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vermillioncrown · 2 years

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music in fanfic

long long ago, i threatened to write a little brain vomit on music in fanfic. it's never going to become less relevant of a topic, so why not now?

i gotta start with two concepts before i discuss music within fanfic

the concept of "musicking"

link is to adam neely, a jazz musician that does a lot of interesting music-related video essays and content. he discusses his breakdown of disliking a certain genre, and the concept of "musicking" that was part of his process of understanding his dislike and whether he can learn to like it.

tldr: it's the definition of music as an activity, in which how a piece isn't divorced from the listener, the artist, and the context in which its presented and engaged with.

in this vein, every entity along the way of music bears some 'responsibility' for the complete context of a piece. something like that.

think of how many variables that is, creating slight variations to how someone perceives a piece of music. we can generalize sentiment, but with generalizations always comes exceptions. perception of music depends on its context.

music is not a universal

another link to adam neely, in part of a huge video essay discussing music theory. the video is very relevant to how i try to portray music in dream before daybreak, but the pertinent part is in the link.

our definition of music is colored by our cultural/societal standards, not just individual perception. it's like how different languages work - some aspects of grammar and syntax or whatever have analogous ones between languages, but some parts have no direct counterpart. and that's not a deficiency, it's just how that language works. ie. chinese doesn't have tense. you just need to know via context. nor does chinese have articles, which makes it a nightmare for my parents to figure out how to write a sentence in english. in contrast, i'd say there's a flexibility with english that's not present in chinese. less context is needed to engage with something.

definition of music depends on society and culture.

mismatch in medium

so we have this thing, music, that's presented, and then it's up to an audience to interpret it.

writing also aims to convey an idea, and the words work to guide a reader's understanding. a writer can choose words, sentence structure, all sorts of writing blah blah to control that understanding. fanfic has the guide rails of canon to help, too.

but once you add music, you add a humongous degree of freedom for the reader. each piece, just by the title, means something different per reader. without the context of presentation for the musical piece, there's nothing to anchor the reader to a specific experience, either. reading is done in multiple contexts, too - there's no way to force an experience if you NEED a reader to know a song (what if they're reading in public, at the checkout line, in the doctor's office, on the toilet, etc)

at best, one's mention of a piece of music can provide a shorthand understanding of what the writer wants to convey.

neutral, it holds no meaning to the reader and is superfluous.

worse, the reader disagrees with a writer's implied conveyance via a piece of music and it detracts from the writing.

it's not the same as poetry, even going just by lyrics. there are additional elements that provide context for the lyrics. we can try to take the lyrics as-is, but that's not how those lyrics are typically presented and absorbed. then it's like a losing battle trying to separate lyrics from the rest of the musical context. this can adulterate the writer's intent with using a piece unless that intent is clearly conveyed via writing.

personal approach to using music within fanfic

enjoying music is a big part of being human, so its usage and reference within fanfic shouldn't be avoided. it can be a quick way to relate to your audience, but also a turn-off for others, as well.

i prefer to break down why a piece is personally meaningful within a fic. is it something i was listening to while writing (for tone, texture, lyrical content, behind-the-scenes mood, etc)? is it something meaningful within the narrative, too (serious or joking, larger theme or a moment, idk)?

can it be broken down into descriptions that don't need the actual piece as a reference? if i'm already trying to shape a reader's thoughts with the narrative, why can't i add additional prose for what i want the music to try to convey? it's not about the exact piece - it's what that piece means. in the same way, i try to avoid namedropping the piece unless the title is actually relevant, or can be a meme (never gonna give you up as an example).

with all of this, i hope it's understandable why i get fussy and disagreeable with other people's assignations of music with what i write. we're not the same people. let's say even as fellow writers - unless we lived the exact same life, given similar premises that we're trying to execute, the end product will not be the same. so goes our musical experiences and sentiments.

finally, i'd rather leave the piece there and let the reader approach it on their own. everything they need is in the writing. music is bonus, behind-the-scenes content.

#redglyphs #writing #opinionated verm #this is not some comprehensive essay #just a collection of thoughts that i've danced around every time i get some song/music-related ask #it was more immediately relevant w dbd bc music is a huge motif in the canon and in the fic #every once in a while i remember that someone asked me about translating mitski songs and how it'd be so powerful #and i need to pass out #because that's not how that works. you've removed that song from any relevant context #(also you assume that someone else likes the same thing you do)#i don't ask you to like 'fa ru xue' by jay chou. what i tell you is that it's meaningful to zyx #its context in their previous life #its composition and particular style which relates to the actual isekai and blend of old and new #its lyrics are barely mentioned and when mentioned it's with wwx mocking how Odd it is in dbd's setting #anyways that's some thoughts

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celestial-kestrel · 4 months

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It's that time of year again where Mari Lwyd starts to be talked about and shared around and an INCREDIBLY misleading post gets shared a lot. As someone who grew up with Mari Lwyd I wanted to clear some things up.

Also hello, if you are unaware who Mari Lwyd is. This is about the Welsh tradition of the horse skull who visits houses during the Christmas to New Years period in Wales asking for alcohol.

First off and probably the most important one:

Mari Lwyd is not a cryptid!

I can not emphasise this enough. She. Is. Not. A. Cryptid. There is no story or mystery about a ghost or zombie horse roaming the Welsh valleys. She's not even supposed to be a ghost or a zombie. It's just a horse skull on a stick with a guy under a sheet. She's a hobbyhorse and a folk character used to tell Welsh stories and keep songs alive. When people spread the misinformation that she's a cryptid, it's the equivalent of saying Kermit the Frog is a cryptid.

She is actually only one character in a wider cast of characters who go door to door or, in more modern times, pub to pub. The cast of characters can change town to town and village to village but there are some common ones I see time and time again. The Leader, the Merryman, The Jester and The Lady are just some I see regularly. Punch and Judy used to be more popular a few years ago but I haven't seen them in a while as their tradition has mostly fallen out of popularity. In most cases, almost the whole cast will be played by men. Even the characters are considered and referred to as female. Though this again depends and varies by which group is partaking in the Mari Lwyd tradition.

This point also goes onto my second point,

Mari Lwyd does not rap.

I think this comes from a very common misunderstanding of what rap is vs spoken word. Rap is a very specific style of music originating from the African American communities of the USA and has it's own structure and motifs unique to it. It's a lot more complex than people give it credit for as a style of music and just flippantly assign anything similar to it as being rap. If someone is talking fast or reciting poetry, it is not rap. Or anything that is an exchange of words between two people is not a rap battle. Mari Lwyd does not do rap, actually something that gets left out of these posts is the fact Mari Lwyd does not even speak. It's actually the Leader, who does all the speaking and song based banter between the house/pub owner for entry. Mari Lwyd just clicks her mouth, bites people and bobs her head around.

I think Mari Lwyd is a really beautiful and unique part of Welsh culture. She's not actually as wildly celebrated as a lot of the posts make her out to be. Actually, I think most Welsh people themselves learn about Mari Lwyd through the internet as well. Her popularity is increasing thanks to the drive of local groups wanting to keep the traditions alive and a renewed desire to document Welsh traditions before they're gone. Which is why it's such a shame that she's turned into something she's not to earn horror points on the internet. I think this is why it bothers me so much to see the misunderstandings of the culture and the folk tradition. Mari Lwyd's origin is very hot debated as well as how long it's been going on for. But I think it's thanks to a lot of traditions like this that the Welsh language and our stories weren't lost forever. Welsh culture is recovering as is the language. But it's still in a very fragile place. I think it's why it's important to document and correct information when it's spread.

