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#how do you tag that character..
pillowspace · 5 months
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Thinking about how Charlotte Emily most likely regularly hung out with the Aftons.
William comes downstairs at 9 in the morning to see Charlie and Elizabeth with empty teacups and a teapot, and is just like, ah. Of course. Little girls love tea parties, but indulges them anyway like "what are you two up to?" Elizabeth immediately lights up. "Charlie said that we should play British People 'cause we're British!" William, now a bit more confused, "...ah. I see." Elizabeth, "oh won't you join us? Pretty please?" Charlie then pipes in that she had also asked Mike, but that he had very unfortunately said no, because "Liz plays too mean." Elizabeth, "I do not, you're just too scared to lose!" Michael, "I can't fucking lose at 'British People.'"
Charlie and Elizabeth do atrocious things to their dolls. Drama. Tragedy. They always clash on the endings though, as Charlie wants their dolls fo have a happy end while Elizabeth wants their dolls to have an even worse end
Michael doesn't know Charlie's staying over, and brings home his schoolmates one day. William Frowns TM like "I tried to tell you Henry was dropping off Charlotte today, but you were already halfway out the door." Michael later re-enters the room to find his schoolmates picking on Charlie and pulling at her hair. The closest Michael ever feels to peace is when he's with the Emilys, so he immediately spirals at the sight like, "oh god, if Uncle Henry finds out I brought people over who hurt his daughter, he might not bring her over anymore. What do I do then? What do I do if he stops liking me?" He quickly shoos off his friends, going "dude! She's a guest, leave her be" while Charlie recovers. Before he too can follow after them, Charlie asks Michael if he'll draw with her. He hesitates. The Emilys are the closest he ever gets to peace, so he agrees and sits down to draw. "What are you drawing, Char?" "Marionette!" "'S that the creepy thing that's always watching the guests come and go at Freddy's?" "He's not creepy, he's my friend. Dad made him for me :(" "ahh. You know, my father's been building something for Liz too." "You think that it'll protect her like Marionette protects me?" "Maybe."
Charlie notices how anxious CC always seems to be, and declares one day that she'll keep him safe. She makes him a drawing of them both holding hands, and gives it to him so that he may always look upon it and know that Charlie's rooting for him. He nearly bursts into tears at the kind gesture. The whole household tries to be nicer to each other whenever Charlie's around, but CC tells her about Michael's behaviour to him. Knowing how weak Michael is to her, Charlie gives Michael a look while he's grabbing cereal the next morning like "you should be nicer to your brother. He's just a little kid." Michael immediately pauses, then awkwardly closes the cupboard like "ummm. Okay." Not wanting to use Charlie as a means to make fun of CC, he just never brings the interaction up afterwards
The Emily and Afton families joining together are constantly filled with different forms of jealousy from the Aftons. William, he's jealous of Henry. Michael, he's jealous of Charlie's positive relationship with her father. CC, he's jealous of how Michael seems to like Charlie so much more than him. Elizabeth doesn't even notice her own jealousy, but deep down, Charlie's completely peaceful household... confuses her. She rationalizes the lack of favouritism or hostility as it only stemming from Charlie being an only child, rather than Henry's good parenting. Being so young as well as being the perfect golden child, Elizabeth doesn't know how to express doubt in her father. Clearly, it must be her siblings doing something wrong if Charlie and Uncle Henry are doing so well on their own!
After CC's death, the house is filled with an unbreakable tension. It's grief. It's guilt. Michael and his schoolmates completely cut ties after what happened. And as always, the Emilys feel so separate from the tension of his own home. Michael starts talking to Charlie more frequently, more often at Henry's house rather than his own. He tries not to, or at least usually tries to hide first, but he accidentally has a complete breakdown in the living room one time. Charlie hums a soothing lullaby to him until Henry eventually comes back, notices the state Michael's in, and takes over calming him down while sending Charlie off to do some other seemingly helpful task. After Elizabeth's death, Michael only really has the Emilys left. Charlie stops just being his source of peace, and becomes his best friend. His only friend. Then after Charlie's death...
It's rather lonely all of a sudden.
Later, years later, when Michael's flesh is rotting on his bones and everything is just about to finally be done with, he sits down on the edge of a cheap creaky stage he bought, and lightly knocks his knuckles against Lefty's calf. "Charlie? Can you hear me alright? It's Michael ... I'm sorry. I know I never acted like it, but... for what it's worth... you were my best friend back then. ...Whatever's beyond this, would you like to be friends again there too?"
