🥀krissy🎶 @kyutekrissy - Tumblr Blog

Providing Sherliam fluff because They deserve to be happy

Some feral girlycard sketches because I feel there isn't enough content of her being the goblin psychopath she is <3 <3 <3

meowcyuvu

Mr. Ghost and Mrs. Angel

yaraneechan

Diversity win! The child-soul-eating demon is a feminist!

#anime #aesthetic #manga #higurashi #higurashi when they cry #when they cry #horror manga cap #horror manga #manga cap #rika furude

beyondthisboundary

rensanity

idk why rena

touhouweed

fleur-aesthetic

instagram | coconatatata

captain-redchar

Nyotalia 🇺🇸 UsUk 🇬🇧

[ig]

grenade-maid

God, Liz and the Blue Bird is genuinely so so so so good like, as a film. The writing is so nuanced, but like, even more than the explicit dialogue that characters say to each other, the vast majority of Nozomi and Mizore’s emotions are communicated visually through body language, shot composition, and other cinematographic tricks. This is most clearly seen with Nozomi, because she withholds expressing so much of what she’s actually feeling. Like, in every conversation we see with her in her group of friends, her dialogue is very breezy, but the framing of the shots and her uncertain body language denotes a certain amount of not feeling completely comfortable being part of the group. There’s the strong implication that she doesn’t want to be there, but her interactions with Mizore show that she’s far too afraid of honest displays of emotion to make herself vulnerable by speaking up or standing out by leaving. Her friendly casual attitude is at once a way of surrounding herself with people so she won’t be alone, but also keeping them at a distance so she doesn’t have to risk anything. It’s an uncomfortable middle ground, but one she is unwilling to let herself get out of. Even at the very end when Mizore pours her heart out to her, she’s incapable of responding with equal earnestness.

Even when she’s expressing her fondness for Mizore, it’s in a very stiff way with a sort of false playfulness. She says it all with her tongue in her cheek, in a way that that makes genuine feelings into something performative and deniable. A warmth that puts up a wall from letting her get any closer. Wouldn’t it be nice if we hugged? Just kidding, of course. It would be easy to assume that she’s leading Mizore on, just basking in the affection she gets from her, with no desire to reciprocate.

However, there’s one shot where she is completely loose and open and uninhibited:

This is one of the only scenes where she’s completely honest with her feelings, no tension or uncertainty in her body language, and it’s to express how happy she is to see Mizore. That much all on its own would say a lot. However, the circumstances give it a lot of symbolic weight. After all, she’s only able to express this kind of earnest affection when the two of them are in separate buildings, and even then, only through a symbolic, non-verbal gesture in shining her reflection on Mizore. She can only be honest about how she feels when there’s the safety of both the literal distance between the two buildings, but also the figurative distance in not needing to put specific words to what she’s saying.

So when we look at the ending, at first glance it might seem like Nozomi is rejecting Mizore’s declaration of love by responding in her usual guarded way, and making it clear that she’ll be applying to a different college and taking a different path in her life. Let’s examine that further, though. After the confession scene, the next time we see them together is at the counter in the library.

Nozomi smiles at Mizore, but it’s in the same way that she’s been doing throughout the movie when she’s putting up her mask of artificial positivity.

This is followed by Mizore returning Liz and the Blue Bird, while Nozomi checks out her college exam book. The implication being that Mizore has to finally relinquish her dream of a fairytale love between the two of them, while Nozomi embraces the cold, impersonal realism of a college career.

This is further reinforced by Mizore giving Nozomi this heartbroken look. They exchange no words, but Nozomi turns and smiles again.

HOWEVER, film isn’t always as objective as it might first seem. Just like novels, films can portray things from different perspectives, or it can portray events from a zoomed out observer’s perspective. Even in a shot that contains both characters, there is subtext within it that makes it clear that the emotions being conveyed and the views being shown are that of one character and not necessarily the other. In the above, I would argue that we are seeing this exchange through Mizore’s eyes. She perceives Nozomi as rejecting her.

