a readmore)
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Staying at the bedside while in recovery. The babies.
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Couple's Therapy lmao
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Domestic as all be.
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Didn't have to have a special little dance to form a gameplan! Didn't have to dress up for it to enter the black room!
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Trusted him to be her lifeline to pull her out of the depths of madness. So he pulled her out of the depths of madness.
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"It's always there for me. This is my Soul Eater's soul!"
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"The sound of his soul. All his emotions, they're flowing from him straight into me. What I'm sensing is…faith, and confidence. This is our foundation. This is our courage!" ok baby stop being so sappy ugh ♥I'm well aware synchronizing is essential to a solid resonance, but they went HARD on this. Soul went hard on this, to stand a chance in this fight. He did this for her.
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THIS???? Saving him from certain death and/or madness?? She ventured literally DEEP inside his soul to bring him back from the brink.
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If Soul's courage is for Maka, of course she'd have the key! PRECIOUS. Key to his heart chest! Yaaasss
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Goes even deeper into his soul, to retrieve that petrified little piece of him he's locked away in the lockbox.
Because none of this is meaningful or intimate as heck, nooooope.
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keferon · 2 months
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Oh man….now I know how concept of spark twins works………..
Look at them. I love them
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And..uh….well……fuck
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——————
Also. Perceptor is so epic in this comic it’s . A.
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accirax · 5 months
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Exchange #2: Whit's gift for Charles!
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andoutofharm · 1 year
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SMILES
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halos-little-freak · 2 years
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They kiss and stuff
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ace-of-garlic-breads · 3 months
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platonic liper hcs cause I can.
Leo braids Piper's hair
Piper had an Undercut and Leo helps her trim it (and he's the one who cut it in the first place)
Piper is the only person Leo is OK about letting his guard down around
Building off that last one: Leo feels EXTREMELY guilty abt his Mum, and one night at the wilderness school he just breaks down and Piper finds him and he tells her everything,
They share clothes (both like oversized stuff)
Leo absolutely hates the fact he likes Jason, (his Best Friend's bf. if I'm staying canon compliant)
even after Piper moves she and Leo are still in contact and Iris message all the time
Piper does her best to make sure Leo never finds out what FNAF is because she KNOWS Leo would try to recreate it (I mean, is she wrong?)
people usually assume they're either biologically related or dating
Piper can't cook for shit, Leo is actually really good
they're the kind of friends who text (in this case iris message) so much when they meet up in person they literally have nothing to talk about. that won't stop them though
they do each others nails
Piper helped Leo pierce his ears a second and third time (he already had one for fun)
if Leo has extra metal from whatever project he's working on he makes Piper Earrings
Piper makes sure Leo wears his retainer (he forgets a lot)
they see each other as their sibling. and treat each other as such
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blushouyo · 1 year
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🗡🍁 
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boywifesammy · 1 year
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dean is quickie behind the bar bisexual. he’s eye contact across the gas station blowjob bisexual, he’s “it’s not gay if he’s small & twinky” bisexual, but i know for a fucking FACT that he would let sam hold him in his big fucking arms and pin him to bed and absolutely rearrange his guts on his dick (seriously sam, there is such a thing as too big) and he wouldn’t even blink a fucking EYE to any of it because it’s sammy and the rules don’t apply to sammy and it’s not gay because it’s sammy. he doesn’t even question it, because his brain is just a mess of get sam close keep sam safe keep sam tucked away inside of you that letting sam fuck him is just the logical explanation. the inverse just feels wrong. dean’s big brother complex won’t allow for it.
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angeart · 10 months
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it’s another life game and turns out, this time they’re linked to someone.
they share pain, life, fate. hearts connected, there’s no other word for it but soulmate.
scar doesn't look for his soulmate. he watches other people find each other, and he remembers how it was in last life. it's a bit too fresh. he thinks he doesn't need a soulmate. or maybe he doesn't deserve one. maybe he doesn't have one? it's wretched. maybe he just needs to find something that makes him happy instead.
 so he chases after an allay and finds his way to cute jellie pandas.
 grian. grian looks at scar in that lake and he doesn't yell nooooo
he just stares, shocked and transfixed. he isn't sure what this means. why is this happening? why is scar bound to him? and why is-
why is it so hard to tell him? why can't scar just notice? why isn't he paying attention, why isn't he searching?
 grian watches scar's back as scar bounces away from him, oblivious.
 and grian thinks it's okay. it hurts, he's insane with worry, but he's biting it down. he gets to build something safe. a food source. something to help them survive.
 because they're a them—a we—even if scar doesn't realise yet.
 grian goes to find him. he finds him surrounded by pandas, and... he needs to tell him.
he needs to tell him, but the words are hard to say. they sound cheesy. they sound false.