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kottkrig · 3 days
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People liking your personal OCs is still such a crazy feeling, I've been doing this for years and ppl asking about them still fills my entire heart with warmth and idk how to handle it
You enjoy this fictional guy I made up for fun?? Whose only content is random artwork or writing made by me and a handful of other artists at most? They have no show/book/game with a large fandom, it's just one person with an art blog?? I love u
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happinesscenter · 3 months
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How do people perceive you?
Post your favourite person/character anything that you're obsessed over right now and do this quiz :)
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Tagging: @chaoticspeedrun @honeysleepy @varcic @blankcreator @n0vatsu @bednbunfast
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vault81 · 1 month
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I've finished my Fallout OC Character Sheet! this is my first time making something like this, but I like how it turned out!
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PSD below cut!
Compressed Version!
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mimi-croissant · 8 months
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In Woke Up Marceline says “I don’t really care about your stupid candy kingdom,” which is ABSOLUTELY INSANE NOW after knowing, according to Fionna and Cake, PB and Marcy bonded over PB talking about the candy kingdom and her subjects… do you see what I mean…
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seasicksilver · 2 months
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reading the Iliad is an experience
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dovewingkinnie · 3 months
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sew the mouth of your zombie wife shut, now she can't bite you
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hersweetrevenge · 1 year
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maddymoreau · 1 year
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Thinking about how Diavolo’s feelings transcend time and how in the Nightbringer UR+ card Demon Lord’s Castle Tour this conversation happens.
When asked, “Do you wish to see your father?”
Diavolo responds:
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“I suppose I do . . .” isn’t the typical reaction to how a child would feel about wanting to see their parent. Especially when said parent has essentially been in a coma for a year.
Along with how Diavolo describe his father.
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It makes more sense why when you learn in Lesson 56 how Diavolo was treated by him growing up.
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Diavolo can tell when others are lying but is unable to understand his father’s intentions.
Diavolo mentions that he lived a very sheltered life growing up. That from a young age his father never allowed him a chance to talk to anyone outside the castle.
His childhood friend was Mephistopheles. A demon literally RAISED to be his friend. Putting a barrier between the two because Mephistopheles would put Diavolo on a pedestal.
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The isolating childhood he experienced riddled with his strict father constantly scolding him.
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Despite everything MC is so important to him he wants to see his father again so we can meet.
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killjoy-prince · 2 months
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House M.D. but it's when House says Wilson's name
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gabe-lovebot · 1 month
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hello councilnation how are we feeling
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ccircusclwn · 1 month
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smt smt finally finished playing melody of moominvalley....... uhhh yeah i found the woodies part very cute love those little guys!!
sm doodles bcs i needed to draw smt moomin related after finishing the game or i would explode
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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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whumpacabra · 6 months
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Writing Accessibility PSA
Please avoid using long strings of characters as line breaks in your writing - these are not screen reader/TTS friendly!
Every ‘°’ will be read as ‘degree’ - can you imagine how long it takes to read out a string of 25? Let alone more complicated combinations of characters (eg. imagine listening to TTS read out ~*~ |°| ~*~ multiple times per line break)?
A good rule of thumb is to stick with short, 2-3 character line breaks (eg. I don’t find — or *** too egregious to listen to). Your readers can tell there’s been a scene change whether you use two or twenty em-dashes, but if you use twenty, some of us might have to listen for 30 seconds to read the next scene. If you’re more concerned about aesthetics, you can insert an image of your aesthetically pleasing line break with alt text simply reading ‘line break’ for accessibility.
Don’t feel bad if this is something you’ve never thought about before - now you know better and can make your writing more accessible moving forward!
I would like to invite any other screenreader users to add their own thoughts or preferences to this post. We’re not a monolith and there’s a variety to how different softwares interact with repeating character strings and images with alt text, so there’s bound to be some conflicting opinions on what I’ve suggested above. Let’s try to make the stories we share accessible for everyone :]
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tokenducks · 2 months
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Shoutout Percy Jackson who got amnesia from a goddess and only remembered his girlfriend’s name and that he despised Ares. That’s true love and true hatred there <3
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sirazaroff · 28 days
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We are SO fuckin back
Original by @/soup-erb
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