Let’s take a look at what happens next, though:

The perspective shifts, not showing what either of them are specifically feeling. Instead, the film itself is acting as the observer, showing you where these paths are leading them, and what it means for them. We begin with them walking away from each other–Nozomi towards the library to study for college entrance exams, and with Mizore towards the band room to practice for music college. When they reach their destinations, they are both the only person shown in the room. This would seem to imply that this is them walking away from each other, towards their diverging paths in life.

BUT. Something happens on the way to their destinations.

Nozomi turns towards the left

Mizore turns toward the right.

What does this mean? Yes, they do need to part ways to pursue their different paths in life. BUT IN DOING SO THEY TURN TOWARDS EACH OTHER. Them taking these different directions is not proof that they leaving each other, it is precisely the way that they are making themselves ABLE TO FORM A HEALTHIER PERMANENT RELATIONSHIP WITH EACH OTHER. This is further backed up in this picture being flashed on screen after their scenes showing them alone

To me, this splotch of paint is a more explicit declaration of the realness and permanence of their love than if they had shared an on-screen kiss. These colors mean that yes, they are as separate as red and blue, and there needs to be space for red to be only red and blue to be only blue. But where they DO touch they can now form something unique together that is permanently inextricable. Just as you can’t un-mix paint, their feelings for one another can’t be torn apart.

Ultimately this is a story about the fact that they needed to differentiate themselves from one another to be together. Acting purely co-dependently, they couldn’t understand themselves or each other. Mizore needed to find enough self confidence to pursue music on her own, and see herself as a fully fledged person capable of moving forward without relying on or defining herself by Nozomi. And, in turn, Nozomi needed to learn to open herself up to accepting and expressing emotions in an honest way. The ending is bittersweet, because we only get to see the first step of that–the part where they still aren’t ready, and must first prepare themselves to separate. But symbolically? Their future couldn’t be any clearer.

In conclusion:

hiyutekivigil

Sehen Sie mich! Sehen Sie mich! Das Monstrum in meinem Selbst ist so groß geworden!

“Obluda, Kierá Nemá Své Jméno” (The Nameless Monster) by Emil Scherbe (Franz Bonaparta) from Naoki Urasawa’s “Monster”.

pikurelle

Memories of Carcass Fiesta 🕯️

Happy Halloween! This is a drawing from last year, but I thought it’d be fitting for today. ψ(｀∇´)ψ

mile-deaa

Dibujo terminado de Ayumi Shinozaki, no salió tan bien ya que recién estoy practicando con los colores, el que use fue Faber-Castell SuperSoft

fruk-and-usuk-soliditary

Why UsUk is Not Incest

Before this starts I would like to say that I have done lots of research on this topic. This will not just be me going “thEY’rE Not BRoThErs uwu I doN’t HAvE EviDEncE bUt bElieVe me aNYwayS”. No, I have lots of evidence for this subject, and if I did not firmly believe in this I wouldn’t be sharing it. I will be taking people’s arguments and stating my own view on it based on facts of this universe, as much as I can. I will also throw in some other pieces of evidence that don’t exactly refute other arguments, but I feel like are important.

I am open to discussion on any of these, as long as you are respectful and are able to come up with actual evidence as so do I. In no way am I saying you have to see their relationship as non-familial or romantic at all. You are allowed to have that interpretation of their relationship, but I do say you should respect me for my interpretation of it as well. With that said, let’s get on to the essay.

Argument #1

“America called England Big Brother, so that means they are brothers.”

This is a common one that I see, and I understand why. However, in Japan, when you are calling someone “Big Brother” or “Big Sister”, it is a term of endearment. You can say it without meaning “you are actually my brother and we are now related”. And you could argue that that’s not the case, however, in the manga, this fact is stated right after the panels of Baby America calling England Big Brother.

Another thing to point out is that England refuses the title of Big Brother, because he was overly flustered from the term of endearment, since he is so used to being called everyone’s Little Brother.

One more thing about this argument, is that France calls himself everyone’s Big Brother. And for us FrUk shippers, yes that includes me, he even calls himself England’s Big Brother.

