#also thinking of her in her fear street verse

[liveshauntedmoved]

maya’s i will antagonise list ( across all verses )

nick goode

or any sunnyvaler tbh

carrie wilson

billy hargrove

jason carver

king steve era steve harrington

tommy hagen

carol perkins

lucas friar ( though this is canon )

vecna

i do think she has a deathwish

#and she doesn't have a tbp verse but... vance.... #tbt. #if she was with the russians.... say goodbye to maya bc they'd probs off her to shut her the fuck up #i think that is everyone #also like cops in fear street and st verse....

[ghost-1-y]

Temptation

Angel!Mitsuri x AFAB!Succubus!Reader

Content Warnings: MDNI, dark content, sacrilege, blasphemy, religious themes, dubcon (aphrodisiac), manipulation, sexual content, dom!reader, sub!Mitsuri, unprotected sex, oral (reader receiving), scissoring, virginity loss (Mitsuri), corruption k!nk, praise k!nk, degradation, hair pulling, concepts of "purification" and "chastity", concepts of sex and sexuality being "dirty" and "sinful", slight mentions of blood (not in a sexual context), use of bible verses (in italics), references to bible passages/stories, people who are religious may find this content offensive, please read with caution

Summary: Mitsuri had always done what she was told to do, glorifying her god and helping those who needed it. She never once thought about breaking the rules – much less her vow to chastity, until she found what initially appeared to be a human in a darkened alleyway in need of help, unknowingly falling into a trap that would corrupt her from holiness for the rest of eternity.

Word Count: ~3.3k

Divider Credit: the wonderful @/benkeibear

A/N: so, I used to be religious (Christian), so a lot of this might've come out of my own personal traumas that I experienced (eg. the concept of purification and chastity and being ashamed of having "dirty" thoughts). Obviously, I no longer hold these views (as evidence by writing these fics LMAO), but that somewhat influenced how I wrote this fic, maybe some of y'all will be able to relate? I hope you enjoy!!

Let your light shine before them in such a way that they may see your good works, and glorify your Father who is in heaven.

Mitsuri loved the world, she loved humans and nature and all the beauty that existed in between. She would watch the sun rise upon the earth and how it would cast its rays upon trees and cities as life basked in its holy light.

She loved the night as well – how it brought tranquility and peace as those she watched over rested until the sun peeked over the horizon once more.

She sometimes wished that her light would not interfere with such serenity. 

But the world also saddened Mitsuri, she mourned as those she loved from afar returned to dust underneath grassy knolls; her heart broke as she witnessed fighting amongst nations and arguments amongst lovers. She knew that loving the world would bring grief upon her, because the world was infested with sin.

The world would never be perfect, yet she loved it anyways.

So Mitsuri spent her eternity by helping those who needed it – taking on a human form so others wouldn’t be afraid. She helped by working in food banks and soup kitchens – oh how she adored those humans who set such wonderful services up – and would afterwards walk along roads to give food to those who, for whatever reason, found such services inaccessible to them. She would volunteer in hospitals, helping the sick in whatever way she could, and would listen to their stories and offer comfort should they share their suffering with her, holding their hand in hers to offer support – however small. 

It was not a coincidence, then, that she caught sight of you, a human lying alone in a darkened alleyway, isolated from the bustling street that was doused in sunlight. You were covered in shadows to the point where it looked like darkness emanated from your body itself, curled up and alone – hiding within the stench of garbage and discarded roadkill.

Mitsuri approached you – her kindness limitless and unbounded by fear as her light blessed your shadowed figure, gentle and warm – a light that was neither blinding nor dim as you looked up at her.

“Are you alright, my love? My name is Mitsuri, I saw you here and wanted to help,” she smiled sweetly. It didn’t matter what language you spoke, since Mitsuri’s words would translate perfectly once they fell from her lips and graced your ears.

Burning lips and a wicked heart are like a potsherd covered with silver dross.

Teary eyed, you smiled up at her, “Thank you, I didn’t think anyone would come, but you’re here now.” Mitsuri’s gentle eyes looked over your condition, a cut on your forehead which was seeping a dark red, and smudges of dirt all over your body.

“Oh, love, let me get you cleaned up a bit!” Mitsuri exclaimed as she secretly materialized some cotton pads, pretending to fish them out of her pocket. She wiped the blood that was dripping down your face, “I don’t have antiseptic wipes on me, would you wait here as I go get them from a convenience store?” You nodded, staring past her shoulder. 

If Mitsuri knew any better, she would’ve thought you could see her wings. 

Mitsuri rushed across the street and bought the antiseptic wipes, more cotton pads, and a couple bottles of water before running back to help you. She knelt beside you, and began cleaning up your face. “You know, you should take better care of yourself,” she smiled softly as she wet the cotton pads with water and began wiping away the smudges of dirt on your skin. 

You said nothing, letting Mitsuri work on you. Once finished, she stood up and held out her hand, “Are you able to stand?” she asked.

You looked down at her hand and reached for it, slowly encasing it in yours, with your index finger pressing against the pulse in her wrist. A strange flush of warmth spread through Mitsuri’s arm and to her chest, causing a shiver to move up her spine. She shook her head, and helped you get up.

The warmth continued to spread and fester within her, and she couldn’t figure out why – you were human, or at least looked like you were. 

You gave her a saccharine smile, “I appreciate your help, angel, but I have to get going – I’ll see you around, no?”

Mitsuri’s eyes widened at the pet name you let slip – you couldn’t possibly know what she was – it was a coincidence, that’s all.

She who trusts in her own heart is a fool,

But she who walks wisely will be delivered.

Still, it caught her off-guard, and if she wasn’t flustered before, she definitely was now, slightly panicking despite knowing that humans wouldn’t be able to see her wings, or halo for that matter.

Mitsuri stuttered, “Of course, I– see you around.”

Days passed, and Mitsuri started to believe you’d fallen off the face of the earth – completely unable to sense your presence or soul. Yet, the warmth she felt from holding your hand did not fade – rather, it worsened, beckoning her to drag her dainty fingers along her stomach and downwards.

She shook herself out of it, but the heat lingered and pooled between her legs, so much so that it started to drip down her inner thighs – yet she wouldn’t give in to the temptation, she couldn’t – it was against everything that she was taught, everything that she believed.

Or were the beliefs forced upon her?

It wasn’t until after forty days and forty nights that she sensed you once more. It was early morning, so early that the sun had not graced its rays upon the world quite yet. You sat underneath a lamppost, its artificial light illuminating the bench beneath you, but oddly failing to reflect off of your own soft skin.

“You’re not human, are you?”

You looked up at her, a glint of mischief in your eyes as you shook your head. Standing up, you walked towards her, causing Mitsuri to take a hesitant step back.

“Don’t be shy, angel, I don’t bite – not unless you beg for it.”

“I– I’m not begging,” Mitsuri muttered, as though she were trying to convince herself more than anything.

Submit therefore to God. Resist the devil and she will flee from you.

You approached her once more, and she remained still. Taking her wrist in yours, you slowly graze your nails over the skin of her arm, tracing up and down as she spoke. Her cheeks were red, flushed hot with both the strange warmth that found its home within her soul and now the shame of actually seeking what she desired.

You both sat down on the bench, a shrub blooming with jasmine flowers alongside it – the rich scent flooding her senses as her eyes locked with yours.

Do not desire her beauty in your heart,

Nor let her capture you with her eyelids.

“Do you ever get tired of it?” you asked, fingers circling the pulse point on her wrist.

Mitsuri frowns, “What do you mean?” You take your other hand and place it on hers, tracing your thumb across her skin, sending butterflies into her stomach.

“I mean,” you started, “do you get tired of kindness? Of righteousness?” you questioned, “do you ever wish to know beyond those things?”

“Um…I–” she paused, swallowing thickly, “N-Not really?” 

It was a lie, and you knew that.

“Oh, well that’s too bad,” you pouted before leaning in towards her, “because I could show you things you’ve never even felt before, angel.” You glanced up at her, and you could see her eyes pooling with the desire to accept.

“I– I really can’t, it would– it would be against my nature.” An excuse, but a truthful one. If she consented, she would be damning herself – condemning her soul to the farthest reaches of hell.

It was something unthinkable for a being like her.

“Hmm, but nature changes over time, does it not?” you questioned, “if I’m not mistaken, I can see the want in your eyes. You desire this change, yet you won’t grasp for it. Why?”

“You– you wouldn’t be able to understand,” she stuttered, retracting her hands from yours as she formed fists with them in her lap.

“Angel, I think I understand more than anyone else,” you smirked, "to me, you seem lost – you're falling, aren't you, angel?"

You got up from the bench, eyes flashing a brief red as you looked down at her – causing Mitsuri’s breath to catch in her throat.

For the lips of an adulteress drip honey

And smoother than oil is her speech;

But in the end she is bitter as wormwood,

Sharp as a two-edged sword.

Her feet go down to death,

Her steps take hold in the house of it.

“If you wish for more than the mundanity of your everlasting life, you know exactly how to find me,” you told her, and before Mitsuri could look up at you once more, you were gone.

—

Mitsuri knew that it was wrong, she knew that it would go against her vows, her duties, her entire purpose, and yet – she found herself walking past that same alleyway each day, only peering into it out of curiosity before collecting herself and continuing on her way.

Until the seventh day, when she decided to stop in front of the alley, the sun beaming down on her as she stood just outside of it, as though the lined buildings on either side created a threshold that she couldn’t bring herself to pass. 

As Mitsuri peered into the shadows, she saw a figure stand up and walk towards her. She couldn’t look into the being’s soul – it was as though it didn’t have one at all. It approached her from the dark, and its silhouette depicted that of sharpened horns and a long tail which was pointed at the end. 

“Have you made up your mind, angel?” you asked sweetly, extending your hand past the threshold for her to take, “I promise, you’ll love how it feels to let go.” 

Mitsuri hesitated, but as she looked into your eyes, a fire ignited deep within her once more.

My child, if sinners entice you,

Do not consent.

It was all she needed to extend her own hand and place it in yours.

Shocks of electricity traveled up Mitsuri’s arm, much more intense than the warmth she felt before, it traveled deep into her gut, and her face flushed red as she was pulled into the shadows, fully enticed by you.

You pinned her against the wall, her back facing you. Her wings shuddered in excitement as you leaned in towards her ear, “I’m proud of you, angel,” you whispered, your breath hot against her ear, “I know how difficult it must’ve been to give in, I promise I’ll make it worth your while.” You grazed a finger along her left wing, nail lightly scraping against the feathers. She whimpered, her blush hot across her face as heat pooled in her stomach.

“I– I know you’re a–ah…” Mitsuri started, swallowing thickly before a soft moan escaped from her.

“A demon? Yes, angel, I am,” you chuckled, grabbing at her hair to pull her head back, “but I’m not here to hurt you, love, no, I’m here to make you sin.”

You turned her around and kissed her fervently, your lips sweet against hers. It felt euphoric, Mitsuri had never been kissed by anyone before – it was always said to open the doors to lust.

Then when lust has conceived, it gives birth to sin; and when sin is accomplished, it brings forth death.

However, she melted into your kiss, malleable and pliable – eager to feel more of it, the fire inside her being nurtured and stoked as you continued to kiss her innocent lips. You licked at her, and bit down on her bottom lip before parting – a string of saliva connecting her lips to yours, binding her into damnation as she uttered her next words.

“Please, I need more.”

You smirked, and leaned in towards her neck, licking a long stripe with your tongue before kissing just below her earlobe, with Mitsuri letting out tiny mewls and gasps every so often. You traveled further down her neck towards her pulse point. You left marks deep in burgundy upon her as she moaned into your ear.

“I love the sounds you’re making, angel, make some more for me,” you purred, bringing your hand down towards her heat, pushing aside the white linen to rub your fingers along her entrance. “Oh, you’re so wet for me,” you cooed.

