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#civil courses
ftmtoyboy · 5 months
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wanna be the pet of a polycule where everyone has a possession/ownership kink. Want them to fight over me, one up each other by fucking me better and harder than the last, bring in new and more extreme kinks and toys and punishments so they can be ‘the only one who makes you feel like this’
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kolkata-edu-guide · 1 year
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Best Diploma in Civil Engineering Courses in Kolkata 2023 | George Telegraph
If you are looking for diploma in civil engineering course in then Visit George Telegraph Training Institute today.
https://www.georgetelegraph.com/civil-engineering-diploma.aspx
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omegacadd · 1 year
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REVIT NEW BATCHES STARTED.
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zizzy-rie · 11 days
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Made these instead of studying :v
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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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brother-emperors · 4 months
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And the experience of each man was peculiar. For Pompey's name and power were greater in the city when he was away from it, owing to his campaigns; but when he was at home, he was often less power­ful than Crassus, because the pomp and circumstance of his life led him to shun crowds, retire from the forum, and render aid to a few only of those who asked it of him, and then with no great zest, that he might keep his influence the more unimpaired for use in his own behalf. But Crassus was continually ready with his services, was ever at hand and easy of access, and always took an active part in the enterprises of the hour.
Plutarch, Crassus
from the vault of half finished one shots and rejected scenes! what a pair of guys! some real complementary personality stuff going on with these two!
bsky ⭐ pixiv ⭐ pillowfort ⭐ cohost
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unrestedjade · 5 months
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ART, visibly on the edge of a meltdown because SecUnit replied to a message from Holism with "k": i'm going to puke stop talking to Holism i swear to god. baby you're everything to me please please don't fuck Holism
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fighting-naturalist · 19 days
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Daniel with Shyla pre- vs. post-sarcophagus addiction
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daguerreotyping · 9 months
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Tintype of a bright-eyed and rosy-cheeked young Union soldier, c. 1860s
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slythereen · 6 months
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christian it’s not too late for you to stick a rbr sticker on charles’ car and let him and max team up against carlos btw. if you care
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sparklecryptid · 2 months
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upon further reflection, in an all the bastards verse where things went to shit, it is most likely either Thanatos or Persephone that go 'hey maybe our father doesn't deserve a kingdom' and promptly usurps him.
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People who are like “Omg gen z theatre kids only know *proceeds to list every single musical that came out after 1999*” are the most annoying assholes like hey maybe we just don’t like shit from the 1960’s or we have specific tastes have you ever considered that
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prettyboykatsuki · 6 days
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I’m so sorry if this is out of pocket but I need to know how hairy fujoneet reader is……. You mentioned her having bush already but what about everywhere else…
JKSDHFJS i do not want to get too detailed so people can still project but she virtually doesn't shave at all so do w that what you will. she tries one time for rin after they start dating and it hurts so bad she cries to him and he ends up finding her so pathetic they fuck again while he explains he could not care less.
so all in all as hairy as u wish to believe. her skin is too sensitive for that and rin would huff her no matter what
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herebecritters · 5 months
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Messes - 3-
Hopps - @ickyguts teehee
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camgoloud · 2 years
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one thing that’s been on my mind a lot recently is the fact that ianthe is reusing the old third house lyctor’s rooms… like did she just choose to do that because the old rooms were shiny and full of sexy portraits, etc., or was the mithraeum just a one-set-of-living-quarters-per-house-no-guest-bedrooms-sorry situation? if the latter, literally what was john going to do if the house heirs all ascended at canaan house like he wanted them to? the main reason this has been on my mind a lot recently is that i’ve been unable to shake a series of cursed thoughts about a universe in which things go according to god’s plan and silas and mercy are forced to become the world’s most dysfunctional pair of roommates, thus in turn forcing all the other newly-ascended house heirs to live with the fallout of this godawful situation constantly spilling all over the mithraeum common areas, which—even setting ASIDE the whole ‘experiencing paralyzing guilt and grief over their dead cavaliers’ thing that they’d also be dealing with!—is possibly an even worse outcome for them than the one from the canon timeline where they all just fucking died violently lmao
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sapphorror · 5 months
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I love it when they do this. I really do.
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