I Love Your Art So Much!! If You Still Do Art Requests Would You Draw Scudworth Bloody In The Prom Crown

💔 🌟 **Urgent humanitarian appeal** 🌟 💔

Hello everyone, I am Hussam Al-Qazzaz from Gaza, where we are facing harsh and difficult conditions. I lost my home and now live in a tent. I lost my job and am now suffering from extreme poverty. I can no longer provide food and water for my family, and we are living in a real famine.

✅️Vetted by @gazavetters, my number verified on the list is ( #287 )✅️

I have 4 children: Bashar (9 years old), Hani (8 years old), Diana (4 years old), and Habiba (3 months old). Unfortunately, I cannot provide them with clothes and food, and their health is deteriorating. My little daughter, Habiba, who was born in the war, I cannot provide her with milk and Pampers.

I also take care of my elderly parents (75 years old), as my father suffers from serious health problems. His body was burned and he is in urgent need of treatment, and my mother (72 years old) suffers from blood pressure and needs constant care.

You can imagine. My family and I were displaced under bombardment from Khan Yunis to Rafah, and we suffered a lot before returning to Khan Yunis, where we now live in a tent next to the rubble of our destroyed house.

We're not asking for much, just a little help:

🏠 We need to build a modest house that protects against the cold of winter and protects against shrapnel from aircraft bombing

👕 We would like to buy some clothes for the children.

🛋️ We need simple household supplies.

💊 We want to treat our father for burns and buy expensive medicines.

🍞 Most importantly, we need food! Prices are very high, and we don't have any money to buy what we need.

All we want is to live in dignity. Any help, no matter how small, will have a big impact on our lives, even if it is only one euro 🙏❤️ Unfortunately, everything we collected does not exceed 400 euros.❤️🙏

For the sake of children and the elderly, help us 🙏❤️

✅️Vetted by @gazavetters, my number verified on the list is ( #287 )✅️

This is how we cook our food when cooking gas is expensive and rice is very expensive and I don't know if we will be able to provide this rice again.

gofundme.com

Donate to Support Hossam’s afflicted family to rebuild their lives., organized by nouraldin alqazzaz

Dear reader, I am Hussam Al-Qazzaz from Gaza, and I am wr… nouraldin alqazzaz needs your support for Support Hossam’s afflicted family t

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✅️Vetted by @gazavetters, my number verified on the list is ( #287 )✅️

tumblr just deleted a huge swathe of palestinians who were on here trying to fundraise. if you've been helping any of these fundraisers please take this time to 1) check in with palestinians you're in contact with 2) help them submit support requests if needed 3) keep these campaigns circulating while the beneficiaries are being silenced. these campaigns are life or death, this isn't just social networking. do not let these fundraisers languish.

ive been out all day idk if its been on tumblr at all but shit was fucking crazy today there were a lot of arrests and a lot of people getting attacked by the police.

WHHAAAAAAAAAAAAAAAAAAAAT

haven't made a full drawing in awhile, 'twas fun!

idk everything going on in america but the posts i'm seeing are making me think of this

Kinda a follow up to the last one. They're all having a fun happy time!

emily gwen, the creator of the sunset lesbian flag that we’ve come to commonly use, still continues to live in poverty.

multi-billion dollar companies have used their design and made profit from it, and yet they have not seen a cent for their creation.

i’ve been friends with emily for years, and i have not once seen them be financially stable the entire time. i’ve seen them homeless, unemployed, starving. right now, they need our help more than ever.

please consider donating to emily’s ko-fi, especially if you’ve used their design to create something and profited from it.

Ko-fi

Support Emily on Ko-fi! ❤️. ko-fi.com/emilygwen

Support Emily Gwen <3

I went and saw the creator of Dead Plate, @racheldrawsthis used to draw lots of Camp Camp, so I drew a silly crossover!

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 these 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 fandom 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.