“Nngh, n-noo that- that’s dirty,” Mitsuri whined, and you smirked.

“Trust me, you’ll learn to love feeling this way.” Your breath was hot before putting her into yet another searing kiss. She whimpered, but kissed back, slowly accepting her growing addiction towards them.

You circled her clit with your finger, and she whined, face flushed as she tried grinding onto your hand.

“That’s it, angel, take what you need, such a good girl,” you encouraged her, rubbing her clit slightly faster as she ground into you, a blushing mess as she did so. Mitsuri’s moans got progressively louder, loving the sensations once unknown to her.

“Mmh–! I– I feel strange…like something’s building up in me!” she whined, “what– what’s happening–!?”

You kissed her once more, quieting her, “shhh, angel, that’s a good thing, just relax and let it build up, okay?” She moaned again, grinding harder into your hand as she obeyed your words.

“I– It’s gonna–! I’m gonna–!” Mitsuri’s eyes rolled back, letting out a strangled moan as she came all over your hand, juices gushing into your palm as she rode through her orgasm, her hips undulating until she couldn’t take it anymore – quickly becoming overstimulated from the feeling of pleasure coursing through her veins.

“Too– too much! Can’t– no more!” she cried, tears falling down her cheeks. You licked at each stray teardrop, the saltiness of it coating your tongue as you stopped your movements with your hand.

“Such a good girl for me, angel,” you praised, and she hid her face behind her hands in pure embarrassment. You took her by the wrists and held them down.

“Don’t hide your pretty face from me, I want to see every last bit of your pleasure.” 

Mitsuri whined and asked “can you– can you do that again, please?” Her tone was so sweet, begging for more like a pathetic slut who has abandoned all of her morals.

However, you refused, “if you wish for more of that, you’ll have to please me, first.” Mitsuri looked at you, confused, before you shoved her down to her knees, her face in line with your hips – the pretty lingerie you were wearing disappearing in an instant before you took her by the hair and pulled her towards your weeping cunt. “Make me feel good, angel, and I might consider actually fucking you this time.”

Mitsuri’s eyes dropped from your face down to your pussy, admiring how sweet and juicy it looked.

When the woman saw that the tree was good for food, and that it was a delight to the eyes, she took from its fruit and ate.

So, she went entirely off of her own instinct as she brought her mouth to your heat, before licking at the wetness of it with her tongue. The sweetness of it coating the inside of her mouth like syrup; Mitsuri had never even thought of committing such lewd acts before, but now that she’d gotten a taste, she couldn’t help herself.

She started off shy, with kitten licks and tentative kisses on your clit. She may not have experience in giving pleasure, but she was there in the beginning when humans, angels, and devils alike were all created in the same image, and so she knew the insides and outs of their bodies unlike any other.

Her tongue delved deeper into your cunt, licking up any juices that seeped out of it, earning soft groans and grunts from you as you pulled at her hair. She adored your taste – it was addictive, a taste that she would gladly sin for if it meant she could feast upon it for the eternity of her damnation.

Her lips pursed around your clit before sucking gently, your eyes rolling back as she looked up at you. She whimpered, wishing you’d make eye contact with her and tell her she was doing such a good job – instead only receiving a few strokes through her hair as you thrived off of the pleasure that her mouth was giving you. Her own cunt was weeping, the heat from her abdomen becoming unbearable as she continued licking you up with her tongue – so much so that she reached down between her legs with her fingers, but before she could provide herself even the slightest bit of relief, you yanked her by the hair.

“You think you can touch yourself without my permission? Think you’re allowed to make yourself feel good? No, angel. Only I am allowed to do that. Any and all pleasure you receive, any and all sin that you commit, will be caused by me – for my sake.” You leaned down closer to her, breath hot against her face, “do you understand me?”

Mitsuri nodded, only to wince as you gripped her hair tighter.

“Say it.”

“Yes, I– I understand,” Mitsuri spoke softly as she removed her hand from between her thighs. 

“Good girl.”

You pulled Mitsuri up once more and, in an incredible display of flexibility, she raised her right leg so that it pointed up toward the sky, with you supporting her by holding her up by your hand. 

“Hah– you’re no angel, are you? Angels don’t act this way, y’know– you’re just a pathetic little slut, a pleasure-seeking whore that can never get enough,” you panted, before mounting your foot against the wall so your cunt was flush against hers, grinding against her wet heat. You grabbed her by the jaw and forced her to look at you. 

“What are you, hm? Tell me.”

“I– I–” she whined, “I’m– ‘m your slut…oh shit, ‘m your slut!”

“That’s right, you’re nothing but a stupid cumslut, aren’t you? Raised to be holy and perfect, but look at you, drunk on lust all because some demon tempted you. How pathetic.” 

Mitsuri whined as you ground into her, feeling absolutely no shame as she condemned herself further with each movement of your hips. The familiar tension in her gut started to build up once more as she took everything you gave her.

“Nngh– it- it’s happening a-ah– again!” she moaned, and you ground against her faster.

“That’s it, slut, cum all over my cunt. Sin for me.” 

Mitsuri’s thighs trembled as her orgasm flooded through her in waves, her mind addled with euphoria and lust as her pussy gushed all over you, her moans so raw and unbridled as she allowed you to claim her as yours, knowing she will never find pleasure like this through anything or anyone except you.

You are my God, and I give thanks to You;

You are my God, I extol You.

“My– my God,” she panted, “you– you are my God.” She knew it was blasphemous, yet she didn’t care, for she found a new being to worship, to love and to praise as she damned herself for the rest of eternity, certain that she would choose this over holiness in every lifetime if given the honor to do so.

For Yours is the kingdom and the power and the glory forever. 

Amen.

Taglist: @oreo-creampie, @k-a-t-h-r-i-n-a, @wow-im-gay, @peanutpunchy, @love-me-satoru, @crazycatlddy, @pastelbluecloudy3, @dinosaur-crime-scene, @thisbicc, @gojoscumslut, @bisexuawolfsalt, @everyonesfinaldestination, @leehoonii-i, @kyojurismo, @briefrebelfanalmond, @izuoyarmin, @ahashiraswife, @d1gitalbathh, @homo-homini-lupus-est-1701

(If your name was crossed out, it means tumblr didn't allow me to tag you - apologies for the inconvenience)

I hope you all enjoyed!!! 💕

#demon slayer #kny #kimetsu no yaiba #kny smut #mitsuri smut #mitsuri kanroji #demon slayer mitsuri #kny mitsuri #mitsuri x reader #kny kanroji #demon slayer kanroji #demon slayer fanfic #demon slayer smut #hashira #demon slayer headcanons #kny headcanons #kny imagines #kny x reader #kny fanfic #kimetsu no yaiba x reader #kanroji mitsuri #kimetsu mitsuri #kimetsu no yaiba kanroji #kanroji x reader #kimetsu no yaiba smut

[aechii]

Heyy, first of all I just wanna say I love your writing and I really really appreciate you writing for black readers 💖 I wanted to request a kylian story about reader meeting his family for the first time, maybe bonding with his mom and Ethan if thats possible 😊 (also are we getting a second part for good luck charm??)

₍⁠₍ ONE OF US ₎⁠₎

PAiRiNG ?! boyfriend!kylian x black!femreader

GENRE ?! romance, fluff (😞)

C/W ?! written in 3rd person since i can't write in 2nd person for shit, she/her pronouns used, kylian whines alot, ethan is too mature for his own good lool, KYLIAN ISN'T DRIVING !!!

A/N ?! i luvvvv this request :) im glad you appreciate my works, it means a lot to me since i really want to make my black readers feel included <3

tried to make it not too fluffy (😞) but im sorry if i failed. part 2 of 'good luck charm' will be the next fic released after this so stay tuned for that (hopefully before the end of this week). anyways, hope i did ur request justice, anon 🖤

~°~

one and a half hours on road, and the ending of the everlasting queue of cars and headlights seemed out of sight. a traffic light suspended from the sky, like a descending black orb, and [y/n] tilted her head as she leaned forward to observe it. sighed, resting back as the lowness of her car's hood rendered her efforts futile, and instead, relied on the agonising snail-speed of the moving cars ahead.

"traffic's heavy today."

kylian responded with a quiet hum, tapping her thigh to the beat of the playing song, "yeah, bad day to go out but my mum's expecting you."

fear hovered just beneath her skin and kylian noticed the tremble of her hands. they gripped the steering wheel, as if to strangle it dead, sure that the grooves of the grips had indented into her palms. he gave a reassuring squeeze to her leg, then stretched forward to peck her cheek.

"you'll be alright, they'll love you."

her eyebrows remained crinkled, "are you sure?"

kylian gave an affirmative nod, "of course— honestly they'll love anybody who isn't me."

she knew his words were a tad bit hyperbolic, but it made her laugh anyways.

"really?"

"yeah. their dear kylian can be a handful sometimes."

[y/n] was quick to nod at that, "you're not wrong there."

in any other instance, kylian would find fault in her words and be haste to correct her, whining. yet, he watched how the knots of her fingers grew loose and how her shoulders untensed and settled with ease, and bit his tongue.

silence dallied in the car, save kylian's hums of every song that cried from the radio. the congestion had lightened and they both rolled forward a couple of feet per minute.

"quick warning though, ethan is most likely to drag you to play fifa with him. don't be scared to say no," kylian rolled his eyes after; she found their bond way too endearing and wholesome for her heart to take.

"says that he needs to add to his fifa kill count, and literally verses anybody he can," he proceeded. [y/n] would think he meant his irritation if she didn't peak the slight grin that ghosted his lips. he could never dislike the boy, of course.

"i see where he gets his competitiveness from," she joked, surging the car forward as the light turned green. the motorway is long left behind, and the distant city blended and smothered into the view before them.

"are you one of his kill counts?"

kylian kissed his teeth, and it triggered a hearty laugh from the girl beside him, "that's not even the point. i've demanded rematches and he still refuses to."

"babe, i think it's a sign that you should suck it up and accept that he's better than you at fifa."

"in your dreams," arms were crossed and he ignored her grin, looking out the window, "i'm forcing him to play today."

the gps ordered her to take a left, and she swiftly took the sharp corner, bustling streets dwindling behind them as they entered a quieter road.

"i will be supporting you— although i can't guarantee that i will for all of the games you play."

"so- what? you'll be rooting for ethan?" his words left his mouth as if they were bitter and salty on his tongue.

"mhm."

she only said that to rile up the man, finding humour in his disdain. in kylian's eyes, [y/n] was his, and only his, hype woman.

"traitor."

"love you too."

they fell into tranquil muteness as the sight of kylian's childhood house is unveiled by the skyscraping evergreen trees that seemed to be a habitual plant around this side of paris. it's not entirely big, but large enough that, from the outside, it was obvious that it situated two floors. gated and neatly groomed grass carpeted the front lawn, bright green and dotted with white. daisies, she predicted.

the car undulated to a halt, and [y/n] released a sigh.

"we're here... finally."

kylian shifted in his seat, facing his girlfriend, "yeah, we are." reached to scoop her hands in his, "and as i said, you have nothing to be scared about. i love you, hm? even if they don't like you, which i highly doubt will happen, it won't change a thing, okay?"

nodded and tilted forward to kiss her boyfriend. kylian's hand rested gently upon her cheek as he deepened it, lips tenderly harsh as he attempted to portray his words into action, too. a ping from his phone caused them to break contact, turning it on as he read the text from the notification bar.

mama ❤️ i see a car outside. stopping hogging the poor girl and come inside, it's too hot.

"who is it?" [y/n] asked.

kylian showed her the text and she softly chuckled as she read it, "you heard her. let's go."

they depart, not before kylian gave her hand a reassuring peck, and they amble to the front door.

kylian looked at her, finger at the ready to poke the doorbell, "ready?"