Anyway, if you want to see the tradition in action, here's a lovely video from the Cwmafan RFC going to one of the pubs for charity. It includes the song exchange with the pub owner for entry and the whole pub singing and joining in once Mari Lwyd and the rest are inside.

youtube

As well with another video from St Fagan's showcasing the more traditional and door to door form with the larger cast.

youtube

#Mari Lwyd #Wales #Welsh #Welsh culture #Youtube

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cutesilyo · 6 months

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the thing i really like about just for once in nerdy prudes must die is that it's best iteration of the musical within a musical trope that has become characteristic of the hatchetfield musicals

like both show-stopping number and deck the halls (of northville high) are catchy songs from in-universe musicals that were very much written to have plots that suck

and show-stopping number was so well-beloved because it is, frankly, a hilarious scene that robert manion put 100% into

but i argue that only just for once is thematically relevant to its musical and fully emblematic of the wants and desires of the character singing it

because what is just for once, as a scene? it's ruth singing a song because she thinks she's got a chance of doing it better. it's ruth singing a song about a character who looks back on the mundane miseries of her lonely life and — at the last second — remembering who she used to be before the pain set in. it's ruth singing her version of cooler than i think i am and reflecting on how she is perceived and wondering what it takes to break away from it. it's ruth singing right after she says, "in my dreams, i'm the star of the show."

of all the losers that max jagerman victimizes, only ruth says who she'd like to become beyond that. where pete can't even admit to liking steph at gunpoint and richie doesn't ever get the chance to verbalize what he wants, ruth gets on the stage in the few minutes of break time and just for once, the spotlight is on her.

and the really crazy thing about just for once is — it has the "i'm not a loser" motif. possibly the most iconic and important motif of the whole musical, it's the motif that starts the opening number. and here it is, in the silly musical within a musical by the silly character who has — until this song — always served as comic relief.

in the climax of the song, just for once is no longer the song of a character from the barbecue monologues. it's ruth's. in those few seconds, it's her lamentation of the life that max jagerman forced on her.

but that's the thing about the "i'm not a loser" motif. the way it functions in the musical is as a harbinger for max's violence. the police at the beginning ask, "what the hell happened here?" and its the motif that answers. pete is the first character that sings the line and is immediately beaten up by max in the next scene. then richie sings it and max kills him in the same song. when ruth has the motif running as the crescendo to just for once, it sounds absolutely incredible... and it should come as no surprise when max appears shortly after.

(as a quick note: you can also hear the motif after max makes the car crash, then max appears two scenes later. you then hear the motif in the cooler than i think i am reprise and max also appears right after the song. it's like max is instantly summoned by any instance of the losers trying to shake off the role he placed on them — of trying to defy him.)

tl;dr: the inclusion of the "i'm not a loser" motif in just for once makes it the big lipped alligator moment that wasn't. like yeah, it accomplishes its goal in being the funny musical within a musical trope! the character acting makes it a funny song, and its a funny character performing it! but it also furthers our understanding of ruth AND of what the "i'm not a loser" really is: it's the characters trying to develop past being nerdy prudes and max doing everything in his power to prevent that.

and it does all that while being a banging musical tribute to stephen sondheim and, especially, his song the ladies who lunch. which in itself is a massive flex on jeff blim's part. what a brilliant song in a brilliant musical.

#npmd #nerdy prudes must die #starkid #hatchetfield #mine #i just love this song okay????#anyway i just want to say #nerdy prudes must die is on youtube!!! go watch it!!!!

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cowboycannibalism · 2 months

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Bullet with Butterfly Wings, Smashing Pumpkins// Saw 2004// Caged Rat, Soul Asylum// The Jig Is Up, Ice Nine Kills// Rats!Rats!Rats!, Deftones// Hatchet, Movements

I know there's heavy association of Adam with the dog motif (which I love) but I swear I've heard Bullet with Butterfly Wings on the radio way too many times during the last month while thinking about Saw for it to be a coincidence

Rats symbolize impoverishment, disease, the lowest of low.

"He's not a cop. He's a bottom feeder, just like you."

Jigsaw calls him angry and apathetic, and we'll be honest here, he is on the surface. He calls his apartment a shithole, he knows his job is shitty but it keeps him fed, and he's just dragging himself through life because he's pretty much already convinced himself this is as good as its going to get.

But here's the other thing about rats: they will do anything to try to survive. Sometimes, that means just doing what they've been conditioned to do by the world around them.

Have you ever seen a rat backed into a corner? or stuck in a trap? they will scream and thrash violently to try and free themselves.

From the moment he wakes up in the tub, Adam is moving. Throughout the movie, he has a hard time staying still, trying to escape, trying to survive. He is loud and frantic. Even though he is pessimistic about life, he wants to live.

also, to swing back around to the Smashing Pumpkins lyrics in particular, I thought a lot about how Adam mentions his ex, thinking he was "too angry." If you've dug into that song a little, it's interpreted in a lot of ways but a common one is oppression and being stuck in a situation/world where you're aware of escape but incapable of it. Adam knows he should appreciate life more, but what's the point when he lives the way that he does and nothing seems to ever get better? Anger feels like the only option and honestly sometimes it is.

(not to get too political or whatever, but if we never get angry enough to do anything, nothing will ever change. Don't let anyone tell you that emotions don't belong in politics/social issues because that's a fucking stupid take.)

#I dont know if im making any sense but heres this #also i wrote all this at 3am so if it sounds really stupid its fine #adam stanheight #adam faulkner stanheight #horror #saw franchise #saw 2004 #jigsaw #the jig is up.game over #chainshipping #kinda #lyrical web weaving

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wilteddreamsofbaldursgate · 10 days

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Daybreak Ballads

NSFW || Astarion x fem!bard!Tav/reader || ao3 || masterlist

Rating: E, +18 Word Count: +3.5k Warnings: Smut. Orgasm delay. Soft dom!Astarion. Oral+fingering (fem!receiving). PiV sex. Praise kink?

And yet, Astarion did have an undeniably keen eye for beauty and dramatics alike. If he only put a little more of himself into his work, you were convinced people would adore his poetry. He only had to find his intended audience because one thing was clear: as much as you loved Astarion, his poetry simply wasn’t for you. At all.

a/n: This has been in the works for ages and when I wasn't pulling out my own hair over this, it was quite fun to write, I suppose. Special thanks to @tragedybunny , @bardic-inspo and @littlejuicebox for emotional support. The masterful poem at the end has been handmade for Gina. With love. By the pale elf himself.

You’d never said you disliked Astarion’s poetry, let alone that it was bad. When the pale elf had asked for your expert opinion on his poetic endeavours, you’d just assumed it was honesty he’d wanted. So honesty was what you’d given him.

The form of his poem looked messy, unappealing even; its rhythm was off, contorted by wordy lines that lacked any pleasant flow. Astarion’s motifs were obvious at best and trite at worst, and his rhymes were, well, creative, you supposed. But most of all, Astarion’s pieces left wanting for personality. Where was his wit? His snark? His passion? Where was all the fun?