maybe he needs to prove it instead. have something to show so that scar can understand.
 so he hurts himself.
he hurts himself to show scar and-
 no, that's not right.
 he hurts scar.
 no.
 he hurts both of them, efficiently in one go.
he's good at that.
 but scar isn't paying attention.
it keeps fraying and straying from grian and-
 scar, please.
 grian does it again.
he does it again, knowing what's coming, familiarising himself with the pain that travels through the invisible bond.
 he does it, and scar is looking this time, and-
 "oh."
 they stare at each other.
 grian's heart beats wildly in his chest. he doesn't know what to expect now.
in one lifetime, he killed scar. in another, he isolated him.
he doesn't want to do those things anymore.
 this time, they die together.
this time, there's no hurting one without hurting the other.
this time...
 this time, grian thinks and holds onto it like a lifeline.
 he wants to do better.
 "it's you," scar breathes out finally, disbelieving tone sneaking into his words.
 "it's me," grian confirms, queasy, his words wobbly around the edges.
 he has apologies he wants to say.
they don't make it out.
 but scar doesn't need them.
 scar steps forward and gingerly touches grian's jaw, fingertips sliding up to his cheek. his fingers are warm, fingertips pulsating slightly with rapid heartbeat. "it's us," scar corrects both of them, easily, as if everything just slotted together without a fight, without a struggle, without the burdens of previous lives and pain and trauma.
 "it's us," grian repeats, a little bit choked. he closes his eyes and leans into scar's touch. "we'll get through it together this time," he promises. no deathmatch. no abandoning each other. they're in this together.
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daggerspared · 2 years
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bradley’s house feels empty. it’s always a bit of a shock, to step over the threshold from sunny, sandy san diego into the gaping abyss of his old house. it’s felt that way for nearly as long as he can remember.
first, it was the absence of nick bradshaw. his mother, bless her soul, tried so hard--goose’s old knickknacks spilling over shelves and table surfaces, the ever-permeating smell of recipes gathered from the other military wives (always with just a tinge of burning), the garden she kept in full bloom--but she was just one woman and the house was built for a family, not a widow and her four year old son. bradley remembers pockets of silence. nights with carole staring blankly at the tv, the only source of light and sound, some game show host’s plastic laugh echoing into the ceiling.
and then carole died and bradley fled the nest for maverick (and iceman’s) home.
when he finally returned, a man now, he couldn’t even make it through the door. no dad. no mom. no maverick. but there was ice on the phone laying out his options. selling it is even more unthinkable than living in it.
so bradley rents it out. to families, couples, rowdy groups of college kids. he hopes it fits them better than it ever did him.
then the mission happens and recuperating in the barracks sounds even worse than if he’d just laid down in the snow and died, so back to the house it is.
natasha had dropped him off at the door, worried eyes as he took a fortifying breath and opened the door to darkness, but he waved her off. he’s been alone with the silence for a few days. no matter how many lamps he turns on or how many windows he opens, it’s all so cold and dark and quiet. hollow.
that changes quickly.
jake muscles his way through bradley’s door and bradley can’t even stop him, his and mav’s crash landing leaving him with a limited range of mobility.
jake uses all his pots and pans and puts them back in the wrong places. he leaves his jackets over the back of the chairs, the sofa, the door handles. his voice booms down every corner, making snide comments at bradleys choice in decor or telling some fantastic story to coyote over the phone. bradley can’t turn his head without some evidence of jakes overwhelming intrusion into his life.
and he realizes he hasn’t heard an echo for days.
because jake seresin is big. big head, big talk, too big for his boots. 
too big for top gun—the narrow hallways and stuffed classrooms. too big for the bars they find themselves occupying—spreading himself all over the pool table, dominating the dart board, somehow always punching a new track into the jukebox. and certainly too big for the aircraft carriers. hell, bradleys surprised he even fits in the cockpit.
it’s an opinion everyone shares. that hangman is a lot. too much. he exists and he does it loudly and largely. there isn’t a room on earth that could fit him and his ego. you’d suffocate if you stand too close too long.
but for the first time in days, bradley can breathe and the air doesnt taste stale.
later, jake will tell him about the seresin house. the fields that swallow you whole, the endless expanse of blank walls, the dining table with too many chairs. little jakey seresin, filling himself up with hot air, trying to fill the space his parents love never did.
too small for the house of his childhood, too big for the bunks, but here, his sound and spirit nestle into the space, into all the nooks and crannies that had been cold as long as bradley can remember.
bradley doesn’t think the bradshaw home feels empty anymore. he doesn’t think jake feels like too much anymore. he thinks it all fits perfectly.
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lotus-pear · 2 years
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rewatched kny and am suffering from tanjiro trio brainrot
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