"i think so, yeah."

+_-

greeted with a warm, encompassing hug, [y/n] was pulled inside, her boyfriend complaining behind her as he was left behind.

"okay, forget your own son then," he gruntled, closing the door as the warm air from outside began to mesh with the cold one inside.

fayza, his mother, kissed her teeth. undeniably kylian's mother.

"as if i don't see you more than i want to."

an arm circled [y/n]'s waist, head tucking itself into her neck as lips muttered complaints into her skin. she patted his hand in faux sympathy.

they're escorted to the back garden, filled to them brim with kids no taller than her waist, and chattering adults. it was welcoming chaos, one that made her feel settled and content because everyone was happy, doing they're own thing as they gathered as one family.

and now, she was to be one of them.

broken out of her reverie, fayza's voice cut through the cacophony, and all heads turned toward their direction.

"everyone, meet [y/n], kylian's girlfriend. make her feel comfortable and at home for me," her face was illuminated with a smile.

a little voice, she presumed was of one of kylian's nieces, sounded from just beside them.

"she's very pretty!"

[y/n]'s heart swelled, and she untangled herself from her boyfriend's hold, crouching down in front of the infant, "thank you, love. what's your name?"

she reponded, full of eagerness, "marie!"

[y/n] chuckled, "you have a very pretty name, don't you?"

the toddler nodded, as she signalled for [y/n] to pick her up. arms wrapped around the small girl securely, she stood up, swirling the girl around as she giggled loudly, then began to ask her questions about her and kylian's relationship. her curiosity was overwhelmingly adorable and [y/n] could feel her face muscles ache at the undying smile.

kylian watched from the doorframe, eyes drenched in obvious adoration as his girlfriend began to go around, socialising with the rest of his family. his sister is quick to welcome her with a hug and a kiss to the cheek, ruffling the curls of her daughter in [y/n]'s arms. if he hadn't decided to grow old with the girl, he certainly did now, for the sight of his most beloveds intertwining with so little difficulty made him feel full with joy.

+_-

the little girl in her arms began to grow restless, and with the sweltering heat beating upon her skin, [y/n] unleashed the hyperactive kid, submerging back into the air conditioned space inside. she went to look for kylian, stopping at the door of the living room (overly spacious, but embossed with pictures and trophies, made it feel smaller and more homely than expected) as she noticed two boys frantically clicking button on a controller, tv glowing with running, animated people in a sea of green. decided to not disturb and leave kylian to (hopefully) reign victorious this time round.

[y/n] found herself exploring the corridors of the house, gazing into framed photos hung upon the walls. a family so deeply knitted that not one was left out, and she couldn't help the thought of her face one day being displayed with pride, maybe with kylian beside her, or maybe just her, as she alone was enough to be one of them.

she ventured into the kitchen absentmindedly, meeting fayza stirring into a steam pot, napkin draped over her shoulder.

pushed all her nerves aside as she saw an opportunity to bond with her mother-in-law, "is there anything i can help with, ma'am?"

she was quick to spin around, a smile blooming as she recognised her voice, "you want to help?" [y/n]'s gesture was thoroughly appreciated, but the question left fayza's throat apprehensively.

"yes," then a laugh, accompanied by a permanent smile, "kylian is playing fifa with ethan so i really have nothing to do."

the older woman grunted knowingly, shuffling through the kitchen as [y/n] shadowed her.

"that's all the do when he comes here," a freckled hand is waved, aloof, "don't mind them."

she slid a bowl of freshly washed vegetables, dappled with droplets of water, "dice these for me, dear."

[y/n] acquiesced promptly, and the kitchen swiftly subsided into a warm silence. she chopped them with such experienced velocity, and fayza showed her an approving smile, althought she was too focused to notice.

"you know what you're doing."

the girl turned to the woman next to her, grinning, "have to be, or kylian would be a lost cause."

the guffaw that followed was thick with expectance and genuine hilarity, "you're very funny, looking after that boy isn't an easy task."

"you can definitely tell me about it," she fell silent as she focused on cutting off the butt of the onion, "but i love him, and forever will."

fayza felt her skin buzz with exhilaration and couldn't fight the urge to hug the lady helping her.

"you're such a lovely girl, perfect for my kylian," broke the hug and scanned the face of the girl that had her son immeasurably in love, "stand by him, okay? people out there are harsh, and, yes, i know that he's a strong boy, but with you beside him, he'll be stronger."

[y/n] exhaled, leaning against the counter as fayza started to fry the vegetables that she had chopped, "i won't lie to you and say it's easy because it's not," a hand rubbed down her face, "i don't get why people are so... brutal. it's like the only focus on his negatives when they lose, but praise him when they win, and i see that it gets to him a lot."

fayza knew what they, as a family, holding the name mbappé, just like the one that etched the back of france's golden boy, were getting themselves into. a life no longer hidden, everything was out and vulnerable for everyone to see, and if each blink and breath wasn't scrutinized by 'fans' (as they liked to call themselves, but tend to act otherwise) then something wasn't right.

"that's just how the world is, dear. they're backstabbers, running wild with no inch of humanity left in them. but you have to remain sturdy, be it alone or with the support of other people. and for kylian's case, he has us."

us. [y/n]'s skin crawled with thrill.

"you're part of the family, now, [y/n]," fayza smiled, eyes lined with aged wrinkles, deepened with the peaks and troughs of the past, and still to, with what was yet to come, "one of us."

she smiled, heart clashing with her ribs, "thank you, fayza. it really means a lot."

she returned it, arms agape, "it's nothing, dear. now, come here!"

[y/n] entered her arm, laughing loudly as her mother-in-law kissed her forehead, "and remember, if kylian ever does anything wrong, tell me, and i'll deal with him."

"i definitely will, ma'am."

she was given a disapproving look in return, "ma'am? please, call me fayza, or mum, which i prefer." winked and laughed.

however, their moment was cut short as shouts outside the door began to crescendo.

"—not only are you running away but your running to your girlfriend who i didn't even know was here!"

the kitchen is penetrated by the fury of two boys, of which their ages were miles apart but would think were near by how they acted, kylian's face contorted into a frown, "it would be a curse to introduce her to you, ethan."

the teenage boy gasped, kicking his brother, "take that back!"

"over my dead body!"

ethan scowled back, looking at her, before any trace of his negative expression seemed to disappear into thin air, "[y/n]! oh my days, you're prettier in real life!"

she grinned sheepishly, "thank you, ethan."

kylian, however, found no amusement in his words, hiding his girlfriend behind him, "oh please stop that crap. get yourself your own girlfriend!"

"and you just love hating! i bet your girlfriend is better than you at fifa."

"take. that. back."

"let's see it," he walked towards her, putting on the best puppy eyes he could muster, grabbing and tugging her arm, "please, [y/n]? play fifa with me?"

kylian glared at him, slapping his hand away.

"don't touch her!"

she turned to look at fayza, who nudged her head, "don't worry about it, go and take those hooligans with you."

+_-

10 minutes later, ethan was one goal down, with [y/n] on a aggregate score of 3.

"you're good at this— like good good. better than kylian."

to ethan's satisfaction, his older brother had been summoned by his mother to help her, saying he 'needed to use that football strength to good use'.

"how the hell did he even get a girlfriend like you? way too good for him, in my humblest opinion." she knew his question was far from ill-mannered, and didn't take it to heart. ethan tend to say whatever came to his mind at that moment.

"he definitely tried his hardest to ask me out," [y/n] stated, chuckling at the ever-vivid memory of his unrelenting advances.

"he's never one to give up, is he?"

she shook her head, "absolutely not. gave him my number for professional use only, and he saw the opportunity to flirt with me."

ethan visibly cringed at the fact, "that's embarassing."

"it was cute," she shrugged, "until it actually started to work and it all went downhill- or rather uphill- from there."

ethan's irises glimmered as he attempted a shot, but took in a sharp breath as he missed.

"all i can say is, he loves really hard. hasn't loved anyone as much as you, but from what i hear from him about you, he's deeply infatuated. i think it's scary, at this point," paused to regain his bearings as the ball was within [y/n]'s possession once again, "but, as much as i make fun of him, he's a good person. sometimes too good for his own sake."

he spoke truth. truth that hurt, because kylian's kindness was constantly taken for weakness, but he always, without fail, moved past it without another thought wasted.

"and he hides how much it affects him."

"exactly," ethan responded immediately, then laughed, "you know him just as much, or even more than me."

[y/n] grinned, "happens when you spend everyday with the boy. he's more readable than he thinks."

"or maybe you adore him so much that you just... care."

silence, then, "or maybe that."

it was only the noise of intense clicking and frustrated sighs that filled the room for a few minutes. it was a relaxed quietude, one that none saw the need to disrupt, but ethan wanted to express how grateful he was for [y/n]'s presence in his brother's life. it was comforting to know that he had someone, that wasn't a platonic friend, to confide in and find solitude in.

"you two were definitely meant to be."

"you think?"

"yeah," he looked at her, taking a hand off of the controller to punch her lightly in her arm, "i see you becoming [y/n] mbappé, one day."

"really?" her voice was incredulous, "you see me being one of you lot?"

"come on [y/n]," ethan rolled his eyes affectionately, "you're already one of us."

#work de aechii 🫧 #kylian mbappe x you #kylian mbappe x reader #kylian mbappe imagines #kylian x reader #kylian imagines #kylian mbappe oneshots #x black reader #x black fem reader #footballer x reader #football imagines #footballer x you #kylian mbappe

[cometomecosette]

"Les Misérables" musical character interpretations: Fantine

As usual, these three characterizations are all based on performances I've seen, either in person or filmed. They can also be, and often are, combined with each other to create still more characterizations. For example, Anne Hathaway's Oscar-winning Fantine in the film version is basically "the Ingénue," but with a distinct undertone of "the Fighter." And none of them are precisely Hugo's Fantine. I'd say that they all represent aspects of the character as Hugo wrote her, and that the ideal Fantine would blend all three of them, as the occasional actress does.

I'd like to thank @quarryquest for sending me the Fantine chapter of her book on the stage history of Les Mis just as I was in the middle of writing this. It provided excellent insights.

The Lady

         This Fantine, in the words of Victor Hugo, displays “a serious and almost austere dignity.” At the beginning, her dress and hair are as neat, clean, and pretty as factory work allows, and her bearing is strikingly graceful and refined. She clearly once knew a better, more elegant life before her lover abandoned her. This sets her apart from the rough, uneducated factory folk who surround her, and at first, she might seem slightly cold and haughty in her distance from them, which no doubt contributes to how quickly they turn on her. But “I Dreamed a Dream” earns all our sympathy as she sings of her lost happiness, while in “Lovely Ladies” she moves us further by slowly sacrificing all her elegance for her daughter. Yet she never loses her core of pride and dignity. While this Fantine has as much raw anguish as any other, she tries to hide it from her oppressors under a brave face. Though she might reach the verge of tears several times, she’ll rarely let herself cry. When the moment of selling her body arrives, she’ll swallow her grief and fear with the drink she’s given, and offer a firm, resolute hand to her first customer. Her “Come on, captain…” is sultry, but not drunk or grotesque; instead, her hard, cold tone evokes Hugo’s description of the fallen Fantine as having “turned to marble.” Her rejection of Bamatabois will be calm and businesslike until he turns violent, and when “Monsieur Madeleine” approaches her, she’ll express her anger with head held high, making it clear that she sees him as no better than herself. This Fantine is a gemstone that’s thrown into the mud of the streets, but never breaks.