Try as you might, you just couldn’t see yourself performing Astarion’s ballad—at least that’s what you assumed he’d attempted to write—for your regular audience, not with your flute nor your lyre. It just felt wrong to translate his words into song, forced. You didn’t even need to take a closer look to recognize his work as haphazard, dull, and, worst of all, inauthentic.

To your surprise, Astarion had taken your admittedly harsh review of his work with uncharacteristic grace—suspiciously so, in hindsight, at least. After all, the vampire could be quite…sensitive. That night, though, he’d just nodded along to your blunt words, an almost arrogant smirk tugging at his lips, promising you to compose a piece to your liking one day.

Just for you, Astarion had said with a wink as he’d retrieved his poetry from your hands, the dying campfire reflecting in the ink of his elegant handwriting. Crimson eyes sparkling with mischief as they’d wandered over your body. His tongue had slowly wet his sensuous lips as if in anticipation of...what?

Just wait and see, darling…

If your brain hadn’t been all clouded by lust earlier tonight, you would’ve noticed that Astarion had been up to something. He’d been throwing you suggestive looks all evening, purring sweet nothings in your ear whenever he’d gotten you alone. Surprised you in your tent when your companions had been sound asleep, the campfire burned low. His hand had practically been glued to the small of your back as he’d guided you to a most charming little clearing, not unlike the one in which you’d first slept with him all those weeks ago.

That Astarion had kept calling this idyllic, moonlit spot his perfect motif had somehow eluded you as you’d been too preoccupied with the telltale heat gathering between your legs. In fact, you’d followed the vampire like an eager little pup, already wound tight around his little finger. The promise of Astarion’s inviting touches and lingering kisses had lured you right into his honey trap—and how bittersweet it was.

Now, shivering from painfully drawn-out desire and cold morning dew settling on your skin, you could feel that cursed smirk brush against your dripping wet core again—a silent warning.

Oh, fuck.

Astarion’s lips closed around your almost painfully swollen clit, sucking at it leisurely as his lower arm pinned your hips against the cold earth as if you were but a sheet of paper threatening to take flight with the next gust of wind. Another gasp echoed from the trees as your left hand clawed at the damp grass underneath you, looking for support but finding little. Your other hand grasped at silver curls with as much success.

Astarion was rather enjoying himself as your body squirmed under his sinful mouth, his fingertips digging into the flesh of your thigh as he adjusted your trembling leg over his shoulder, opening you up even more for his thorough ministrations. You tossed your head back at the gentle but intoxicating shift of position. His name was stuck in the back of your throat, suffocated by shaky moans as the tip of his tongue brought you ever closer to the edge of release.

Feeling the coil in your lower belly tighten, your toes curled against the raised scar tissue on Astarion’s back, eliciting but an amused sigh from him before his lips released your wanting nub with one last lingering caress of his tongue.

You wanted to cry; this was the second time he’d left you hanging somewhere between bliss and frustration.

Shaking from pent-up pleasure, your elbow threatened to slip on the wet grass as you sat up as much as the weight of Astarion’s arm allowed. Through the evaporating clouds of your laboured breath you only just caught a glimpse of Astarion’s crimson eyes gazing up at you from between your thighs; he was all messy curls and unfairly thick eyelashes. Smug smirks turned wicked.

You swallowed.

“Astarion…” you breathed, not knowing if it was a warning or plea, but before the syllables had faded into the fleeting night, his attention had returned to your cunt once more. The tip of Astarion’s nose grazed your clit. You could feel his cold breath against your burning folds, feeling no different than the gentle breeze of dawn tickling your exposed skin. There was no gentle sensation snaking up your spine when Astarion licked down your slit ever so slowly, and for the first time that night, you truly registered how far you really were from camp. You let out a blissful cry, knowing there was not a soul to hear you but the elf feasting on your cunt.

The weight from Astarion’s arm shifted from your hips down your side. His hand wandered along your curves, groping the swell of your ass before it wound itself back up your inner thigh. He pushed your legs further apart, opening you up impossibly wide. You let out an excited squeal you would be embarrassed for by morning, but not now, no. For the better part of the night, you’d been a whining, trembling mess under your lover—always painfully close to release and yet no part of Astarion had filled you as of yet. But maybe he’d had enough now. Maybe he would finally deign to push you over the edge, with his fingers or his cock, you didn’t really care anymore as long as he finally let you come undone.

And, indeed, Astarion’s fingers inched closer to your core, though all they did was trace the course of your pulsing femoral artery he could no doubt sense underneath your heated skin. You relaxed a little under his sweet little caresses and wondered dully if he would soon exchange the fruits of your cunt for proper nourishment.

He didn’t. At least not yet.

Without warning, the tip of Astarion’s tongue teased your entrance, driving you wild. Your hips instantly bucked against Astarion’s face as your hand clenched around a fistful of his soft hair. Finally! This was divine, this was—

Astarion withdrew from you in an instant, ignoring the undignified whine of protest escaping your lips—fuck, you’d been so close! By the self-satisfied look on his face, though, he was well aware of that. For a moment, he studied the heavy rise and fall of your flushed chest, his chin resting right below your navel as you lay beneath him, dumbstruck. His pointer finger still ghosted up and down the inside of your leg, the lazy movement a stark contrast to the blood racing through your veins.

“Oh, darling, look what you’ve done…” Astarion pouted, his sensuous lips moist with your arousal. “You’ve ruined my rhythm.”

His fingers slowly wandered down, down, down your leg and curled around your ankle before he gently let it glide off his shoulder. With an outrageous nonchalance, he sat back on his knees and considered you. Crimson eyes darted over your feverish skin that glistened with sweat and morning dew. They trailed from your parted lips down your collarbone, through the valley of your breast, until they beheld the mess between your legs with blatant amusement. How you wanted to wipe the stupid smirk off his face; how you wanted him to finally take you.

Behind Astarion’s broad shoulders, you could see the sunrise in the distance; a gentle purple bled into the indigo of night right above the treeline. Day would break soon, but you didn’t have it in you to appreciate twilight when, suddenly, Astarion’s arms came down on each side of your head, eclipsing the waking world around you.

His hips settled against your core as he crawled atop you, habitually making you arch your back against his own growing desire pressing into your belly.

“But don’t you worry,” Astarion purred, clearly delighted as he lowered himself onto you until the silken tip of his nose brushed against yours. “Your body is a well of inspiration to me, my little muse…”

Astarion closed the small distance between you with a heady kiss; your mind went blank as you tasted yourself on his lips, the warmed tongue demanding access to you once more. You opened your mouth to him readily, moaned into the kiss as Astarion’s hands wandered up and down the curves of your body. Your head spun. Nobody—nothing—else could ever make you feel like this, and you cursed yourself when you had to break away from him to fill your inconvenient lungs with air.

Spit and slick weaved like cobwebs between your parted lips as you beheld Astarion with dazed eyes, breathing hard.

He was perfect.

From the fading light of the moon reflecting in his serene locks to his kiss-swollen lips that were a sharp instrument of the sweetest temptation. That smirk that promised unforgettable ecstasy, granting it only whenever he wanted. There was no song nor poem you could compose that could ever do Astarion justice, no instrument to capture the intricacies of his soul. He was a masterpiece.

