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#also i have no evidence for this
xlandloud · 2 months
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arkhamverse tim doodles bc i’ve been playing ssktjl too much
nonsense under the cut bc i thought it was funny
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hoofpeet · 2 months
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This guy's a freak...
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(volume warning)
this was surprisingly fun to make so i'll probably do another
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egophiliac · 10 months
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IT'S BUNNY TIME EVERYBODY
(feat. Dilla)
(bugle accompaniment by Yuu)
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buttclench-ryugazaki · 5 months
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this whole james somerton thing is really amusing if you, like me, have legitimately never heard of the guy, have never been recommended his videos, and this is your first exposure to him at all. like holy shit did he say that nazis being hot is why americans enlisted during wwii? what the fuck is this smug clown on about and who allowed him to have recording equipment
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yesokayiknow · 5 months
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happy birthday to the worst girl in the universe (23 november 1986 - 2016 (eventually))
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reasonsforhope · 2 months
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By the way, when I say that I really do believe that we will make it, I am 100% saying that as someone who has been following good news extensively + basically daily for over two years now, and has come to that conclusion slowly and deliberately, based on extensive available evidence. It's not a platitude. I genuinely do mean it, and I could write you a whole dissertation on all the reasons why.
(you know. if I had the time and an in-progress doctorate. rip.)
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poorly-drawn-mdzs · 7 months
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Custody Battle: START
[First] Prev <--> Next
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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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gammija · 2 months
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ive been meaning to make this post for a few weeks, and now that Lena's "I am not a wealthy woman, certainly not compared to your own family," to Gwen seems to have put a spotlight on it, here's my lil suggestion;
Elias Bouchard is a ministerial employee/politician, and the OIAR falls under his responsibilities.
Gwen's Bouchard surname already heavily suggests that she comes from a wealthy family, like Elias did in tma. Alice's "Let me guess, fancy gowns, champagne, bathing in the blood of the poor, that sort of thing," comment in ep3 makes that not just independently wealthy, but high class as well.
Then with Alice accusing Gwen of (benefitting from) nepotism in the first episode, it makes sense that someone in her family has a powerful position somewhere in the OIAR hierarchy.
All those are easy to notice, but one thing I haven't seen many posts about - in that same episode, Collin and Alice have this conversation:
ALICE: [...] Is it an app yet? Do we have a minimalist logo? I assume you’ve finished all the social features?
COLIN: Don't you start. I swear I'm going to shove a cable down that prick's throat, pull it out his ministerial anus and floss him to death.
and later, with Teddy-
TEDDY: Colin, mate, you know you’re never getting out of here.
COLIN: Christ, don’t say that.
TEDDY: Even if his nibs lets you off the hook, which he won’t, you couldn’t bring yourself to just leave.
Based on that, we can conclude that somewhere up the OIARs hierarchy, there's some managerial asshole who insists on keeping Colin around (for the app?).
So, combined with what we know from OG Elias in tma, and Gwens nepotism comments, until proven otherwise, that asshole is Elias to me <3
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carrotkicks · 4 months
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golden child
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aroaceleovaldez · 2 months
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forever disappointed in Rick for, when presented with the decision of "what band t-shirt do i give Nico to signify his character and style," having Nico wear a Ramones shirt when the opportunity for Nico in a Welcome To The Black Parade shirt was RIGHT THERE. PEAK EMO AND IT HAS A SKELETON ON IT-
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egophiliac · 10 months
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Have you heard of the "Crowley is Malleus' dad" theory going around? Where Prince Levan (or whatever his name is) didn't actually die and just went out to get some milk and is now known as Dire Crowley, the silly man? The implications of that theory is absolutely hilarious when you think about it
hold on, we can figure this out, we just need LISTS
PROS THAT CROWLEY IS SECRETLY REVAAN/LEVAN/LAVERNE/WHATEVER:
unspecified fae of some kind, with similar coloring to Mal
the animal masks are apparently a Briar Valley thing
has some kind of big blackmailable secret that was alluded to in episode 4, and then as far as I know never brought up again
(unless this was just Azul bullshitting, which is extremely possible)
based on Diablo, which...maybe means something?
has canonically worn Dad Shorts
CONS:
(gestures to Crowley's entire personality)
NO LISTEN Revaan was the guy they sent off on diplomatic missions and to take care of delicate political situations, and...look, I love this dweeb, but would you trust Crowley to be in charge of negotiating your war treaties
despite my brain insisting on reading his name as "Raven", Revaan's title does imply that he was also a dragon (or super into longan berries, I'm not ruling that out)
currently unclear why Lilia "my closest friend Revaan...he is no longer with us...I used to make fun of him for being kind of a priss about eating jerky..." Vanrouge has somehow not noticed or said anything
Malleus' Aloof Anime ~Aristocrat~ vibe had to come from somewhere, and by all accounts it was NOT his mom's side of the family
???:
turns into a bird in the opening, I don't know if that means anything but it's kinda cool, I guess
all that aside, if Malleus and Yuu are any indication, then the Draconias have...questionable taste in their social choices. so anything is possible!