The Ingénue

         This is a warmer, softer Fantine than the Lady, and whether the actress is twenty-five or forty, she’ll probably seem younger too. This characterization keeps in mind that Fantine’s name means “childlike” and that her “tragic flaw” in her past was her naïveté. Despite being an abandoned mother, she hasn’t entirely lost that naïveté at first. Her air of gentle innocence is what sets her apart from the other, more worldly factory folk, and throughout the factory scene she’ll be frightened and brutally shocked by the cruelty she faces. Then “I Dreamed a Dream” will overflow with anguish, and likely with tears too. With just cause, this Fantine is more prone to tears than any other. More than the loss of her dignity, the tragedy of “Lovely Ladies” is the loss of her innocence, which dies once and for all when she accepts her first prostitution client, crying or trembling with fear as she does so. What comes next will depend on whether the director thinks the “Old men, young men…” verse contains a time skip or not. If not, then this Fantine will be awkward and nervous on “Come on, captain…” still all too new to her profession. But if so, then she’ll reenter heartbreakingly transformed: staggering drunk, crudely flaunting her body, utterly disheveled and broken. Either way, she rejects Bamatabois out of rash fear, then claws at his face in rash, animalistic rage. Abuse and misery reduce this vulnerable young woman to behaving like a cornered stray dog or cat. Yet through it all, there’s never a doubt that her heart remains pure and tender, because everything she endures is for the sake of her little girl.

The Fighter

           This is the grittiest Fantine. Her portrayal reminds us that Hugo’s Fantine was an orphan who grew up on the streets and that he describes her as having “fierce courage.” This is a passionate, determined woman who boldly stands up to her oppressors and who battles all obstacles to provide for her daughter. Like the Lady, she values and defends her dignity, but hers is a stolid, down-to-earth working-class dignity, not aristocratic grace. In “At the End of the Day,” she’ll protect her letter from the Factory Girl with the fierceness of a mother bear, and her self-defense to the Foreman will be firm and simmering with frustration. Her “I Dreamed a Dream” will also be angry as well as anguished and yearning, and in “Lovely Ladies,” the chief tragedy will be that despite her valiant efforts to stay “above the water,” poverty pulls her under anyway. Her prostitution sequence may or may not be drunken, but it will most definitely be hard, brash, and filled with biting rage. In her bitterness, this fallen Fantine will recall Jean Valjean as a convict before the Bishop’s mercy, and when she confronts him about her firing, she’ll stop just short of attacking him. None of this means she lacks vulnerability or deep, heartbreaking sadness; like any Fantine, she has them in spades. But the way she combines them with strength and anger make her a more complex figure than other Fantines, and arguably, it makes the gentleness of her deathbed scene especially poignant. There, for the first time, we fully see the motherly tenderness that lies beneath her fire, and which has motivated her struggles all along.

More comparisons to come!

#les mis #les miserables #fantine #musical #characterizations #comparison #tw: violence #tw: prostitution #tw: death

[watermelonlovershigh]

Maybe them discussing being attracted to someone? Or like a gossip-y thing where they talk about what celebrities they have crushes on or whatever. Or three some fantasies. Or like Harry with a bi flag at a show or something.

💖💜💙

AN: thank you anon for the wonderful ideas. i incorporated a few into this little blurb and i hope you like it.

This story contains: mild smut, mentions of boobs, mentions of sub/dom relationships, fluff, not much dialogue

{ boyfriend!harry - softrry - bi!reader - have been dating for over a year }

word count: 796

What it's like being with Harry as a bisexual women.

You told Harry you were bisexual about six months into dating and it's been the most liberating feeling ever since. Where before you were cautious about what you said around him so you didn't accidently out yourself, now you can share your thoughts freely.

Though you knew he'd support you, it's still a scary thing to come out to someone you love so dearly.

When you and Harry are watching a film together on his couch, you'll blurt out, "Fuck, her tits are nice." in reference to the actress on the screen.

Harry will try and act offended by replying with something like, "Hey..."

And you'll say back, "What? There's no denying her boobs are gorgeous."

Harry will laugh and retort, "Alright, her tits are very pretty but I'd rather not think about another woman's breasts will I have the best pair right beside me." Referring to your boobs that he loves so much.

He's also been the most supportive partner as well. At least in one part of every concert he'll find a way to hold up the bi flag. Of course he still holds up the rainbow flag which represents all labels under the queer umbrella, but just something about him holding the bisexual flag makes you so happy.

And his fans most likely know why he's so adamant about holding the bi flag because you have now mentioned publicly you're bisexual. Though some still speculate if it's Harry's way of giving clues to his own sexuality when he's stated himself he'd rather go unlabeled. Not really feeling either straight or gay or anything in between.

Not just on stage is he supportive though. This year he took you to your first pride parade. He never had a reason to go before dating you because his sexuality is quite complicated and it never seemed fitting enough to go. But now, you give him a reason to go. To go to a parade where all lgbtqia is welcome.

Harry dressed in more general rainbow clothes so no one got the wrong idea about his personal identity while you dressed in the bisexual colors. But he did wave the bisexual flag with you, up and down the streets at the pride parade in LA.

Not only do you share your attractiveness to beautiful women parts and have a very supportive boyfriend, you also talk about your past relationships. More so you though because Harry would rather forget all of his. Now that you're out to Harry, you share the differences you notice being in a relationship with a guy verses when you dated a women.

The biggest difference for you personally is being dominant with men and submissive with women. You don't know what it is but when your ex girlfriends would call you "baby girl" and push and tug you around during sex, you became mush. Now being with Harry, you have this urge to take control and watch him be all helpless during sex. Which Harry has no problem with because he's always been secretly submissive.

A non sexual difference you can spot is the way the bed smells after a nights sleep. When you shared a bed with your ex girlfriend, the bed would smell of flowers and her apple scented shampoo. With Harry, his bed in the mornings smells more musky and dare you say, manly. Both have their pros and cons but you will say the more manly scent turns you on easier.

Lastly, you try and act all confident in your bisexuality but reality is, you still have insecurities and fears. So you'll often ask Harry, "You promise you don't get scared I'll leave you for a women?"

And Harry will reply, "Why on earth would I need that fear? Is there somethin' I need to know?" That last part is said in a joking tone.

You'll shake your head no and then respond with, "No, it's just, people online keep saying you should be scared I'll leave you for a women and..... and I want you to know you don't have to worry. My attraction to women has nothing to do with my attraction and love for you. Straight people still know they like the opposite gender while being with the opposite gender so it's no different than me knowing I like the same gender while being with the opposite gender."

Harry leans down and whispers near your mouth, "I know, m'love. I know you love me and I've never doubted that for a second. I love that you embrace your sexuality and don't shy away from expressing your feelings when it correlates to your sexuality. Makes me love you even more if I'm honest." Then leans in an inch or two to fully connect his lips with yours.

(PLEASE REBLOG BECAUSE WRITING IS NOT EASY AND IT’S FREE SO JUST DO IT)

(no more tags are allowed because i've hit my number limit. sorry : ) )

tag list: @one-sweet-gubler // @harryscherrysugar // @japanchrry // @lollypopsx // @harrycanyonmoonn // @itfeelslikemytherapisthatesme // @damnasstyles  // @mrsstylesharry // @softmullet  // @meetmyblondemuffins  // @thegirlnextdoorssister // @stanleystyles  // @haarrrys // @michellekstyles  // @skyangel57   // @the-gardener-31 // @lhharrylilpumpkin // @yousunshine-youtemptress // @clairestylessss  // @kissmyaxe140  // @goldenmelonsugar-hi // @kaitieskidmore1 // @florencepughily  // @alienorknight //@dancearoundthelivingroom  // @swiftmendeshoran

 // @luv-flor7777  // @alohastyles-x // @tenaciousperfectionunknown  // @sleutherclaw // @siredtohybrid // @whoscamila // @a-strange-familiar  // @golden-elodie // @mrspeacem1nusone //  @goldenkhae // @lntwithharry // @shadowygladiatorlight  // @manifestrry  // @mendesblurb // @sunshinemoonsposts  // @depersonalizationsucks // @academiaghosts // @zendayassimp // @reveriehs // @vsnnstuff // @dancinsunflowerkiwi // @quinnsgrapejuice // @theroosterswife24 // @justlemmeholdyou // @stylesmygucci // @hsonlyangelxo // @luvonstyles // @howdey

______________

My Masterlist Masterpost

#harry styles #harry styles blurb #bi!reader #bisexual!reader #bisexual!reader fan fic #harry x reader #bisexual #harry styles fluff #harry styles smut #anons request #harry styles fan fiction

[that-ari-blogger]

AJR's Camera (Maybe) Man

So, The Maybe Man (written by @ajrbrothers) came out fairly recently and I genuinely love this song and the music video that accompanies it. So, I'm going to do some analysis.

This is a song about being unsure of oneself, and the camera work and visual symbolism really play into that.

Let me explain.

WARNING, The lyrics of this song include some mild cursing. If you don't like that, you are under no obligation to keep reading.

Let's start with the two most obvious things here. The art style and the camera work.

This video has an incredibly roughly painted style. It's incredible, but its reminiscent, at least to me, of a layered acrylic style. This is exactly as it sounds; paint is added on top of itself to form this incredibly rough style that is both refined and unrefined at the same time. There is a cognitive dissonance when looking at this style, and that dissonance carries over to the images. This is someone looking at their life and what it could have been. The song keeps going "I wish I was... but if I was..." It's an unrefined idea that gets more complex as the protagonist looks closer.

Next there is the camera work, and I can't really show you this in a still image. The camera is shaky, as if the cameraman is a novice. But because this is animated, it cycles back to being intentional, its a choice that links back to the novice thing. Once again, this is a song about being unsure of yourself, so the camera work is unstable too.

Ok. I love this opening shot. Immediately you notice two things. One, the protagonist is tiny, but centralised. You know this is a song about them, but you can't make out any detail. You need to look closer to find out who your main character is. The second thing to point out is the houses in the sky. They are out of reach, unobtainable. And if the protagonist ever actually gets there, they won't fit in, because the houses are upside down. Who is the right side up here, is it the protagonist? Or is it the houses?

This (in case you missed it) is an homage to another AJR album cover. That being OC ORCHESTRA

The point here is two fold again. Obviously its the protagonist looking back on his life, but its also looking back on the duality that this image represents. The light and the dark of life. The happiness and sadness. What is a person but a collection of memories walking around grasping for meaning. This is a protagonist looking at themself before they start looking elsewhere.

The shot then reverses, now its whoever at the end of the street looking back, accompanied by the line:

I don't want to know what my friends think

My reading of this is that while the protagonist looks back at their life up to this point, they are wondering what their past self would think of them now.

Wish I were my dog out on the lawn

I'd be so glad when I hear you come home

But if I were my dog, I wouldn't live long

I'm sure gonna miss her when she's gone

Guys. Really? Out of the gate? AJR songs always make me tear up, but this is one just looks me in the eye and watches me while I cry. Come on guys. Why are you so good at this?

I think that this moment and verse are about the innocence and simplicity of youth. The protagonist wishes for that simplicity, and watches it fade before him. Innocence doesn't live long, you become more world wise, and you lose that comfort.

Here we have a dream being immediately darkened by fear of loneliness. Its someone acting, and being dynamic with their posing, but the second the camera pans out and the lights and other effects become visible, the fakeness in other words, the protagonist assumes this quiet demeanor. Arms by the sides. Reserved.

Once again, we get this close up of the face, and you see tears. You get told they are fake, then you get told they are real. And you can't visually notice the difference, because that is the penalty of putting up a mask. Nobody can tell when its the real you.

I don't have much to say about these shots. They are simple, and they work.

It's a song about being weighed down by your thoughts, so that's what happens. Its a song about feeling like you're drowning, and there's a visual of someone drowning. Visual metaphors don't have to be subtle to get their point across.

The protagonist is trapped here, that's what this image is trying to get across. They are in the dark, lit only by this tiny window that shows the sky. Even when he is literally above it, he still longs for the outside world.