Drunk on his lips, you leaned forward as his fingers continued to run down your middle, along the curve of your ass before taking hold of your thigh again. Your tired legs twitched to wind around Astarion’s hips, wanting to pull him closer to where you needed him most.

But before you could even move an inch, you found yourself lying flat on your stomach.

Astarion’s arm wound around your waist from behind, roughly pulling your ass up against his lean middle before you could so much as gasp in surprise. Wet grass tickled your cheek as you tried to find your balance, take a puzzled look back at him, but you could only feel him bend over you again, his erection poking your lower back.

Astarion’s kiss-warmed lips ghosted over your ear, “Now that you’re in proper form, let’s write some poetry, shall we?”

What?

He tossed your messy braid over your shoulder, pressed a wet kiss to the exposed nape of your neck as your knees struggled for support on slippery morning dew.

“You’ll sing some more for me, won’t you, little songstress?” Astarion breathed against your spine. “I’m sure you’ll make a real show of my newest piece.”

It took you a moment to process his words. Maybe it was the pebble cutting into the palm of your hand or the day’s first birdsong reaching your ear that lifted the fog in your head, but it finally hit you.

Astarion hadn’t brought you here for a tryst in the dirt, no. You were here because he was writing poetry. Except, this time, you weren’t his critic, but his choice medium. Which could only mean one thing: He rather had taken your criticism of his artistic endeavours to heart, and now you would have to pay the price for your honesty.

“Astarion…” you breathed, quick words of appeasement lost in a moan as he started to grind against you. Suddenly, daybreak felt like an eternity away.

“Yes, darling?” He asked, the perverse amusement evident in his voice. “How do you like my work so far? Is it to your refined taste this time?”

Curse the damn elf. You knew what he wanted, what he’d craved all along. What he’d expected from you the moment he’d shared his work with you. And as if you weren’t in a most precarious position already, he really wanted you to say it—praise him and his stupid poetry when he knew how badly your body was aching for him.

Clenching your teeth, you slowly rolled your hips up against his now rock-hard cock. Maybe, if you just got him to fuck you already, you would get away with your pride intact. All of this was embarrassing enough as it was.

Your efforts were repaid with little more than a chuckle, though—and two fingers that started teasing your entrance, carefully dipping into you without even slightly dampening your need.

“Fuck!” You whined into the grass as your hips chased Astarion’s digits, wishing they were his cock instead, filling you as you’d so lusted after all night long.

“What was that?”

Astarion’s movement stopped at once, leaving you empty once again.

“It’s good,” you hissed against the wet ground as tears of frustration threatened to spill from the corners of your eyes. “Your poetry—Astarion, it’s so good, I swear.”

So much for pride.

“Oh, you think so, little nightingale?”

You nodded frantically as he bent over you again, nibbling at the shell of your sensitive pointy ear. Astarion chuckled.

“Don’t get me wrong, this means so much coming from an expert artist such as yourself, darling, but I can’t help but wonder whether this is a professional opinion or empty flattery for the sake of indulgence…”

You could feel his fingers ghost over your clit, knowing he would never touch you without a satisfying answer.

“It’s true—nobody does it quite like you,” you cried, not bothering to specify whether you meant his poetry or his more distinctive talents, and it didn’t really matter.

Throughout your career, you’d gone looking for inspiration in quite a few beds but never had you written better poetry than in your rather short time together with the pale elf. Astarion was unlike any lover you’d ever taken, nor had you ever cared this deeply for another person whatsoever.

“Nothing compares to you, Astarion,” you whispered, truthfully.

“Ah,” Astarion’s fingers slid back into you the moment the words had left your mouth, curling deliciously against your walls—a reward for your generous recognition of his talents, no question. “But I’m sure there’s room for improvement still?”

Hips moving up against his digits, chasing the sweet friction of his cold skin, you groaned. Fine. If he wanted a damn lesson in poetry, he could have one.

“There always is. What’s the point of art when there’s no growth—ah!”

There was a lewd sound as Astarion pulled his fingers from your core once again, though this time you could feel his body shift behind you. The two fingers that had worked you open so well now gently parted your folds. You let out a low moan as you could finally feel the wet tip of Astarion’s cock teasing your throbbing clit, though it was his lips brushing the back of your neck that really made you shiver.

“So what would you have me do, little nightingale? Would you have me put more of myself into my work, again?”

“Yes, gods, please,” you mewled, dragging the syllables out just like you knew he enjoyed. “Put as much of yourself in as you can.”

Astarion tried and failed to cover his quickening breath up with a sharp laugh, finally giving away the strain on his own composure. “Well, you are the expert, aren’t you?”

The iron grip on your hip was the only thing keeping you from toppling over as Astarion buried himself inside you with one forceful thrust. The entirety of his impressive length stretched you painfully wide, and he only granted you one moment to adjust to the feeling of complete, blissful fullness before he pulled out of you again. Grunting, he repeated the movement, faster each time. His deep groans soon turned into a perfect rhyme to your breathless moans as he fucked you franticly.

“Like my poetry now, darling?” He hissed, slamming into you over and over again as your hand found Astarion’s in the dewy grass.

Your fingers wound around his wrist, up his lower arm, grasping for support. Couldn’t he see, feel, hear how much you adored his poetry?

“You’re an artist,” you panted through open-mouthed gasps, your entire body singing him the song of your desire, though you really doubted that he paid it much mind.

Astarion had buried his face in the crook of your neck, breathing in your scent greedily. His tongue traced the curve of your collarbone; you could feel his fangs scrape against your tender skin every now and then. He was a fast learner, you noted, dully—Astarion was already losing himself in his passionate work.

“Have I found my intended audience yet?” He muttered, more to himself than to you, as his knee hooked under your leg, pushing it up until you lay almost flat on the ground.

“What do you want me to do, darling? Write down how divine your cunt is? Have everybody know what sinful music you make when I fuck you?” Astarion let out a choked laugh. “Fuck that! I don’t need an audience, because they only need to take one look at you and recognize you as a work of mine.”

He wasn’t wrong. You would be deliciously sore when you returned to camp with the scent of your lover lingering on your skin like ink on thick paper. He was already written all over you; you were his creation. Who else could coax such magnificent sounds out of you but him? And who were you, really, to teach him about poetry when all you had to do was offer your body to him? You hadn’t lied when you said Astarion was an artist.

Your fingernails left little half-moons on his pale arm as he fucked you half senseless. You could feel yourself dissolve deeper into pleasure with every relentless snap of his hips, knowing that this was when Astarion was most himself—buried deep inside you, chasing his own ideas and desires. Enjoying himself. Writing poetry.

You came fast and hard. Astarion gasped as your cunt clenched violently around him, his movement growing increasingly erratic. He breathed incoherent strings of pretty words into your ear, pulled your hips down on his cock with so much urgency it left you reeling far beyond your orgasm. He was close, too. His rhythm faltered as he slipped into a frenzy, cock twitching inside you as he lost himself in his poetry—in you.

You brought your arm behind you to find Astaron’s sweat-drenched face, cupping his cheek. He groaned as he leaned into your touch.

“You’re so talented, Astarion,” you said. “Fill me with all you have.”

That was all it took. With one last grunt, Astarion spilled himself inside you. He continued rolling his hips into you for another moment, his pace slowing before he collapsed on top of you.

