Hi everyone, My name is George, I am Palestinian born and raised in Gaza city, I moved to London Ontario 4 years ago with my husband. I am raising this fund to help my family flee the war and come safely to Canada and reunite with me and my kids again. I'm writing to you at a really critical and urgent moment. Presently, my family is in Gaza and is dealing with unspeakable conditions. My family and I are fervently requesting your assistance so that we can help them flee to safety and reunite with me in Canada. I live in Canada with my 2 kids , yet I feel like I'm thousands of miles away from my family and are helpless to stop the suffering caused by ongoing aggression in Gaza. The situation is getting worse every day, and I worry about their safety. Any donation will be highly appreciated. The donation link is in my pinned post. Kindly help where possible.
HI EVERYONE DONT DONATE TO THE LINK ON THIS ASKER’S ACCOUNT. This is someone appropriating Yasmeen Ouda’s gofundme description to scam you, if you click on his “gofundme” link it brings you directly to his PayPal and not a campaign page.
INSTEAD, DONATE HERE:
This is the actual family who this sad soul has ripped his story from. Please support Yasmeen, report user unabasheddestinywolf, and share this post so that others receiving this ask are informed too.
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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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Splatoon 3: Side Order is good, but not great. I still highly recommend it, but if you care about the story, you're going to be disappointed. Quick review: spoilers ahead.
Side Order was the devs experimenting with Splatoon's gameplay loop. The campaign is a rogue-like, and it works amazingly well. Super fun, super challenging, building my deck and fighting through challenges with the stakes of resetting really scratched an itch in my brain. They did a great job with it.
Unfortunately, I feel like priority went to game design rather than story. Much of the mysterious artwork we saw in the first teaser trailer was completely unused; turns out, all of that was just concept art that never made it into the final product. Side Order failed to make me care about what was happening. I don't know why the protagonist had to be Agent 8; it could've been anyone else and the story would've worked the same.
Octo Expansion was the absolute peak of meshing story and gameplay. The campaign's hook is insanely strong; we immediately empathize with Agent 8 because we know from previous lore that octolings like her have been trapped underground for all their lives. We care about her fight to the surface because it's a fundamentally ideological fight for freedom. The plot stuff about Tartar and the Thangs is just nice set dressing; 8's fight for freedom is the real story.
There's none of that in Side Order. I don't particularly care about Marina's metaverse, even if it's tied to Octo Expansion's story. I don't know why Acht is there other than backstory stuff. It really feels like 8 is just told to do something and she does it because she's the protagonist; she has zero personal stakes or motivations in the conflict. This is a story blunder the devs did in Splatoon 3's default campaign––forgetting to give the protagonist a personal reason to fight––that I hoped would be fixed here, but alas.
What makes it worse is that the gameplay and story progression are completely out of sync. I beat the entire game on my third run in 4 hours. With each run, you get up to two keys to potentially unlock bits of story. That means you'll get about one piece of the story every two runs. There are twelve pieces of the story; I got the first and then beat the whole damn game. Now I have to go back and grind to see the remaining story when I've already beaten the final boss and resolved the conflict. I missed the entire story because I never had to reset because I blazed through the gameplay! It's just a real shame that I experienced everything without knowing... why it's happening. The final boss had me asking myself what the hell is going on because I don't know the backstory at all.
Again, I still really recommend. The devs did a great job, but Side Order remains in the shadow of Octo Expansion's incredible success. Like the default singleplayer campaign, there's just a lot of lost story potential here that, while not necessary, would have really elevated this DLC into something amazing.
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After rewatching Trolls World Tour, I just realized the relevance of the high five at the start of Trolls Band Together <3
It means they have a strong connection!
On the second movie he failed to talk with Poppy about their relationship and then she called him a friend. He got so caught up on that, that they failed to make a connection and having a good high five.
Failing miserably.
Just look at him, he feels so bad
Also I love how easy the confession was at the end
Just so casual
"and I love that we are different"
"And I love you Queen Poppy" the way he says it, so simple yet clear
"And I love you too Branch" and Poppy and her little smile, that was the smile she used to give Creek before the whole fall out, she´s now smitten with Branch :) and she loves him too, what else can you ask?
the love was always there, they just needed to have a better connection, you know, the whole thing where she wasn't actually listening to anybody because she was too focused trying to be a good queen
Also I love seeing Branch happy, it´s so tender
And they finally have their perfect high five!
Wait, did she hug him at the end? 🥺
I hadn´t noticed
I love their relationship, since the first movie and how it evolved
it´s just so tender and wholesome
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[tw: sploshing, food play/kink, food insertion, anal, ass eating, nasty shit in general idc don’t read if you’re easily disgusted]
Konig is probably the type of guy who would love to experiment with food during sex. You’re his kinky younger girlfriend and probably the one who introduced him to all these fetishes and kinks he never heard of. But he loves you so much so he’ll probably say yes to anything you want. He’s in his early forties, he needs someone to spice up his sex life and you’re the perfect girl for him!
It started out pretty tame. Probably with you swirling some whipped cream on his abs, sometimes with honey, maybe some chocolate and strawberry syrup as well and lick it off of his body. The sticky, sweet concoction dripped down his chiseled torso as your tongue eagerly lapped it up, sending shivers of pleasure through his body and giving him a massive erection.
The next time you did it, you viciously drizzle chocolate syrup and whipped cream all over his thick nine-inch uncut cock, the sugary mixture mixing with his pre-cum and it drips down on his groin area. You hungrily engulf his throbbing shaft, your mouth a dripping mess of cream and chocolate as you eagerly slobber all over it. And when he finally cum, he shoots his warm, thick cum mixed with the concoction down your throat.
This time, it’s time to take it to the next level. Your body trembles with anticipation as you present yourself to him, offering your ass up for his pleasure. He grabs your ass with a force, bending you over a table and inserting half a stick of butter into your pulsating asshole slowly. His eyes are filled with raw lust as he watches your ass cheeks quiver, trying desperately to keep the slick butter from slipping out of your tight hole.
Konig brutally thrusts his massive cock into your tight asshole, the butter still churning inside as he fucked you rapidly. The slickness of the butter makes it easier for him to slide in and out, leaving you feeling used and violated as he claims you with every rough thrust as the butter begins to slowly melt and dripped out, coating his balls and the floor in a slick mess. Your tight hole began to convulse and clamp down as it releases streams of melted butter mixed with his cum. His filthy mouth greedily lapping up every drop, tasting the rich, creamy taste as it squirts out from your asshole. What a depraved little couple both of you are. <3
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