Once again, the protagonist is in the centre of the camera, so you know this shot is about them, and they are framed by this staircase and the light coming from inside, a place where they are not. And you could say to this: "You know this is about the protagonist because they are the only one in the shot" and that leads into my next point.

There is no-one in this entire music video except the protagonist. Usually, AJR music videos have at least Adam and Ryan to join Jack in the visuals, to bounce off his energy. But here, they are conspicuously absent. You don't have anyone to foil off the protagonist, nobody to show their character. You are left with a character who you don't fully understand, just like they don't understand themself.

Suddenly, an eye appears. This is spooky, and to be fair, my first reaction to seeing this would be to drop the bottle as well. But the symbolism here is pretty neat, in my most humble of opinions. It's another person looking at the protagonist. Or is it.

If I was cocaine or a bottle of Jack

I'd get invited to every frat

But when you get old and your good days have passed

You'll only want me when you're sad

The protagonist is saying "what if I was this bottle?" And they are looking at themself.

These are three images of the protagonist watching their life go past. And remember what I said earlier about people. Once again, this is just the protagonist. In situations where there should be people, or animals, there is nothing.

These two verses are brutal, and I love them. The protagonist wishes for power, and skill, and all of their dreams, but when they get what they want, they would still not have any of the people. They'd be too big for that. Hence how big they are in this image. But...

I don't need to explain why this shot is cool. I am but a simple fool, I see stars, I like. But take a look at what the protagonist is seeing. Even though this protagonist is the size of a planet, they are still tiny and alone. Every speck of light in that sky is tens of hundreds of times bigger than the protagonist. There's a whole nebula just sitting there. It doesn't matter how big you get, there will always be something bigger that you can't have.

I wish I was me, whoever that is

I could just be and not give a shit

Hey, I'll be whatever makes you a fan

'Cause I don't know who the hell I am

If you spend enough time trying to please people, regardless of whether you are a musician, or an actor, or a student, or anything else. You stop being you and start being what you think people want. You lose track of yourself.

This shot returns to the beginning, as the song reaches its pre-chorus. There is a lull, a time for self-reflection, even more than the rest of the song. It's a return to square one, reminding you of the song's opening question, who is this character?

That transitions into a blank void with just the protagonist in it. It is empty, there's nothing there except them. He is alone with his thoughts.

But first, you go through this transition, as the light fades, everything merges into one, like a mouth, that abruptly closes, as all of the protagonist's thoughts swallow them.

Then you get this, a sequence of the protagonist running through the locations already shown in the song, all of their memories, all of their life. And there's something interesting there. When you run, you're either going towards something, or away from something. What is happening here? Is the protagonist running towards the end? Or are they trying to escape the present? What is happening here?

The lyrics here are also fascinating. It's the song slows, and grows quiet, and then:

One, two, pandemonium!

Its the sudden existentialism, the sudden crisis, the sudden fear. Because that's how that feels. You are sitting there and then all of a sudden, your brain decides to start thinking and you can't make it stop.

This is what happens when you run too fast through life. You lose control. You stop running, you start falling. You become unable to change your trajectory and the only way you can gain any semblance of agency is to slow down and think, but that is painful. That means you have to hit the ground. That's the thing about falling. The fall is never the painful bit, its the sudden stop at the end that scares people.

So, what is this song about?

I think this is a song about imposter syndrome. Not specifically the details and the nitty gritty, but the feeling that it gives a lot of people. This isn't a genetic disorder or a disease you can catch, this is something that can strike anyone, and make them question who they are. It's the existentialism that is part of being an adult.

I leave you with this Peanuts comic:

Being a kid is about not having to worry, its about the innocence there. But when you become an adult, you don't get that anymore. You don't get to sleep in the comfort, you have to stress, you have to work out who you are, and why.

#rants #literary analysis #literature analysis #ajr brothers #ajr band #the maybe man #music video #music blog #songs #music video analysis #what's so special about...?

[thebreakfastgenie]

Billy Joel songs as mash characters?

Darling this is not a simple question. This is a subject I have been pondering for some time.

Hawkeye - I Go to Extremes

Sometimes I'm tired, sometimes I'm shot Sometimes I don't know how much more I got Maybe I'm headed over the hill Maybe I set myself up for the kill Tell me, how much do you think you can take Until the heart in you is starting to break? Sometimes it feels like it will

This is hard because, a lot of songs fit him. I have, previously, associated Hawkeye with Tomorrow Is Today, Pressure, and Everybody Loves You Now. I also think there's something there for Code of Silence (which could also fit other characters, I considered it for Charles; it's kind of an all-purpose trauma song). I wanted to do something different, which is why I picked this one. I don't see it as being about mood swings, despite the chorus, but the verses really sound like Hawkeye to me. It's that feeling of constantly fighting something and being at a breaking point.

Tomorrow is Today Pressure Everybody Loves You Now

Trapper - Only the Good Die Young

You mighta heard I run with a dangerous crowd We ain't too pretty, we ain't too proud We might be laughing a bit too loud Aw, but that never hurt no one

Look, I know it's basic, but it fits. The melody and beat fit him too! He's might seem a little rough but he has a heart of gold and wants to have a good time! And he's a threat to good Catholic girls everywhere.

Henry - Big Man on Mulberry Street

Why can't I cool out? Why don't I button my lip? Why do I lash out? Why is it I always shoot from the hip?

It's just a vibe! I think the melody and lyrics both fit his kind of anxious everyman thing.

Radar - Get It Right the First Time

I'm not much good at conversation I was never to smooth at comin' on real strong If all it takes is inspiration Then I might have just what it takes If I don't make no bad mistakes and I get it right the first time That's the main thing

The lyrics fit Radar's interest in romance, but the melody as well as parts of the chorus also remind me of how seriously he takes his job as clerk and how busy he always is. Sexually the first time did not last for Radar, but you know.

Margaret - She's Always a Woman

Oh, she takes care of herself, she can wait if she wants She's ahead of her time Oh, and she never gives out and she never gives in She just changes her mind

Look, I know. But it's perfect. It's about a woman in a male-dominated field who was widely hated for being too assertive and generally for misogynistic reasons. She's all these things, but she's still a woman. Plus the vaguely negative vibe to it fits Margaret too.

Frank - Why Judy Why

I never thought that I would need, need a friend But I did, in the end Tell me why, Judy, why

I really puzzled over this one, but I couldn't think of any Frank songs that summed up his whole character, so I chose one that I thought fit a specific part of his story. I don't think Frank ever anticipated Margaret would actually leave him, and when it happens, he's crushed. He does need a friend and he doesn't have any. "Judy" could be Hawkeye and Trapper or BJ, or it could be his mom, depending on the episode. I chose to focus on pathetic Frank, but while he's with Margaret, Blonde Over Blue fits as well. There's also a demo called The End of the World that I like to associate with Frank's fears of Louise becoming her own person.

Klinger - You May Be Right

You may be right I may be crazy Oh, but it just may be a lunatic you're looking for It's too late to fight It's too late to change me

Choosing a song for him was so hard! I think the general vibe of this one fits with the melody and all. Obviously "I may be crazy" is very Klinger but I also think "don't try to change me" conveys his absolutely refusal to be turned into a killer. I also like She's Right On Time as a Klinger/Soon-Lee song.

Mulcahy - All About Soul

This life isn't fair It's gonna get dark, it's gonna get cold You've got to get tough, but that ain't enough It's all about soul

It's a romantic song, but you don't have to take it that way, and I think it describes Mulcahy's role in the group well. They need more than toughness and more than medical skill. They need a heart, someone who can look after their souls.

BJ - Temptation

'Cause I know what all of my friends say There's a danger in wanting too much But she's such a temptation

It's about his baby daughter. It's about overwhelming love, but it conveys a bit of a dark side, too. Being in Korea is even more painful because he loves his daughter so much, so I think that desperation and fear of how strong those feelings are suit BJ well.

Potter - Shades of Grey

Once there were trenches and walls And one point of every view Fight 'til the other man falls Kill him before he kills you These days the edges are blurred I'm old and tired of war I hear the other man's words I'm not that sure anymore

It just so perfectly encapsulates Potter's changing feelings about war as a career soldier who once believed in the romance of it. Billy Joel also has a demo called The Siegfried Line that fits Potter very well because it's about WWII.

Charles - Where's the Orchestra

After all, this is my big night on the town My introduction to the theatre crowd I assumed that the show would have a song So I was wrong

I assigned this to him once a while ago and I'm glad I remembered because it's perfect for him. The melancholy melody... the feeling of getting/having everything you want but something not being right... being out of place in the place you're supposed to fit... and the lyrics are perfect for him because of his love of music and experience with the musicians.

As a bonus, I've previously associated This Is the Time and Famous Last Words with the entire cast!

This Is the Time Famous Last Words

Goodnight Saigon reminds me of MASH a lot too, with the choppers and some of the lyrics, but it's very anchored to Vietnam. And of course I'd be remiss if I didn't mention his two songs that actually reference the Korean War directly, We Didn't Start the Fire and Leningrad.

#mashposting

[sheikitoff]

ocarina of time as fearless

If you're not deeply versed in Swiftian Lore, you probably think this was her first album, and understandably so. It's the album that Love Story and You Belong With Me are on, the album she first one the aoty grammy for, the album that gave rise to That VMA Incident- in other words, although it's her sophmore album, it's the one that broke out of the country music charts and into the Pop Sphere. Even if you've never listened to the album, you know it, at least to some degree. (Sound familiar?)

Yes, I've been trying to avoid making these analyses about the meta status of these works in pop culture, and instead about the contents and themes of the works themselves, but it's hard to talk about Ocarina without acknowledging its colossal footprint on games as a medium. While Fearless wasn't quite as pioneering as, say, inventing lock-on targeting, it did have a massive impact on the music industry, not only from a commercial perspective (revitalizing the country music market from its death throes), but from an important artistic perspective: she was a teenage girl who wrote her own songs, and in the last few years we've been seeing how significant an impact that had in the number of young female songwriters who cite Swift and this album as what made them realize they, too, could pick up a guitar and write their own stories.

(Also, this album includes the lyric "I don't know how it gets better than this", which is exactly what everyone said when Ocarina first came out xD )

Okay, onto the real analysis!

Fearless is an album about growing up, and reconciling the idealized vision of adulthood (or late adolescence) you've dreamed of all your life - the pastiche made up of images from teen movies and tv and magazines - with the uncomfortable and often disappointing reality you find upon your arrival. it's about making a beeline for adulthood and then looking back and wishing you could tell your younger self to stop and breathe (literally - there's a lyric on the album that goes "count to ten, take it in / this is life before you know who you're gonna be"). OOT is also, obviously and devastatingly, about growing up, and specifically about wanting to grow up and then getting there and realizing it's nothing like you thought it would be, and it cost you something you can never get back.