You let the familiar weight of your lover ground you, enjoyed the way his hands wound under you to caress your stomach, your breasts. Astarion pressed a kiss to the crown of your head before gently withdrawing from you. His seed gushed out of you, leaving his signature on the insides of your legs.

“You really think I have a thing for poetry?” Astarion asked, sheepishly, as he rolled to his side, pulling you with him to rest against his lean chest. “Or does my talent only reach as far as your pleasure?”

The sun had finally risen over the treeline, melting the morning dew from your skin. Drawing lazy circles across his chest, you considered Astarion’s question.

“Talent means nothing without practice.”

He hummed, clearly pleased with your answer. “Care to practise with me, then?”

“Your poetry or my pleasure?” You asked, looking up to search his face.

Eyes closed to the sun above you, Astarion smiled. “It’s all the same with you, isn’t it, little songstress?”

The pale elf pressed another kiss to your temple, pulled you even closer to him as you chuckled at his words.

“I would be quite honoured, Astarion.”

The page had been ripped from your journal. It rested neatly folded in half next to your bedroll, elegant handwriting bleeding through the paper. Bards weren’t morning people—it just came with the job. Though, even as sore and sleepy as you felt, you would’ve never missed the note waiting for you to be found upon waking with the sun. You’d been expecting it, after all. With uncoordinated hands, you unfolded the piece of paper.

“Getting drunk on your

Sweet morning dew, nightingale.

Fucking you—such bliss.”

—A.

You scoffed at the poem in your hands, carefully folding it again before you reached for a small box filled with similar pieces of paper. You added the poem to the growing collection. There was no talent without practice, and Astarion and you had only just begun.

tag list:

@spacebarbarianweird @bardic-inspo @kawaiiusagichansan @darlingxdragon @herautumnmorningelegance @ayselluna @chonkercatto

#astarion #astarion x tav #astarion bg3 #astarion smut #astarion x female reader #astarion x f!tav #astarion x you #astarion x f!reader #astarion x female tav #astarion fanfic #bard tav #bg3 fanfiction #bg3 smut #baldurs gate 3 #astarion ancunin #emicha writes #wilteddreamsbg3

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menhera-info-archieve · 8 months

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in case you haven't seen it yet, here's the menhera 101 article by HoshiCandy from Kei Club Issue 3. not sure if i'll post the other menhera related articles from this issue or not, so consider checking the link in source if you're interested.

i'm also leaving a text transcription under the cut for anyone that may benefit from that

Menhera 101

Menhera fashion has quickly been gaining popularity worldwide! This fast growth has come with its fair share of misunderstandings about the community and style. Menhera artist and designer HoshiCandy is here with a lesson on menhera’s origins, history, and basics. Find more of her work on the pages before and after this article!

What is Menhera?

“Menhera” can be thought of as “a person who seeks mental wellbeing”.

The word “Menhera” was born in Japan in 2001, on the “Mental Health” board of anonymous forum 2ch, where users discussed their wellbeing. The users of this board were named “Mental Healthers” which was shortened to “Menhera”.

The Menhera community covers anything that might cause one mental suffering, such as: physical illness or disability, depression, anxiety, eating disorders, bullying, hyper-sexuality, sexism, homophobia, etc. Importantly, there is no need for a formal diagnosis, as the focus is on how you feel, and that you want to feel better.

It is difficult to talk about these topics in Japanese society without being heavily stigmatized. Menhera is a community to speak safely without that stigma. Of course, this stigma and need for community when it comes to one’s mental wellbeing is not limited to Japan, and that is why menhera has grown in the west as well.

Since the creation of the word in 2001, there have been several manga published with “Menhera” in the title, many Visual Kei songs about it, Menhera idol groups, and several menhera fashion brands.

However, an unfortunate addition to all this has been the discovery of the word in mainstream media...

Just as the topic of illness is heavily stigmatized in Japanese society, the word “Menhera” itself became quickly stigmatized and stereotyped as “an attention seeking, troublesome person” or “an overly attached girlfriend” (aka “yandere”). If you were to speak to a Japanese person about “Menhera”, this would most likely be what they would think you meant. This stereotype tends to be referred to as “Menhera Kei” in Japanese which is why we avoid the use of “kei” for Menhera in particular.

Despite all this, the true menhera community has continued to grow.

Menhera Motifs

Artists in the Menhera community created many works of “Vent Art” art that expresses their feelings and suffering. When this art was printed onto clothing, Menhera fashion was born.

These are some themes you will commonly see in Menhera:

Medication

Suicide

Self-harm

Hospitals

Sex and BDSM

Social Media Addiction

Heartbreak

Wearing Menhera art printed on clothing serves as a way of literally wearing one’s feelings on one’s sleeves. It turns invisible suffering visible, and fights against the stigma driven silence. This means that Menhera fashion is highly confrontational, with graphic depictions of illness symptoms. Although the onlooker may feel discomfort, the Menhera style says “this is my true reality, don’t pretend it doesn’t exist!”

Depending on the feelings of the wearer, Menhera fashion also says “although I am sick, I can still be ‘kawaii’” or “although I appear ‘kawaii’, on the inside I am suffering”.

Turning the invisible visible, forcing the silence to be broken, and challenging kawaii culture, these are the goals of Menhera fashion.

The Menhera Silhouette

Carefully avoiding a highly theatrical or OTT (over-the-top) look is important for maintaining the integrity of the goals of menhera. Menhera is a very casual style, with few accessories and light makeup. The key is for a coord to centre on Menhera imagery, whether vent art or text-focused designs, printed onto clothing.

Be careful not to dress up as the characters depicted in vent art, who are often costumey, gory, and OTT.

Menhera Coord checklist:

Printed Menhera art

Byojaku/Minimal makeup

Not OTT/Few accessories

Flat Shoes

[optional] Oversized top

[optional] Hime bangs

[optional] twintails

Colors can vary: a pastel yume look, or a gothic yami look, both are fine!

The makeup style is called “Byojaku” meaning “sickly/weak”. Reddish colors are applied to areas around the eyes to give the impression of crying or illness. The rest of the face is kept plain without much color.

A Note of Caution

The Menhera community is about healing, and seeking recovery and wellbeing. It advocates getting help, medication, therapy, and receiving support through your recovery journey.

True Menhera never encourages or enables harmful behaviors, and never glorifies them. Menhera fashion is an alternative way of expressing your suffering without self-harm. Menhera fashion empowers the individual through their recovery, but does not empower harmful behaviors.

There are some, sometimes labeled by the community as “Wannabe Menhera”, who mistook the meaning of “menhera” after seeing its rise in popularity, as it being trendy to fake mental illness. They engage in behaviors such as posting self-harm photos (real or faked) to social media with the tag #menhera, and other attention-seeking behaviors.

While this is the opposite of what the Menhera community stands for, is harmful to the unfortunate viewers of these photos, and creates further stigma against the community...it cannot be ignored that these “Wannabe Menhera”, too, need help and healing.

The Menhera fashion movement is to help you feel comfortable, unashamed, and kawaii in your skin, scars and all. It is NOT for encouraging people to create new scars “for the aesthetic”.

If you are struggling with mental or physical suffering, thoughts, or behaviors that cause harm to yourself or others, please seek help. If you do not believe you deserve help, you do, please seek help. If you believe you are faking it, you likely are not, your feelings are valid, please seek help.