Using this argument, that would say that FrUk is incest as well, when we all know that is incorrect. Italy also calls both Spain and France Big Brother, but they are all not related. Romano certainly doesn’t call either of them Big Brother (although Romano and Spain’s relationship is also up to interpretation as well).

Argument #2

“England raised America, so he has to be a part of his family.”

Once again, a common one I see that makes a lot of sense. However, England never really raised America. He was constantly gone, across the ocean. There are multiple times we see America completely alone and raising himself.

America has raised himself, he taught himself how to grow, and since he’s a country, he grew up rapidly. When England comes back to America, he is absolutely shocked by how fast he’s grown. This bit is more of an analysis since we don’t know for a fact, but I feel like this shows that England was gone throughout America’s development. So, while you can still easily have your opinion on this one, I don’t think England raised America at all.

One more thing is the scene where England “says” they are brothers in the dub of the anime. However, that is the dub of the anime, not an official canon source. In both the sub and the manga, England never says they are brothers, and in the manga even goes as far as to say that he’s more of a mentor or a boss.

Argument #3

“The Funimation poster says that England and America are brothers.”

This one is super easy to debunk. This poster is in no way canon, it was made to promote the show. In this poster, we see lines that connect England and America that say they are brothers. However, there is no connection between Canada and England, or even Sealand and England. If America is considered a brother to England, then Canada very well would be as well, but there is no connection. Sealand and England are actually confirmed brothers, but they don’t have that connection line. Also, Wy would be considered a relative to England and therefore Sealand, yet there is still no familial connection between them. This shows the inconsistency throughout this promotion.

Another thing to add is that this is not from Himaruya. Himaruya is the creator, and the one who has the final say in what is and isn’t canon. He has made no mention of this poster, confirming or not confirming it.

Unless if it comes from the original source, or is confirmed from the original source, nothing is for sure.

Argument #4

“Colonizing equals adoption.”

I’ve seen people say this a few times, however this is far from the truth. If colonizing meant someone adopts another, then that means France’s inappropriate behavior towards Seychelles is incest or even England’s potential crush on Seychelles is incest. If you want to interpret a colonization as adopting, then that’s how you interpret it. However, know that it does not apply to canon.

Other Pieces of Evidence

1. Magical Strike AU

This is a piece of evidence I haven’t seen many people talking about. In the Magical Strike AU, a canon AU talked about and made by Himaruya, there are only a few confirmed characters roles. This includes France, the magical girl on strike; Japan, an old man who’s touring; Netherlands, a business partner; England, a businessman; and America, the son of the President of the company. In this AU, England and America do not have any familial connections what-so-ever.

Take into consideration that this is from an AU, so it can be argued as irrelevant, which is fair, but it’s still something to consider.

2. America’s Independence

This is a pretty controversial one, but it still needs to be addressed. During the American Revolution, America shouts “I’m no longer a child, nor your little brother.” A lot of people either argue this is America just saying that to state his independence and that they are still related.

However, that would only be true if they were mortal and human. These characters are countries that live forever (until they are killed through the heart/their capital is taken over). They do not have the same meanings for different terms that we do.

America stating that he is no longer England’s little brother means that he is literally no longer his little brother. This would obviously not work in real life, but this is not real life. They are not human beings who comprehend things like family the same as we do.

The only characters who have a confirmed family connection (in modern day) is Germany and Prussia, Veneziano and Romano, Iceland and Norway, America and Canada, Netherlands/Belgium/Luxembourg, and England and his three older brothers including Sealand as his little brother.

America never addresses England as his brother in modern day, nor does England. Within modern day, they do not consider each other to be brothers. This is able to occur because they aren’t human. They don’t have the same thought process as others.

Conclusion

If you don’t see England and America as romantic, and see them as familial, that is more than okay. However, recognize that shippers of UsUk don’t consider them as family.

Shippers do not look at England and America and think “UwU they are brothers so I ship them”. Most shippers ship them because of their connection and relationship dynamic.

All we ask for is to be treated with respect. Hating others for shipping something is ridiculous. There is more to a person than a ship.