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#that isnt the case
winchesterwhorehouse · 10 months
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he's been staring at my sleeping friend like this the past thirty minutes
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qiinamii · 7 months
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we'll do fine.
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7roaches · 7 months
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sorry that took like an hour i stopped to eat dinner heres my idea
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lepitorus · 5 months
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well that didn't age well
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laurzzz · 4 months
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Merry Christmas, DCA Fandom! Come and pick your presents :3c
Tap each picture for better quality!
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I cleaned up Eclipse for this moment so he doesn't look too Ruin-y, if you get what I mean eheh. I hope y'all enjoy and have a Merry Christmas, if you celebrate! If not then, hope you have a good remainder of the year <33
With absolute love from all my own circuitry and codes,
Laurs/Levi 💜💛
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i call this one "queer silence" or perhaps "slightly judgemental stare"
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buggachat · 3 months
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Sometimes I think about how Adrien, throughout the series, constantly grapples with his fear of abandonment. Gabriel conditioned him to believe that any love he receives is purely transactional, and that to earn affection he has to prove his utility. Adrien is constantly trying to prove his worth to his father for scraps of affection, and Chat Noir infamously crumbles on-screen any time he feels as though he is replaceable to Ladybug. It's a constant insecurity of his, like everyone will just dump him like a sack of potatoes the moment they find out how useless he is.
Meanwhile, all Marinette wants to is ensure that Adrien is happy. Because she loves him. She doesn't give two shits about how """useful""" he is. She holds him and tells him that she will never abandon him (both as Ladynoir and as Adrienette), and her fantasies are about saving him, not about him being "useful" to her. Throughout their relationship, Adrien is forced to disappoint Marinette constantly for reasons outside of his control (amok commands), and yet Marinette is still there for him.
At Adrien's lowest point, when he is forcibly torn away from everyone who had ever showed him genuine care, locked away in an all-white room and at his most "useless", right after disappointing Marinette and unable to even join the final battle or contribute in any way, she still saves him. She still loves him. Because he doesn't have to prove anything to her. Because he is loved and cherished for who he is, not for what he does, and that love is not conditional. Adrien's "happy ending" at the end of the first arc wasn't about him finally proving how useful he can be, because he never actually cared about being useful — he just saw it as the only means to feel loved and needed. Instead, in the end, he found out that he was loved and needed no matter what.
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tsunosagun · 3 months
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smoke and mirrors
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petitprincess1 · 4 months
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Protect Pentious 🥺
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liquidstar · 7 months
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when finn and jake establish that they get their meat from meat man its logical to assume hes some sort of fantasy butcher until finn asks "do you think it hurts him when we take his meat?" revealing hes MADE of meat and they eat him. and it only gets WORSE when jake replies "i dont know i cant read his mind" implying he cant even voice whether or not hes in pain. but they still eat him.
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weaselmcdiesel · 1 year
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probably my favorite moment from limited life so far ahsdjkf
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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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incredubious · 1 year
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another ole collection of one piece doodles...enjoy
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wizard-finix · 2 months
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LU Star Wars AU: Part 5
LAST BUT NOT LEAST ITS TIME AND SKY LETS GO
PART 1 | PART 2 | PART 3 | PART 4
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Time
Time is a direct survivor of Order 66. He was a child living in one of the more remote temples when everything happened, and was able to escape alive by fleeing into the dense forests of the planet.
Time spent many years after that traveling on his own and not getting close to anyone out of fear of being found out, or worse, left behind. He holds a certain bitterness towards everything that's happened, and when he was a teenager, he was involved in a major incident on the planet Termina. Time finally decided to bury his saber on a remote planet after that, unwilling to take on the responsibility that comes with it.
Time actually ended up meeting Sheik and donning Mandalorian armor some time after that in his teenage years. He doesnt always gel with Mandalorian warrior ideaology, but he doesn’t truly fit the Jedi way of his childhood anymore either, after all the war and death he’s seen. He's determined to be strong enough to protect those he cares about, like Malon.
Time doesn't entirely get along with the Chain at first. (Especially Warriors and Twilight; Warriors reminds him of his old Jedi master, who wore a red scarf, and Twilight's saber looks suspiciously familiar.) The boys eventually grew on him anyway, and he counts them among the people he cares about.
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Sky
Sky comes from a gaseous planet in the Outer Rim with settlements that float in the clouds, constructed far above its surface.
Sky's planet is a bit of a cosmic mystery, since it should be impossible for islands of solid rock to float; some theorize that it was constructed instead of naturally occurring, or that there is a unique combination of magnetic fields and orbits that make it possible, but no one knows for certain. Loftwings are part of the planet's ecosystem of impossible floating islands, and are an important part of the culture there.
Being so remote, the Empire didn't show much interest in Sky's home planet until Ghirahim showed up. The Empire hasn’t taken over his home yet, and he is determined to keep it that way, along with the rest of the Knights of Skyloft (including Sun). Ghirahim's interest in the planet involved rumors that there was an old Jedi temple hidden on its surface, and the secrets that were hidden within it.
Those rumors turned out to be true; there was an ancient abandoned temple on one of the floating islands, and Sky and Sun ended up discovering it before Ghirahim did. Sky also found a protocol droid named F1, and with Fi's help he and Sun managed to forge their own sabers with the only remaining kyber crystals there.
Sky's connection to the Force manifests mostly as visions, and he occasionally experiences strange, cryptic dreams as a result.
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Linked Universe AU belongs to @ linkeduniverse!
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chilly-lily · 1 year
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hmmmmmmmmmmmmm.
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poopystain · 2 months
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short animation intended as a fun little remake of one i made a whole 5 years ago
old underneath cut
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