Don’t have access to therapy?

We found a comprehensive list of suicide prevention hotlines at https://ibpf.org/resource/list-international-suicide-hotlines [link no longer working]

There are also free and affordable counseling services online like Better Help and Pride Counseling! Look online to find what option could work for you!

Alternatives to Menhera

After reading all this you may be thinking “the Menhera community sounds good but all the fashion is too restrictive for me” and if so, you’re not alone! But the good news is that you don’t have to wear Menhera fashion to be in the Menhera community.

Look up any of these alternative styles online for examples and more information:

Yamikawaii (“Sickly-cute”) is essentially the aesthetic of Menhera without the activism, a corrupted dark kawaii. Unfortunately the word was trademarked and now suffers from copyright takedowns.

Yumekawaii (“Dreamy-cute”) an aesthetic evolved from Fairy kei to describe everything pastel and kawaii, but with a slight edge, described as “fairytales with poison”.

Marekawaii (“Nightmare-cute”) created as an alternative to Yamikawaii to avoid the copyright issues, and as a counterpart to Yumekawaii. Marekawaii is specifically defined as being open to your own interpretation and style.

Medikawaii (“Medical-cute”) a pastel kawaii aesthetic focusing only on medical motifs, such as medicine and hospitals.

Gurokawaii (“Grotesque-cute”) mixes frightening and disturbing imagery with kawaii. Kyary Pamyu Pamyu helped popularize it.

Iryouu Kei (“Medical Kei”) a Visual Kei substyle with lots of gore and hospital theming, very OTT and theatrical, such as dressing like a nightmare nurse.

Living Doll artists see themselves and their bodies as a canvas to create art and express themselves, often with intricate makeup and body painting. This is a good one to look at if you’re into heavy artistic makeup.

#menhera #info #op #menhera.txt

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mclennonlgbt · 1 month

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(JUST LIKE) STARTING OVER WAS DEFINITELY FOR PAUL – a compilation

A meaningful wordplay As you know, John attached great importance to the lyrics of his songs. He liked to smuggle in word games and hidden meanings. Let's look at a fragment of the lyrics of "(Just Like) Starting Over". It's time to spread our wings and fly Wings was Paul's band in the 1970s.

Don't let another day go by

"Another Day" is a song by Paul and Linda that was released as the A-side of a non-album single in February 1971. It was Paul's debut single, following the Beatles break-up in 1970. (Sidenote: giving credits to both himself and Linda, Paul broke up the Lennon-McCartney partnership, angering Allen Klein).

my love

"My Love" is a 1973 song by Wings. The single was viewed as Wings' first significant success.

2. The demos

In the first demo, John uses the word "walrus":

Everyday we used to make it love so why can’t we be making love – it’s easy. The time has come, the walrus said, for you and me to stay in bed again, it’ll be just like starting over

The walrus is a famous motif from Beatles songs. In the song "I Am The Walrus" (1967) John declares that he is the titular walrus, a year later in "Glass Onion" he stated: „And here’s another clue to you all – the walrus was Paul”. In "God" (1970) John sings: "I was the walrus." In an interview from 1969 or 1970, George jokes: „And if you are listening, I am the walrus too”. Regardless of which Beatles was the walrus, John is for sure giving us an interesting clue here.

As for „in bed”:

Here's another fascinating demo... This requires no comment. It's just that John suddenly referred to "Why Don't We Do it In the Road", a song by Paul from the Beatles era.

EDIT:

The whole fragment is:

Just take your clothes off honey, and stick your nose in money.. why don’t we… do it in the road?! (Laughs) A little hotel where we used to screw A little place down in Montauk Just you, me, the cook and the servants too

As @i-am-the-oyster pointed out (the screen is theirs) - it's a 17 minute drive from Paul's house in the Hamptons to Montauk Motel.

3. John explaining who the song is for

„I’m not aiming, I am not aiming at 16 year olds. If they can dig it, please dig it. But when I was singing and writing this and working with her, I was visualizing all the people of my age group from the 60s. Being in their 30s and 40s now, just like me, and having wives and children and having gone through everything together, I am singing to them! I hope the young kids like it as well, but I’m really talking to the people that grew up with me and saying: „Here I am now, how are you? How’s your relationship going? Did you get through it all? Wasn’t the 70s a drag? You know, here we are, let’s try and make the 80s good, you know, because it’s still up to us to make what we can of it. It’s not out of our control”. I still believe in love, peace. I still believe in positive thinking when I can do it. I’m not always positive but when I am, I try and project it”.

Source: https://www.youtube.com/watch?v=rqxPx2Tvf6A

Let’s point out that the song which convinced John to come out of retirement was „Coming up” by Paul. You want a love to last forever One that will never fade away I want to help you with your problem Stick around, I say

(…)

You want some peace and understanding So everybody can be free I know that we can get together We can make it, stick with me

BONUS (this is not evidence or premise, but maybe Paul understood that the song was addressed to him): Paul's reaction to the song after John's death.

„…Time passed. Paul locked the door of his home studio and played (Just Like) Starting Over, the first single from Double Fantasy. Top volume. For days”.

- Christopher Sandford, „McCartney”

EDIT:

(it's also @i-am-the-oyster's reveal): One Sweet Dream podcast did an interview where May Pang agreed with the host (JL)SO was for Paul and emphasised that it wasn't about Yoko -- it's a patrons-only episode so I can't link it, but it's April 2023, around the 1h29 mark).

#mclennon #paul mccartney #john lennon #mclennon tinted song analysis

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curekibouka-writing · 8 months

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Analyzing the lullaby motif in book 7 (+translation of lyrics)

MAJOR SPOILERS for book 7 chapter 1-5

I hope everyone remembers the lullaby Malleus sang for everyone when he overblotted because that motif came back FOUR times in chapter 5 and I am going to analyze them all because they make me way too emotional 😭

Please feel free to find the lullaby motifs in this post and this post if necessary (although one of them is not included).

Translated lyrics of the lullaby:

A warm cradle

Starlight and joy

My eyes are watching over you still, let's be together

With no fear, even if we wake from this dream

Sleep, sleep, my beloved child

In dreams, I pray you would be guided to walk toward the light

(Analysis begins under the cut:)

The melody of the lullaby has been used 5 times at least in the story, they include:

When Malleus hummed it to everyone he put to sleep during his OB

When Meleanor sang it to Malleus

When Lilia sang it to Silver

When Malleus sang it to Silver

In the bgm when Sebek was helping come out of the darkness

The themes of this piece of music are love and farewell.

Motif use 2 is chronologically when the lullaby was first sung, it’s a song of love from a mother to her child when she knows they must part. I believe that when Meleanor sang this lullaby, she had already made up her mind to fight and let her guards escape with her child. She was taking the last moments she had with her child to name him "Malleus" and sing him this lullaby (7-75). Lyrics include sth like “I will be watching over you even if we wake up from this dream” and “may you be guided and walk towards the light”. But the beauty that comes with the theme of farewell is the theme of legacy. Because even though Meleanor is now gone, her song, and thus her love, never died.