Fearless starts out with the title track, an ode to the excitement at the beginning of a first relationship, the siren call of young love; the whole world is wide open before you, and even the most mundane of things ("there's something 'bout the way / the street looks when it's just rained / there's a glow off the pavement) can seem magical. you want to bask in the moment and to hightail it to happily ever after all at once. taylor describes this feeling as "fearless", and one of the examples she gives of this fearlessness is "with you i'd dance / in a storm, in my best dress / fearless". it's kind of a perfect encapsulation of the exact brand of fearlessness that comes with youth: you can be that fearless in large part because you don't yet know what there is to fear out there. there are much scarier things in adult life and relationships than ruining your clothes in a storm, and there are much scarier things in hyrule than the stalchildren in hyrule field at night; and by the end of their respective album and game, both taylor and link will have learned that, however much they might wish they could go back to a time they'd not yet had to learn those lessons.

one of the oft-discussed kind of metanarrative features of OOT is that kids spend the opening section desperate to reach Adult Link. You'll hear people (mostly younger people, and people who haven't played since they were much younger) talk about the jump to Adult Link as "where the game really starts", or something along those lines. It's kind of trite to even point out how well this maps onto being a kid who can't wait to grow up, who sees adulthood as "when life really starts", and how central the difference between a child and adult's perspective on childhood is to the game and its themes. everyone somersaults and sidesteps across hyrule field as they try to book it to hyrule castle, and yeah, part of that is because hyrule field is so damn big and empty, but it makes for a nice little microcosm of what OOT is saying about growing up, as you hightail towards a destination you might not like once you get there.

even amidst the lows of growing up, there are always highs, too; both fearless and OOT let you bask in moments of triumph. there's a reason "love story" and "you belong with me" are still hailed among the best of pop music (fittingly enough, the former sees Taylor "sneak out to the garden to see you", just like Link sneaks into the castle garden to meet with Zelda; yes, I've been giggling about that since it occured to me.) but you can't freeze time in one, perfect moment, and even the cutesiest love songs start to develop a bit of a sad undertone: "hey stephen, why are people always leaving? / i think you and i should stay the same." while link's big "coming of age" moment obviously happens when he blinks and finds himself seven years older, his actual coming of age story starts at the very beginning of the game, as the darkness of the larger world encroaches on the idyllic kokori forest, poisoning and killing the deku tree; and in his child link travels, he encounters more of this darkness, be it darunia's depression or princess ruta’s deceased mother. notably, the darkest dungeon (pun not intended) of the whole game can only be accessed by child link. it's also likely the last extended bit of time you'll spend as child link in this game; some things you can't come back from knowing.

fearless charts a number of losses that come with growing up. on “white horse”, taylor laments the loss of the fantasies that come with childhood naïveté (“now i know / that i’m not a princess, this ain’t a fairytale”). this bears some similarity to the transition between acts one and two of OOT, as link and zelda’s grand plan to save the kingdom crashes down around them and they discover they’ve been outwitted since the very start; they fail, something stories and prophecies never prepared them for, and the consequences are more horrifying than they could have imagined (hyrule castle town post-time jump, anyone?) another fearless track, “breathe”, mourns the end of a friendship - not because you moved away or changed schools and lost touch, as with countless childhood friendships, but because the people you’ve grown into are just too different. it’s one of the less common elements of coming of age narratives, but one of the most heartbreaking parts of growing up: “never a clean break, no one here to save me / you’re the only thing i know like the back of my hand”. while link doesn’t lose a friend quite in the same way, there’s a similar kind of heartache in his friendship with saria, both in the realization that she hasn’t grown up and never will, and the discovery that they both have destinies that lead them apart, and must say goodbye.

“tell me why” and “you’re not sorry” both document the loss of blind trust, from a place of anger and of sadness respectively; then “the way i loved you” and “forever & always” each grapple with memories, how they can hold you back and how they can betray you. the former sees taylor unable to emotionally invest in a new relationship because of the intensity of a former one, which she misses in spite of herself: “my heart's not breaking /

'cause I'm not feeling anything at all.” in the latter, taylor is dismayed and angry to find that promises she and her partner made to each other meant less to him than they did to her. what’s particularly interesting about the latter song with regards to OOT is how it frames an emotional imbalance in a relationship in terms of memory: “back up, baby, back up / did you forget everything?” one of the most horrifying implications of everything link goes through in OOT is that, at the end, no one remembers but him, and none of the people he forged friendships with have any recollection of it at all; even navi leaves him. so much of OOT maps onto real parts of growing up, albeit in a fantastical and exaggerated fashion, and this has always evoked to me the experience of learning that someone you cherish your memories of doesn’t feel the same way, or remember nearly as much of your time together in childhood.

as we can see, the second half of the album is pretty much all sad or angry, until the very last two songs, but even those have caveats. "the best day" is a heartwarming tribute to her mother, but with a bittersweet twinge, as her recollections go from her mother taking her to a pumpkin patch to her mother consoling her as she cries about school bullies, and while her mother manages to cheer her up, taylor still notes that she “don't know how long it's gonna take to feel okay”; growing up means your problems aren’t as easily fixable, and your hurts last much longer. the final song, change, takes the inevitability of change, responsible for so much of the heartbreak throughout the album, and frames it as a source of hope, that if things can change, they will change again. it’s an anthem against giving up, but the song is premised on being stuck in a present that makes you want to give up (“you know it's all the same, another time and place / repeating history and you're getting sick of it”). in the final verse of the song, taylor goes from future tense (“these things will change”) to past tense (“it was the night things changed”). the music quiets down, and then the instruments kick back in more triumphant than ever (cue OOT end credits.) and yet the triumph here doesn’t hold a candle to the highs of “love story” and “you belong with me”. it’s the end of the album, and yet there’s less resolution here than there is on earlier tracks. real life doesn’t really have happily ever afters, not because happiness doesn’t exist but because life carries on where a movie would roll credits; all we can look forward to is the inexorable approach of change.

#ocarina of time #oot #taylor swift #fearless #zelda #legend of zelda

[ur-local-demon1]

The ballad of Jane Doe

Hi everyone, it's your local demon but you can call me Sol :) Here's an analysis of (or just things I noticed) The Ballad of Jane Doe from Ride the Cyclone. Spoiler warning for the latter ahead.

Something that a lot of people have talked about already is that while this song is called a ballad, it's actually a lament (mirroring Noel's Lament which isn't a lament, but a ballad). A ballad is a song that tells a story while a Lament is to express grief, regret or mourning. The members of the choir sing about their lives and pull on the lever, revealing pictures of them alive, to show that they were once someone before the accident that brutally ended their short lives. And obviously, Penny cannot do that since she has no story to tell "And no story, what a shame." We'll circle back to that later, moving on.

In the first verse, Penny talks about how people try to console themselves in grief. "Some might say, we're released, Pushing daisies, deceased, But we all know the worms must be fed." Us humans have a natural habit of trying to make sense of things that we don't know because the unknown scares us. That includes using flowery language (literally) to talk about death. Penny is very blunt and doesn't sugarcoat things, and that doesn't change when she's talking about the gross details of death, such as rotting in a box 6 feet deep in the ground.

That carries onto the second verse "There's just one - lingering fear, Oh my soul - is it here, Or is it rotting somewhere with my head?" Here's a fun fact for those who haven't picked up on it yet, Penny's head throughout the musical isn't hers, but actually her doll's eyeless head. Someone (I can't remember who, if I do I'll tag them) pointed out that Penny's eyes may be blacked out as a reference to the saying "Eyes are the window of the soul" so I guess that answers Penny's question.

To get back at the story bit I put a pause on earlier, here's the fifth verse. "Oh no soul, and no name, was cruel existence only a sham?" I love the specific use of the word "sham" here, because Jane Doe and John Doe are called Sham names, previously only used in court. Since Penny can't remember who she was before her death, the only existence she's ever known is who she is now, nothing more than a Jane Doe, a cruel existence.

Moving on to the sixth verse, "Oh Saint Peter, let me in! You must know where I've been, Won't you tell me at last who I am?" We see some bits of Penny's backstory slip through the more she talks, just like now. The Lamb siblings used to be homeschooled, as told in the description/summary of "Legoland". Most homeschooled kids are actually religious, and are homeschooled so their parents can control their religious beliefs. On that note, Penny being homeschooled is probably the reason why no one came to identify her body, since she was wearing a high school uniform and her parents assumed it couldn't have been their daughter.

The seventh verse is a little more unclear "And from the ground, beneath my feet, I hear the anguish of the street." I think it's about her being trapped between heaven and hell, and she hears the pain of potential sinners in hell. That, or the anguish she hears come from the people she once knew but can't remember, or the families of the rest of the choir. If you've got any theories, feel free to drop them below.

The eighth verse speaks for itself, "A choir never complete" the choir isn't complete without Penny, and now that she has been revived and the rest of them stay dead, that statement carries on until the very end of the story.

Moving on to the ninth verse, "And like an old, forgotten tune, A song that no one knows, Forgot how it goes, Just John and me, Forever eternally, Jane Doe." Penny refers to herself as a song, tune, melody or anything music related, that people forget as time passes (remember that bit about time, I'll also circle back to that in the next verse.)

The iconic tenth verse "And I'm asking 'why Lord? If this is how I die Lord, why be left with no family and no friends? I've got no celebration, just this consolation. Time eats all his children in the end.'" Once again, we have religious language coming from Penny. She doesn't celebrate the state that she's in between life and death, she sees it more as a consolation. Lastly, Penny refers to herself as a song, tune or melody lost to time.

Onto the twelfth and last verse analysis "A melody, floats through the air, When silence falls, does no one care? Does anyone care?" She's referring to how when she "floated through the air" ("flied" during her death in the coaster.) and died, no one cared. Nobody came to identify her body, they couldn't find her head, and after the event died down, everyone stopped caring about that nameless girl, because no one knew who she was.

Thank you so much if you've read up until now, what other details have you noticed in the lyrics? Feel free to share them in reblogs or comments.

#ride the cyclone #penny lamb #jane doe rtc #jane doe #the ballad of jane doe #song analysis #the ballad of jane doe analysis #rtc headcanons #there are some bits of canon in there too though

[vendetta-if]

heyo, so I was thinking what would the RO's loteria cards be?, not tarot but the loteria ones 😆

although if you haven't answered one for the tarot maybe you could do those as well, if u want 👀

Oohh… Interesting. I haven’t heard of loteria cards before. I searched it on Google and it’s supposed to be lottery cards used to play a game similar to Bingo? 😆 Anyway, I love the little verses for each card and since I don’t think they have any specific meaning, I pick those that I feel resonate with the characters.

I’ll also do one for the Tarot Card (from the Major Arcana) as well. I don’t know a thing about tarot card as well, so I used the info I got from a website to make the decisions. I’m actually quite surprised by how fitting some are for the characters 😯

Anyway, I had a blast answering this fun question 😄 and I ended up doing some not only for the ROs but for the other characters as well. Enjoy!

Sources: Loteria, Tarot

Answers below the cut since it might be quite long:

Ash

El diablito (the Little Devil): Pórtate bien cuatito, si no te lleva el coloradito. (Behave yourself buddy, or the little red one will take you away.)

The Hanged Man (Reversed):

“The Hanged Man Reversed can also signal that you are stalling a decision or action. You may think you’re waiting until you feel 100% ready – but guess what? You’re probably never going to be 100% ready. So, what are you waiting for? Take the leap!”

Rin

La dama (the Lady): Puliendo el paso, por toda la calle real. (Improving her gait, all along the main street.)

The Magician (Upright):

“The Magician brings you the tools, resources and energy you need to make your dreams come true… The skills, knowledge and capabilities you have gathered along your life path have led you to where you are now…

Santana

La maceta (the Flowerpot): El que nace pa'maceta, no sale del corredor. (He who is born to be a flowerpot, does not go beyond the hallway.)

The Wheel of Fortune (Upright):

“…the Wheel of Fortune can show a critical turning point in your life. Opportunities you could never imagine are suddenly available to you, and you have the chance to make a significant change in your life.”

Skylar

La estrella (the Star): La guía de los marineros. (Sailor's guide.)

The Fool (Upright):

“The Fool is a card of new beginnings, opportunity and potential… Even though you don’t know exactly where you are going, you are being called to commit yourself and follow your heart, no matter how crazy this leap of faith might seem to you.”

Viktor

El venado (the Deer): Saltando va buscando, pero no ve nada. (Jumping it goes searching, but it doesn't see anything.)

Death (Upright):

“…the Death card symbolizes the end of a major phase or aspect of your life that you realize is no longer serving you, opening up the possibility of something far more valuable and essential…You need to put the past behind you and part ways, ready to embrace new opportunities and possibilities.”