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yea-baiyi · 7 months
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reading xie lian’s POV is actually hilarious once you realise xie lian isn’t oblivious at all, he basically guesses most things immediately, he’s just taken the veteran autism tactic of “it’s too much effort to figure out when it’s appropriate to mention that i know something, so i’ll just pretend i don’t know until someone says it aloud”. sometimes it turns into a bit. the truth might be embarrassingly obvious, but social cues are hard, and xie lian has infinite time to wait for the other person to blink first.
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Luke calling Percabeth an old married couple just to remind OG readers that Luke doesn’t have romantic feelings for Annabeth this time around 😭
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whetstonefires · 9 months
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Hey you said something about the my hero academia creator being unhinged about sexism, do you mind explaining?
I tried to write like, a thorough explanation of this and it just got longer and longer and longer and I have not touched this series in actual years and yet I've still got all these receipts a;lkjk;lfasd.
So rather than trying to build the whole massive case, here's a pared-down version. It's normal to have sexism in media, and shounen manga especially. Everyone does it. The level and mode and intentionality and so forth all vary, but of course it's there.
What's not normal is to have lots of varied and interesting female characters with discernible inner lives, and on-page discussion of how sexism is systemic and unjust and holds them back in specific ways, and then also deliberately make consistent sexist writing decisions even where they don't arise naturally from the flow of the narrative.
Horikoshi is actively interested in gender and sexism, he's aware of them in a way you rarely see outside of the context of, you know, fighting sexism. He is hung up on the thorny issue of what women are worth and deserve and how power and respect ties into it. He genuinely wants, I think, to have Good Female Characters, and not be (seen as) A Sexist Guy!
But. He doesn't actually want to fight sexism. He displays a lot of woman-oriented anxieties, and one of the many churning paddlewheels in his head seems to be that he knows intellectually that morally sexism is bad, but emotionally he really feels like it ought to probably be at least partly correct.
There are so many things I could cite, and maybe I'll get into some of them later, but the crowning item that highlights how the pattern is 1) at least partly conscious and deliberate and 2) about Horikoshi's own weird hangups rather than simply cynical market play, is Mineta Minoru.
The writer has stated Mineta is his favorite character. Mineta is also designed to be hated--that is, he is a particularly elaborate instantiation of a character archetype normally deployed to soak up audience contempt and (by being gross and shameless and unattractive and 'unthreatening') make it possible to include a range of sexual gratification elements into the narrative that would compromise the main characters' reputations as heroic and deserving, if they were the actors.
Good Guys don't grope girls' tits and run away snickering in triumph, after all. Non-losers don't focus intense effort around successfully stealing someone's panties. Nice Girls don't let themselves be seen half-dressed. And so forth. You need an underwear gremlin for that. So, in anime and manga, longstanding though declining tradition of including such a gremlin, for authorial deniability.
Horikoshi definitely uses him straight for this purpose, looping in Kaminari as needed to make a bit work. And yet he has Feelings about the archetype itself.
The passages dedicated to the vindication of Mineta, then, and the author's statements about him, let us understand that Horikoshi identifies with the figure of the underwear gremlin. He understands the underwear gremlin as a defining exemplar of male sexuality, at least if you are not hot, and finds the attached contempt and hostility to be a dehumanizing attack on all uh.
Incels, basically.
It's not fair to write Mineta off just because he's unattractive and horny (and commits sexual harassment). Doesn't he have a mind? Doesn't he have dreams? Doesn't he have human potential?
So what's going on with Horikoshi and gender, as far as I can figure out, is that he knows damn well that women are people and are treated unjustly by sexist society, but however.
He also understands the institutions of sexism as something protecting him and people like him from life being nebulously yet definitively Worse, and therefore wants to see them upheld.
So you get this really bizarre handling of gender where obviously women's rights good and women cool, women can be Strong, and the compulsory sexualization imposed by the industry isn't them or the author, and so forth.
But also it's very important that in the world he controls, women never win anything important or Count too much, and that jokes at their expense that disrupt the internal logic of their characters are always fair game, that women asked about sexism on TV will promptly get into catfights amongst themselves, and they are understood always in terms of their sexual and romantic interests and value, and sexual assertiveness and failures to perform femininity well enough are used to code them as dangerous and irrational, and that the sexy costumes are requisite and will never be subverted or rebelled against--at most they might be circumnavigated via leaning into cute appeal.
And that Yaoyorozu Momo, who converts her body fat into physical objects, is being frivolous when she wants to use money to buy things instead (rather than as sensibly moderating her Quirk use) and is never encouraged to eat as much as possible at every opportunity to put on weight and even shown being embarrassed by hunger (even though Quirk overuse gives symptoms that suggest she's been stripping the lipids out of her cell walls or nervous system to keep fighting) and always, no matter how many Things she has made, has huge big round boobies.
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