Because Lilia remembers it. Motif 3 is Lilia singing it to Silver, and he’s also sung it to Malleus before. In a musical story, even if the characters lie or don’t have perfect information, the music never lies. Even if Lilia once doubted whether he could love Malleus and hatch him properly (7-77), and even if Lilia may still doubt whether he could love Silver, a human, properly (7-81), the motif symbolises love which tells us the truth — Lilia is capable of giving love. And the legacy is not just that Lilia passed the song to Malleus, it’s that Lilia internalized the song and sang it to his own son. He has seen what kind of mother Meleanor was, and he’s learnt from her kindness, her pride, her love and he has put that into how he raise his own child. Lilia has Meleanor’s legacy too.

And then to address the two Malleus motifs. First of all Malleus never sings it with lyrics, which would imply Malleus himself doesn’t fully know the true meaning of the song. However, he knows that he’s felt happiness and protection from hearing this song, so he sings it to Silver when Lilia asks him to as motif 4 (7-81). When he sang it to Silver he sounded confused, it must’ve been a long time since he’s heard the song. But he still remembers it, which means Meleanor’s love never died because Malleus remembers it all the same. It’s still in Malleus. It’s still there.

But when Malleus overblots, the song gets twisted a little bit (motif 1). However, in Malleus’s mind, it’s still a song of happiness and protection, because he overblotted trying to protect everyone’s happiness forever. But the music sounds creepy to show you the true nature of the song is not like this. The nature of the song is that "even though I cannot be with you always, I will still love you and wish for your happiness". This is the part that Malleus did not understand and did not cope with. It’s also interesting to note that Malleus sang motif 1 with a smile and no hesitation, he was completely confident and sure in what he was doing. Meanwhile, in all other three sung versions, each singer had their own different emotions in their singing, and those emotions were a lot softer, a lot less certain.

And the fifth and final use of the motif is used in the bgm when Sebek yells at Silver for him to get a grip (7-86). The song is arranged into a victorious piece with certainty and assurance. The use of the motif reminds us of the themes: love and legacy. It calls attention to these themes and entrenchs the truth that Silver IS Lilia’s legacy, and that’s only possible because of the love that Lilia has given him. The exact part where the bgm starts playing was when Silver said "Even in the darkness, I could always hear it. 'Stand up' 'Don't give in' 'Live'... it's father's voice. [...] All that he taught me, that's the proof that he had loved me. It's not a dream and not an illusion... it's true love." (I'm serious he really said "true love" for real this IS a translation T^T). When Silver saw Lilia's memories of the song, he denied the love, he said he should not deserve it. The motif had to come back because this is the moment when Silver can finally realize “Ah. This song is full of love and father sang it for me.” The motif HAD to come back because Silver has to come to accept it.

But the bgm arrangement is also made for Sebek. The bgm is full of certainty because Sebek has no doubts in what he’s telling Silver. Sebek, who has grown up alongside Silver, has witness all the love between Lilia and Silver. He KNOWS Lilia’s love is true and he’s conveying that to Silver with certainty. This bgm summarises what Sebek was doing so well, Sebek sees the love Lilia has for Silver and was literally blasting it in Silver’s ears.

As Disney's Sleeping Beauty (1959) puts it, "true love conquers all". And we've been shown that there's love in every direction among our Diasomnia found family. Let's hope that, soon enough, Silver and Sebek would wake Lilia up, and they can finally show Malleus the true meaning of his mother's lullaby and the wish she entrusted to it — that he would walk towards the light, even if she cannot be the one guiding him...

#twisted wonderland #twst #twst spoilers #twisted wonderland spoilers #twst ch 7 spoilers #twst chapter 7 #lilia vanrouge #silver #twst silver #sebek zigvolt #malleus draconia #mallenoa draconia #meleanor draconia #twst book 7 #twst translation #twst analysis #diasomnia

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j4gm · 7 months

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SPOILERS!!! REFERENCES AND EASTER EGGS IN F&C ep. 8: JERRY

The last of four posts for today.

This episode has a very dark setting. This is the universe where The Lich wished for the extinction of all life. There is nothing here. This establishing shot features the Squirrel's apple cart, from a few episodes ago, but he is long dead and it is long abandoned.

We are introduced to a new cosmic entity, Orbo, who is Scarab's boss but is not to be mistaken for Prismo's boss, whose identity remains a mystery.

Simon name drops a whole bunch of magical items from the original Adventure Time series; the Armour of Zeldron from Blood Under the Skin, the Wand of Dispersement from Sons of Mars, the Porcelain Lamb from Beyond This Earthly Realm, and the magic beans from The Pods.

This episode suggests that the nature of Simon and Betty's relationship was initially quite unhealthy. He was one of her lecturers, and she had an infatuation with him from first sight.

This illustration features the ancient wizards who sealed Coconteppi beneath Wizard City in the Distant Lands episode of the same name.

Simon's expedition to find the Enchiridion was first mentioned in the newspaper clipping in I Remember You, and was mentioned again in Temple of Mars.

BMO apparently survived The Lich's wish because he isn't technically alive. I wonder where Neptr and the other MOs are. Cannibalised for batteries, perhaps. Also, that BRB note is very sad and is identical to the one Finn wrote in Blenanas.

There are various familiar items in the thawed out remains of the Ice Kingdom; ninja paraphernalia from The Chamber of Frozen Blades, Ice King's diary from The Empress Eyes, and of course the tape collection from Holly Jolly Secrets.

Here's a deep cut: That machine in the background to the right of Simon is the machine that held the lightning power that Finn went to steal in What is Life, so that he could power up Neptr. The Demonic Wishing Eye is also in this shot.

For a single frame, Ice King and Gunter can be seen reduced to skeletons. Presumably this was the exact moment that the Lich's wish took effect. Everyone died instantly, in less than a frame.

When I watched this episode for the first time I was confused about where Fionna got the working crown. But you can just about see it inside the drum in this shot, where Ice King mentioned he had put it in his tape.

This is the exact moment the photograph was taken for the newspaper clipping seen in I Remember You.

We first heard the story about how Simon met Betty after they tried to check out the same library book in Broke His Crown. It's cool to see it playing out for real.

Simon throws a pebble at the window and accidentally hits Babette in the face, exactly like Finn and Jake did to Kim Kil Whan in the episode Ocarina.

This is the second time Simon caused Betty to miss this research trip to Australia. She says in Temple of Mars that she never got the opportunity to go, and resolves that her life might not have been so messed up if she'd followed her own dreams instead of following Simon's.

The song in this scene, the motif of which has been heard throughout the series, is by Half Shy, who also wrote "Monster" for Obsidian.

BMO is buried with a paper flower because there are no real ones left alive. His death seemed pointlessly cruel.

THE LICH! He is in his half-disguised Billy form, confirming that this is his wish-altered reality. Like in his other appearances, the first line he speaks is a single word command. This time, the command is "Cease." But with nothing left to do he has become depressed, and he doesn't bother killing our protagonists.

And finally, we are left on this cliffhanger. Fionna and Cake have returned to their world. Scarab has convinced the boss that Simon must be destroyed. And GOLBetty is here to claim them both while the Lich watches on.

This episode's dream features a pair of Lich skulls either side an effigy of GOLB.

#adventure time #fionna and cake #easter egg posts

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naneun-no · 3 months

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From my drafts so it’s late but:

Today’s delulu thought is that Standing Next to You has too many lyrical coincidences to not be about Jimin.