Luka

La calavera (the Skull): Al pasar por el panteón, me encontré un calaverón. (As I passed by the cemetery, I found myself a skull.)

The Chariot (Upright):

“The Chariot is a card of willpower, determination, and strength… Now isn’t the time to be passive in the hope that things will work out in your favor. Take focused action and stick to the course, no matter what challenges may come your way…”

Jackal

La muerte (Death): La muerte tilica y flaca. (Death, thin and lanky.)

The Moon (Reversed):

“The Moon Reversed indicates that you have been dealing with illusion, fears, and anxiety, and now the negative influences of these energies are subsiding… You may not be ready to face your emotions, pushing them to the side and pretending as if nothing is wrong.”

Grandpa

La corona (the Crown): El sombrero de los reyes. (The hat of kings.)

The Emperor (Upright):

“…providing for your family, and protecting and defending your loved ones. The Emperor represents a powerful leader who demands respect and authority. Status, power, and recognition are essential to you, and you are most comfortable in a leadership role where you can command and direct others.”

Yvette

La sirena (the Mermaid): Con los cantos de sirena, no te vayas a marear. (Don't be swayed by the songs of the siren.)

The Tower (Upright):

“A lightning bolt of clarity and insight cuts through the lies and illusions you have been telling yourself, and now the truth comes to light. Your world may come crashing down before you, in ways you could never have imagined as you realize that you have been building your life on unstable foundations”

#asks #anon ask #if: vendetta #full cast ros #ro: ash #ro: rin #ro: santana #ro: skylar #char: viktor #char: luka #char: jackal #char: grandpa #char: yvette #if game #if wip #dashingdon #choicescript

[hostess-of-horror]

Inspired by our other conversation. If you were put in charge of the next HHN, you can make the houses, the stories to them and the scarezones, what would you do?

Kinda like the HHN wishlist but I am curious of what you would do in the details of it. 👀

- @classicdeadfan

*SQUEALS OF PURE DELIGHT*

@classicdeadfan, you have no idea how much I wanted to talk about something like this! I love haunted houses, scarezones, and Halloween in general, so of course I would have tons of ideas as to how I would develop a proper attraction!

The Main Theme:

Now, I never really thought about an overall theme for HHN, mainly because I only ever thought about specific themes for houses and scarezones. Although, the more I think about it, the more I'm leaning toward a "deranged artist" horror story theme. I know that The Director is a "deranged artist" that already exists within the HHN-verse, but I was thinking more along the lines of the Killustrator from Singapore's HHN event.

Or perhaps, Sander Cohen from BioShock.

Okay, maybe not him specifically, but an Icon character much like him. If there's anything I love, it's the concept of an artist who uses murder and other horrific ways to create masterpieces.

Another thing I also really want is Cindy to make her appearance as an Icon (she was going to be one years ago, but she was switched due to the multiple child kidnappings in Florida at the time).

So... Cindy + "Deranged Artist" = A very meta main storyline where Cindy, after years of being promised to have her own "Icon"ic debut, finally lashes out against Universal Studios for denying her the chance to shine. With a cursed sketchbook in hand, Cindy unleashes her twisted, child-like drawings into the streets, killing anyone and everyone in their path.

2. The Scarezones:

I'm going to do five scare zones for my HHN event because there were five of them last year, and honestly, there are so. many. ideas.

Halloween Horror Nights 32: Drawn in Blood - the main entrance to the entire event. Cindy has finally taken over Halloween Horror Nights as her personal canvas and the blood of those who denied her years ago is the ink of her pen. You will encounter Universal Studio employees and creative teams being torn apart, gutted, beheaded, and tortured by her living creations. Her father, the Caretaker, will also be there, supporting his daughter as she wreaks havoc. Beware of Cindy, or else you will become her next biggest inspiration!

Army of Frankenstein - the scarezone spin-off to The Bride of Frankenstein Lives, where the Bride's various experiments have now been released into the outside world. Cower in fear as you witness villagers get attacked by these man-made beasts and are forced to bow before their malevolent conqueror. Nothing will stop the Bride from hunting down all of mankind until she either wipes them out or until they surrender to her...

Vamp '32 - a "prequel" to Vamp 85. Set in the year 1932, the Great Depression has fallen upon all of humanity. Where life has become difficult, death is now far easier than ever before! Enter the party of the century as poor souls are tricked into getting easy employment for the hosts and higher-ups. In the world of undead flappers and gangsters, fresh blood is the most valuable of all!

Bugs: Unleashed! - the sequel to Bugs: Eaten Alive. After the failure and destruction of Buzzcon, the mutated bugs are now taking over the world! Step into the 1950s as a suburban neighborhood becomes a hot spot for breeding and human food supplies, and armies are just about helpless in fighting these bugs off. You better BUZZ off, or else you're dead meat...

Haunted Couture - inspired by Vanity Ball, this scarezone has turned into an exclusive R.I.P. tour of the "Gore"-geous world of fashion. Using the leftover flesh from her previous massacre (main entrance), Cindy's revenge has taken to new heights as her victims become living mannequins for all to see and scream! As someone once said: "Beauty is pain."

3. The Haunted Houses:

All of these are not in a particular order, as I am searching through wiki pages and whatnot to come up with some good house ideas.

Vikings Undead: Glory and Gore - a previous scarezone turned haunted house. Follow along with an excavation team and witness their newest discovery yet: an unknown burial mound that holds the remains of an ancient Viking king named Audun the Unyielding. Little did they know that their trespassing has cursed them all and he and his Draugr army now rises to satiate their bloodlust. Face your fears in battle and prove yourself worthy of the gates of Valhalla!

Terrifier - an IP haunted house about Art the Clown and his menagerie of gore. Venture through the dingy neighborhood as you are caught in the midst of a grisly murder spree, and Art is on the hunt! This maze is not for the squeamish or the faint of heart... Use your wits to escape, or die trying!

Universal Studios: Opera of Terror (Phantom/Dracula maze) - the sequel to the Universal Monsters line-up. A mob has risen to take down the infamous Opera Ghost as Christine Daae is in his clutches. But as the Creature from the Black Lagoon emerges from the depths of the sewers, chaos unfolds as the two iconic Monsters battle it out for Christine's love. Bodies will drop (as well as the chandelier... again!). Who will win, and who will drown in defeat?

Yokai Hotel (Japanese Creature maze) - Check-in into one of Japan's finest hotels for a night or two... but watch out! This modern hotel has a secret: within its wall remains an ancient curse and the ghouls had taken their place as its eternal residents. You will encounter vengeful ghosts, horrifying demons, and unsettling creatures as they try to feast on your soul. As you go deeper, you will unlock the secrets behind the owner's lineage and what their true intentions are.

Feartime Emporium (Devil Dogs) - Schittie's Kidz from Slaughter Sinema has now become a funhouse of death! Enter Lizzy Lemming's Funtime Emporium as the children within turn psychotic and kill anyone they see. Climb through the booby-trapped playgrounds, sneak through the blood-soaked arcade center, and pray they don't catch you. And whatever you do, let them eat cake... and pizza... and whatever the hell else they want!

SyFy's Chucky - the official HHN house of this year... very self-explanatory!

Retail Hell (original) - it turns out that working in retail isn't all that it's cracked to be. The horror comedy maze of the HHN event, Retail Hell is a minimum wage employee's worst nightmare. A "Karen" has been infected with rabies, and now every "Karen" and "Ken" are going into an animalistic rage, ripping human flesh with their teeth! Survive your way along with the employees and security as you fight against these ballistic zombies. The main mission? Protect the manager at all costs.

Dollhouse of the Damned: Restitched - the popular haunted house from HHN 24 (2014) has finally returned with a vengeance! Revisit the horrors of the dollhouse, now with brand new scares and even more terrifying toys to be frightened of. As you enter, you will experience a realm where good toys go to die and evil comes out to play. Once again, this house is no child's play!

Horrormoon Suite (original) - during the 1970s, Cupid's Arrow Resort was once the perfect place for newlyweds to spend their post-wedding days together. To this day, it lays dilapidated... but far from abandoned. Within its graffitied walls resides a cult of "Undesirables" - people who were rejected in terms of love. In the hopes of finally having love in their life, the Undesirables will do anything to achieve an inkling of romance. Anything...

Legends of London (original) - Jack the Ripper is not the only terror that stalks the foggy streets of London. The city is wrought with death and cruelty, fictional or otherwise, all the way back to the days of kings and queens. Travel through time as you are haunted by the dead and hunted by the deranged. What will it be: slaughtered in an alleyway? Cooked into a meat pie? Or perhaps, beheaded for crimes you never committed?

#I'm sorry if some of the mazes you're looking forward to aren't on here #halloween horror nights #HHN 32 #my HHN event #ideal HHN event #fan wishlist #HHN #universal studios #answered asks

[bogusfilth]

i think one of the interesting features of Larkin is his vulgarity, which is sudden, and sharp, and more than anything else is part of what makes him feel so sad and cynical sometimes. the archetype of this for most people is of course "they fuck you up, your mum and dad" but that one is quite straightforward and not even that good an example. you read something like aubade, or the mower, which are mostly plain in speech but more straightforwardly 'poetic,' and then high windows: "when I see a couple of kids / and guess he's fucking her [...]" it isn't hidden so deep in the poem as to be a shock, in a gimmicky way, per se.

it's very casual, but catches you a little off guard, and sometimes feels uneasy - like he's using it to distance himself from the subject matter, to try to come across more casual than he actually is. and in particular high windows and love again have this vulgarity, this false directness about sex that masks his own discomfort or sense of unfamiliarity or inaccessibility about it (compare annus mirabilis "sexual intercourse began in 1963 [...] which was rather late for me") and then loses its words, explicitly states it loses its words - literally "rather than words comes the thought of high windows" and "...but why put it into words?" respectively - and goes into an almost wistful imagery, blue skies, something far away, something lost. (this trailing off mid poem, as if he's forgotten he's writing it, is also something he does in dockery and son)

this be the verse lacks the occasion for the break into vulnerability - it's almost 'not poetry' in this sense, just verse. compare aubade: about a deep fear, shot through with that vulnerability almost inevitably. the last lines aren't snappy or cute, but, like the two poems above, trails away into the imagery of something distant, someone down in the street.

#ur 7 am all nighter lit crit for today #local girl needs to find more poets

[dcwnthercbbithcle]

♡ i adore our girlies and i think the emotional support sisters should commit arson together

Send ♡ If You’d be Interested In Shipping || ACCEPTING

NO BUT SERIOUSLY!!! They are finding each other in every universe, not inherently romantically but like!!! I need them to look out and care for each other.

They're yarn from a shared skein that's been cut and divided and crafted into different purposes but that wool is still shared, the colors bleed into one another and the fibers of tragedy bind them close and they are holding on!!! Holding onto each other and tying their stories into each other for support.

Doe only aware of Reese in the passing sense in Fear Street verse, a little soul in the background with her own circle, her own support, but when 'tragedy' strikes and she is left abandoned, the knot pulls tight. Doe climbs after her into that tree and holds her sobbing, trembling form close, as if she could protect her in any way that matters. In death, Doe's spirit will find her way back to her and drag her out of the muck of the tragedy, the dead have power and Doe will make her see!!

They are just!!! Soul sisters!! I love them and I have so many more thoughts than I have words!!

I need them to PERSONALLY make Nick's life hell and for Doe to take her on into whatever foolish flock of likeminded birds she can gather.

ALSO CFP VERSE!!!!!!! Doe is so so angry and for good reason, but Reese adopting this little person who was made a spectacle for having NOBODY and making her into her family, her trusted older sister and her guide. Even when Doe doesn't even trust herself. She is given so much trust, and Doe is like, she is beating back all of her edges manually, carving herself into seaglass!!! She loves Reese, she wants to be the best support she can be!!

