I have unwittingly witnessed a new level of the absurd. Behold, the AI-generated equine anatomy models.
Ah yes, my favourite parts of the equine body. Paster and... *looks at the smudged writing on hand* boob. At least this one looks purely decorative and the being actually looks like a horse. But don't worry, it gets worse.
If we completely ignore the hipopotamus musculature of this one, there's still a lot of things that don't make sense in this one, like a tail that ends in a series of bone spikes and a complete lack of molars. You could make a cool pokemon on the basis of this, but it's not even in the realm of being an actual anatomy help.
I'm firmly convinced this is not a horse, this is something that really, really wants you to think it is a horse. The more you look, the more things look... wrong. The more details turn out to be shifted, bones crammed in to fill in the familiar form, its shape merely implied so that the human mind fills the gap. Of course the text seems like gibberish, because its anatomy is incomprehensible. it's either a parasite or a monster and in each case, it's an eldtrich body horror. I'm kind of angry at how well this joke writes itself.
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DP x DC: The Most Dangerous Card Game
Ok so Danny has essentially claimed earth as his. And he is fully aware that there are constant threats to the planet. Now he can’t stop a threat that originates on earth (that’s something he’ll leave to the Justice league) but he can do something about outside threats. Doing some research on ancient spells, rituals, and artifacts, he cast a world wide barrier on the planet to protect it from hostile threats so they cannot enter. This will prevent another Pariah Dark incident. However, barriers like this come at a price. You see, there are two ways to make a barrier. Either make one powered up by your own energy and power (which would be constantly draining) or set up a barrier with rules. The way magic works is that nothing can be absolutely indestructible. It must have a weakness. The most powerful barriers weren’t the ones reinforced with layer after layer of protective charms and buffed up with power. Those could eventually be destroyed either by being overpowered, wearing them down, or by cutting off the original power source. No, the most powerful barriers were the ones with a deliberate weakness. A barrier indestructible except for one spot. A cage that can only be opened from the outside. Or that can only be passed with a key or by solving a riddle. So Danny chooses this type of barrier and does the necessary ritual and pours in enough power to make it. And he adds his condition for anyone to enter.
Now the Justice league? Find out about the barrier when Trigon attempts to attack, they were preparing after he threatened what he would do once he got to earth. How he would destroy them. The Justice league tried to take the fight to him first but were utterly destroyed, so they retreated home to tend to their injuries, and fortify earth for one. Last. Stand. Only when Trigon makes his big entrance…he’s stopped.
The Justice league watch in awe as this thin see-through barrier with beautiful green swirls and speckled white lights like stars apears blocking Trigon and his army’s advance. The barrier looks so thin and fragile yet no matter how hard the warlord hits, none of his attacks can get through and neither can he damage said barrier. That’s when Constantine and Zatanna recognizes what this barrier is. Something only a powerful entity could create. For a moment, the league is filled with hope that Trigon can’t get through yet Constantine also explains that it’s not impenetrable. And clearly Trigon knows this too for he calls out a challenge.
And that’s when, in a flash of light, a tiny glowing teenager appears. He looked absolutly minuscule compared to Trigon and yet practically glowed with power (this isn’t a King Danny AU though).
And that is when the conditions for passing the barrier are revealed. And the Justice realize that the only thing stopping Trigon and his army from decimating earth. The only way he can get through….is by beating this glowing teenager in a card game.
Not just any card game though. The most convoluted game Sam, Danny, and Tucker invented themselves. It’s like the infinite realms version of magic the gathering, combined with Pokémon, and chess. And Danny is the master. So sit down Trigon and let’s play.
(The most intense card game of the Justice league’s life).
After Danny wins, this happens a few more times with outer word beings and possibly even demons attempting to invade earth, yet none have been able to beat the mysterious teenager in a card game. Constantine might even take a crack at it and try to figure out how to play. He’s really bad though. Every time this happens, the Justice league worry that this might be the time the teenager looses. Yet every time, he wins (even if only barely).
Meanwhile, Danny, Sam, and Tucker have gotten addicted to the game and play it almost daily. Some teachers might seem them playing the game are are like ‘awww how cute’ not realizing this game is literally saving the world. Jazz is just happy they aren’t spending as much time on their screens playing Doomed.
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Prompt 169
Danny is from a world where everyone has wings, even if most have long since lost the ability to fly. Something about loading and aspect ratio, wings being too small, body too heavy, now mostly used as display, whatever.
It doesn’t matter even if he had blueprints from when he was like six of a jetpack to help fly. It won’t work anyway and hey, he has his ghost form! Which uh, might be perhaps, affecting his wings which were maybe sort of scorched black and practically down to the bone thanks to the accident.
It doesn’t matter, he swears. Though he’s admittedly relieved to see the new feathers growing in are different from Dan’s angry sunset. Even if they’re not even supposed to be able to grow back. Alright, this is fine, no one is going to notice! It’s not like everyone knows about the poor Fenton kid whose wings were absolutely destroyed thanks to an accident! It’s fine.
He’s not flying in a half-panic towards the Far Frozen while crying because his wings are coming back and he’s so scared. He didn’t panic and instantly fled the moment Jazz pointed them out while changing the bandages.
He definitely didn’t trip over something while wiping away said tears and blacking out from all the stress and all of his problems that he definitely mentioned to someone and isn’t keeping a secret. Definitely.
Hawkwoman and Hawkman would like everyone to know that neither of them were expecting a very small child to be spat out of the villain of that week’s machine that should definitely not be a portal. A very small child, maybe nine or ten, with a multitude of concerning wounds both old and fresh. Which isn’t even beginning to touch on the wings.
Feathered, like baby down despite the gnarled scars, unlike their own metallic, with the beginning of tiny specklings like stars amidst the darker fuzz peeking from the wounded flesh.
Who?! Who dared?! It’s (at least to the forever reincarnating duo) a literal baby! They still have down! Tiny baby fuzz! Was it the portal?! Oh this villain is going to taste their maces for causing this if that’s the case!
The rest of the Justice League would honestly like to know what just happened and are honestly unsure on if they should stop the two…
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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.
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.
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See you in hell.
[ID: A series of gifs from the Good Omens 2.2 minisode "A Companion to Owls."
Sitis looks disbelieving as she says, "…No. God wouldn't!" Crowley gives an exaggerated frown and replies, "Are you sure?"
Sitis looks horrified and says, "But they've done nothing! They're innocent!" Crowley nods impassively: "So were the goats." Sitis stares at him in horror.
In the cellar, Aziraphale looks back over his shoulder, seeming offended. "God's [side], of course!" Crowley reclines, raising his eyebrows and nodding. "Oh, really. Same God that wants me to whack the kids?"
Aziraphale looks very uncertain, and slowly says, "…Yes. But…" Crowley grins slowly, gesturing to Aziraphale and saying, "That's just how it started for me."
Back in the house, Sitis looks devastated and desperate. "If my children are dead, then… I will curse God, and—"
Crowley swings abruptly around the doorframe and rushes over to interrupt Sitis. "WHOA! That never ends well."
At the cliff's edge overlooking the sea, Aziraphale looks on the verge of tears but determined. "Well. I'm ready to go." Crowley asks: "Go where?" Aziraphale swallows. "To hell."
Crowley sits down on the rock and says, "I'm not taking you to hell, Angel." Aziraphale looks over at him, his tearful expression turning confused. "Why not?" Crowley replies mildly, "Well, I don't think you'd like it."
End ID.]
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