[aftaylorglow]

get your shit together

these past few weeks, i've been seeing tweets about how joe loved taylor when she was at her lowest, but he couldn't love her when she's at her highest. then a few days ago, i was listening to renegade and thought about that.

i tapped on your window on your darkest night the shape of you was jagged and weak

i think one of the things that folklore and evermore taught us is that taylor can write from any perspective. but it's easy to assume that because she's singing, she's talking from her perspective.

the song has been out for two years so i'm sure i'm not the first one to come to this conclusion, but renegade makes so much sense if you see it as taylor talking about herself from the perspective of a partner.

i'm saying it's joe purely because of when this was written/released and the whole he loved her at her lowest thing. we also know that in call it what you want, she also used "darkest night" as a lyric.

there was nowhere for me to stay but i stayed anyway

one of the biggest mysteries of my swiftie life is the summer of 2016. breaking up with calvin, meeting tom and joe at the same time, dating tom, breaking up with tom, getting together with joe, possibly cheating on one of these men with one of these men...the timeline is unclear to me and i fear we won't ever really know, especially with joe now out of her life.

anyway, i interpreted the above line as her meeting him at a point in her life where she didn't have space for him. maybe when she was still with someone, maybe when she's freshly out of a relationship and didn't want to be in another one yet. but he stayed anyway.

and if i would have known how many pieces you had crumbled into i might have let them lay

taylor tends to be hard on herself. oftentimes, she knows she's that bitch but she has moments where she's so insecure, especially about how her celebrity affects her relationships. i mean we've gotten a ton of anxiety-induced songs these past six years. you're losing me is the latest example with the line, "i wouldn't marry me either, a pathological people pleaser."

sometimes i think she thinks she's not worth everything her partner has to go through just to be with her. i see the verse above as the perfect thesis statement for this observation. it's like, "if i'd only known just how deeply you're messed up, i wouldn't have bothered."

and this hurts because we don't know if her partner actually thought of these things. it's what she thinks her partner must feel toward her, which says so much more about how she views herself.

are you really gonna talk about timing in times like these? and let all your damage damage me? and carry your baggage up my street?

this supports my previous statement about how this is how taylor views herself. she's damaged. she has a ton of baggage. and these are what she's bringing to the relationship. is it worth it? she probably thinks not. it's why she probably said the timing isn't right for them right now. and why he's asking, in incredulity, if now's the time to talk about timing. after all, he's already stayed. he's proven he can tough it out.

you wouldn't be the first renegade to need somebody

this reads as something very dismissive of the other person's feelings. but remember, in this interpretation, it's taylor talking to herself in the perspective of her partner. so she's basically telling herself to stop being so self-centered. hold up her end of the relationship and try.

is it insensitive for me to say "get your shit together so i can love you" is it really your anxiety that stops you from giving me everything or do you just not want to?

i feel like this verse shows her fear of being found out. she has made up all these excuses about why she couldn't give everything to this relationship and she's scared that the time will come when her partner will call her out and discover that maybe, after all they've been through, she's just not willing to try.

which is a very interesting thing to think about! from previous albums, we've gotten songs and explanations from taylor about how early in their relationship, she was the one who wanted to give up. to save him from herself. but he didn't want to leave. he wanted them to work. when taylor was explaining peace, it was clear that eventually she wanted to make the relationship work by making herself and her life seem as normal as possible and not be this elephant in the room. and then, in you're losing me, she begs him to "do something babe, say something." eventually, he gave up on them, too.

you fire off missiles 'cause you hate yourself but do you know you're demolishing me? and then you squeeze my hand as i'm about to leave

once again, this has taylor's self-loathing written all over it. "you fire off missiles 'cause you hate yourself" is similar to "my words shoot to kill when i'm mad, i have a lot of regrets about that" she's aware of her self-loathing and how she turns it outward and hurts her partner. the use of the word "demolishing" implies intent, too.

the last line also supports what i said earlier about her thinking she's self-centered. because isn't it selfish to deliberately hurt the person who held you through your darkest moments and then stop them from leaving when you've been pushing them away this entire time?

anyway, it's 6:41 am and i just wanted to let all this out because listening to it a few days ago and thinking of the song as her talking about herself from the perspective of someone who wanted to love her made me sad.

#so yeah #this is just over 1k words omg #i haven't written something this long in so long #anyways #lyric analysis #taylor swift #swiftie #renegade

[laura-de-milf]

Doom Patrol. A Eulogy

*inhales deeply*

This. show.

It isn't really a show about superpowered people. I think it's actually a show about underpowered people who, sure, can occasionally pull off a cool stunt, but for the most part are so broken that they can barely function. With such a strong focus on character, personal growth and The Human Condition- this isn't just something I haven't seen in superhero media; it's something I haven't really seen in all of television.

Shall I list all the ways that this show has improved my outlook on life? (ok, not all-)

The queer rep. Need I say more? Genuinely though--I can't recall ever watching a show where I trusted so implicitly that the queer relationships would be a) intentional, b) integrated into the plot naturally, and c) handled well throughout the show. Looking back on my Doom Patrol experience- not once did I worry about queerbaiting or the queer rep feeling tokenistic. I never worried that the queer storylines would be unceremoniously written out to "improve mass appeal". The queer themes were there, intentional, and unique. We have the classic repression/acceptance arc with Larry, but we also have the slow-burn courtship arc with Jane and Shelley (Jane's block being her personal trauma rather than shame for being queer). Characters like Cliff openly accepting the queer relationships to the point where Jane feels completely comfortable opening up to him--and only him--about her and Shelley. Rita and Laura might not be a canon romantic couple, but those two forged a deeply loving bond faster than you can utter the phrase "uhaul lesbians" and have had a tumultuous relationship that is entirely different from Jane x Shelley. Absolutely magical. There's nothing formulaic about The Gay Plot here: the queer relationships (plural!!!) are unique and explored, given just as much importance and screen time as any of the heterosexual relationships. (I know there is still time to fuck this up but the point is: I have trust in this show in a way that I don't normally for most shows. That's really special.)

The Sisterhood of Dada. I know they weren't everyone's cup of tea, but personally I cared less about their plot relevance and more about what they represented: the pure, wholesome and shameless creation of art. Literally any art. Film. Interpretive dance. Sculpture. Spoken word poetry. Bent paperclips. Don't "choose a niche" and pigeonhole yourself as just A Filmmaker or just A Writer: try whatever you want because it's fucking fun. You'll learn something. Shit doesn't even have to be good; it doesn't have to make sense. It just has to empower you against the forces which seek to hold you down. Maybe Dada is nonsense, but it's subversive nonsense. Most of all, though, I loved the found-family aspect of the Sisterhood: a safe place in which one could experiment creatively without fear of judgement from the outside world. I'll probably spend the rest of my life trying to cultivate elements of this in my real world, even if I can't necessarily build myself a secret teleporting salon out of fog where I can be weird and free with my 6 eccentric pals. The world needs more room for creative experimentation.

Lastly but so very not-least that it's actually the most important point of all: this show gave me Laura. I'm admittedly not as well-versed in the DC/Marvel universes as most fans, but I can't tell you how floored I was to find such a captivating mature female superhero. I've finally started to understand the appeal of having a fantastical super-powered person to look up to--even as a grown-ass adult. She's not a 25-year-old in a latex bodysuit with a physicality I'll never be able to (retroactively) attain. She's not here to be a looker for the boys. She's real. She's fucked up. She's incredibly intelligent, street smart, competent in her ability, and benefits from a wealth of wisdom forged in life experience. She deals with intense trauma. She struggles. She's made huge mistakes. But she's trying her best and she's genuinely growing. Probably most importantly of all, she reinforces how, contrary to what society will lead us to believe, a woman's life, growth, wisdom, wit, accomplishments--and, hell, beauty!!--are only just getting started, even as she turns 40. And that she's so heavily queer-coded?? Sublime. We need people like Laura. I need people like Laura.

So...yeah. I am SO grateful that a show like this exists and that I found it. Thanks for the good times.

🖤

...now all that being said- Doom Patrol has nothing to lose now. Go ahead. Give us the Rita x Laura smooch. As a treat. 😇

#or better yet: canon Laurita #it's fine; you don't have to worry about the angry homophobes on twitter now #80% canon queer doom patrol let's gooo #i'm kidding. #kind of- #doom patrol #thoughts.txt

[foxgirlontherun]

foxy, your one fanart made me think of this: how do you think it would go if max + billy and the berman sisters 'verse swapped? like how do you think the story would go for max and billy in the fear street 'verse? what about the berman sisters in the strange things 'verse? what do you think these scenarios would look like? do you think any larger story plots would be effected?

Hello, friend! I have to admit that I had to rewatch the Fear Street movies, so I could paint an at least fairly accurate picture of the scenarios. That's why it took me this long to answer.

Max & Billy (with the same household they have in ST) in the Fear Street universe:

I feel like Max would be a lot like Ziggy in Ziggy's situation (being bullied and all). Billy on the other hand would be almost nothing like Cindy, of course. He wouldn't be there at the camp to help out at home with the money (he's saving up to leave), and he wouldn't be as earnest to do a good job either (he would maybe enjoy giving swimming lessons, tossing people in the lake etc.), he would bully someone else to clean the toilets for example. Their relationship would be just as complicated as in ST, and Billy would pressure Max to behave, just like Cindy with Ziggy, but for slightly different reasons (to save both of them from Neil's anger, and also to keep his job so he could leave). He wouldn't be happy about Nick hanging around Max and he would let them know.

When it comes to the plot, in my mind it could go two ways:

Billy wouldn't be that interested in investigating a stupid urban legend about some witch. His lover of course still would turn into a possessed killer, Billy would kill him (just like Cindy killed Tommy) to save Max. But since the investigation never happened, Max never bled on the hand and became the target like Ziggy, I feel like Billy would just grab a hold of Max and drag her as far away from the camp as he could. And that's it. They would be a bit closer after that, but without the melodrama. They could both help the 90's group to stop the "curse" as grown-ups.

If they would investigate, things would go very similarly. I feel like the ending would be the same, too, because it wouldn't really matter how hard Billy would fight those "ghosts", they would eventually overpower him and wouldn't stop until they would kill Max. Max would be just as devastated to lose him there as she was in ST, but I feel like the "no one believes me" aspect would put a spin on it for her, too, just like it did with Ziggy.

Ziggy & Cindy in the Stranger Things universe:

Cindy is a bit like Nancy. I just tossed that in, it'll come up later. I feel like Ziggy would act out less in this more relaxed scenario (where they don't bully her, she's just the new, slightly weird girl). So she's a lot like Max. Cindy would fit in with the popular crowd and wouldn't really have to try hard. She would probably get a love interest (unlike Billy). Ziggy's and Cindy's relationship would be more like Mike's and Nancy's than Max's and Billy's. Ziggy would be just annoyed that Cindy would try to act like her mom, get her to act more girly and acceptable, but they would generally get along. There would be too much responsibility put on Cindy to care for Ziggy because of their mother's drinking problem, but I think things would get better as the things with the supernatural would get worse. If Cindy were the one to go and investigate where Ziggy is (in s02 when the Billy and Steve fight happens) she would probably be filled in on the upside down stuff. That also means that she would most probably tell them that something was wrong with her when she would get possessed. And they would have a better chance at getting the thing out of her. Ziggy would be more eager (adamant might be a better word) to save her than Max was with Billy. Things of course could go just as bad as it went with Billy, so she could die. In that case Ziggy would be a mess, but not exactly like in her universe, because at least she would be believed by some people in the ST universe. I feel like she wouldn't be as depressed as Max was in this universe because Ziggy had a less complicated relationship with her sibling. If we would swap their families/households, too, I think things would go a lot like they did in canon.

I hope this makes sense. Thank you for the ask! I loved going through these ideas.

#asks #dastardlydandelion #fear street #stranger things