🫣 I SAID IT WAS DELUSIONAL OKAY

You are free to disagree. You probably should 🤣

I mean we know it wasn’t written by Jung Kook but obviously the version he recorded was arranged with and for JK, and “leave your body golden” can’t be a coincidence right? Like it’s the whole ass album name, plus a word that carries connotations of JK himself, which the ppl who worked with him on Seven must have known.

So if that wasn’t a coincidence… then what about:

1. “How we left and right is something we control” — a callback to both Left and Right by CP feat JK, but also a nod to Butter, a massive BTS hit and a song that he performs alongside his boyfie bestie JM.

2. “When it’s deep like DNA, something they can’t take away” — a callback to another massive BTS hit, interesting. And *delulu warning* also reminds me of JM and JK’s extreme similarities that they themselves have referred to before?? They’re wired the same, they have the same sense of humor, they live and breathe for the same shit and even though they have some very key differences, they really do seem like twin flames (even if you just see it as platonic). They are similar in ways that seem braided into the fibers of their being. Like, in their DNA 🧬 some may say. *delulu warning #2* I’m also reminded of Jimin’s Letter lyrics: “After all this time has passed will we still be the same? Just like we were when we first met.”

Also, “something they can’t take away” is an interesting turn of phrase… more on that later.

3. Okay the real meaty part:

Screaming I’ll testify that we'll survive the test of time, they can't deny our love. They can't divide us, we'll survive the test of time I promise I'll be right here

[I seriously can’t believe how closeted-couple-coded this song is]

First off, again with the Letter lyrics mirrored here with the “test of time.” Then it’s got all this drama about being ripped apart and how it won’t happen and how they’ll be next to each other no matter what and that they have “something they can’t take away.”

Not only does all that line up with other Letter lyrics, but it is so goddamn dramatic and for what?

Be for real, what straight couple in this day and age would have this much working against them?? The only possible explanations are: 1) within the fantasy world of a song I suppose this could be some sort of Romeo and Juliet/West Side Story motif, and to be fair the music video did have a kind of rival gang/crime family look to it? Sort of? With the men fighting below the stage? Idk. Or it could be 2) the fact that idols do in fact often have to hide even their straight relationships, which is wild to me. But I know it’s a thing, so. I suppose there’s that. JK doesn’t seem the type though honestly. I think he’d be even more open about it than V.

On the other hand, the lyrics seem SO fit for a couple who are a) queer, b) closeted, c) currently in/about to be in a legislatively homophobic military and country (am I saying that right? Lol) and d) internationally famous pop idols in the SAME BAND who are both widely regarded as heterosexual sex symbols and would be shunned by many people in their homeland AND internationally if their queerness were to be revealed, much less if they were truly an item and THAT news broke.

Whew. That was a lot but like… that would be a real example of a relationship that would be VERY threatened by outside forces plotting against them and trying to separate them. Not JK and a hot blonde model, not him and a Korean actress, not basically any other scenario but a queer relationship.

Idk I know he didn’t write it but like ??? What the hell is that theme? I’m dying to get inside the mind of the people who DID write it, because are they or are they jikookers at this point like?!

4. Just for fun I’ll also point out the “leave your body golden like the sun and moon” 😏 like. Okay. At this point the songwriters are watching Jikook compilations, drooling over @slaaverin edits like convince me they’re not. CONVINCE ME.

5. “Deeper than the rain”?! “The pain”?! Alright I’m not even serious at this point but ??? Rainy day fight 🌧️?!?! 🤣🤣

6. “Standing next to you” oh you mean like… for 18 months? In a companion enlistment program? Like that?

Alright alright I’m done but you get my point. What even is this song if not an anthem of jikookery?! It’s more on-the-nose than Letter, more sneaky than Still With You. It wasn’t written by JK but at this point I’m calling that the songwriters are as delulu as me.

Hope y’all are well. If you made it to the end of this thank you for donning your tinfoil hat with me and I hope you at least got a giggle.

✌️

#jikook #kookmin #jimin and jungkook #jikook theories #delulu time

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verysium · 5 months

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blu lock top artists on Spotify??? i need your thoughts on it

anon you had me pulling up my spotify playlists and browsing through the entirety of genius.com for three hours straight. i'm going to tweak this prompt a little bit and include specific songs that best represent them since it's easier for me to explain that way.

RIN

the fanon answer for this is chase atlantic. while their songs do encapsulate parts of his personality (mostly the edgy teenager and disillusioned youth persona), i feel like this choice does not do his full character justice.

the canon answer for this is king gnu, more specifically the song "prayer x." i can picture this since rin seems like the type to enjoy alternative rock/indie, but the fact that it's the ending theme to banana fish is what gets to me. like...do you see yourself in ash or something? i hope you don't cus it doesn't end well. that anime had me bawling my eyes out for months, and i still can't think about it without breaking down again.

furthermore, the lyrics and music video to this song are very cryptic and borderline nihilistic. for example, "hiding behind this nonchalant smile" and "my life's spark will wink out of existence." i feel like this speaks volumes about rin's mental health and internal thought process. he obviously does not process his emotions normally and instead represses them. he also struggles with the idea of finding a purpose in what is otherwise a cyclical routine with no end. he's worried and, quite frankly, afraid that if he ever stops pursuing his dream, everything will come crumbling down, and he will have to face all the demons he's avoided for so long. the main theme here is that he cannot face his reality (the fact that sae's dream is not his own.) so he does everything in order to escape this fact even if it ultimately destroys him.

from my own playlists, i'd assign him the following songs/artists:

"beautiful boy" by john lennon

this is a love letter to baby rin. i feel like he would've enjoyed this song as either a lullaby or something he listened to on car rides to the beach during summer vacations. he probably still listens to this when it's raining outside or he's had a bad day. reminds him of his childhood and the good parts of it.

"the love club" by lorde

this is something pre-teen rin listened to. the irony is spot-on, and i feel like the lyrics would be relevant during a time when he was going through his rebellious phase and fully fleshing out his place in society. in this instance, the club would metaphorically be wherever his brother is at, whether that's the guys sae meets in spain or the group of football players considered "top-notch" in japan. everything is about finding a place in this club/clique in an effort to become free and differentiate himself from others. the only problem is that rin ironically loses his freedom because he tries so hard to be among the best. he signs his life away in pursuit of a dream, and it's something that now defines him.

"the only problem i got with the club / is how you're severed from the people / who watched you grow up"

this lyric in particular could apply to either one of the itoshi brothers. it's one of the caveats that comes with fame. you gain everything, but you lose everything before that. both of the itoshis likely experienced some amount of separation from their loved ones, including each other. also lorde's vocals are beautiful as always, so there's no reason not to include this song.

"howlin' 404" by DEAN

the production for this song is on point. the intro has a segment from a 1930s american horror radio program which is fitting because rin canonically watches horror movies. i think this song is something rin might listen to during cold autumns or midnights when he just can't sleep.

lyrically, there is the motif of a time loop which is also present in "prayer x." rin's character itself just has this connection with the raw grittiness of existentialism and this idea of repeating days without purpose. (in fact, he would make a great psychological thriller lead.) rin is also a control freak. if he lets one loose end go, it will unravel the entire thing. that matches up with the idea of "killing me softly." rin would rather prolong his pain than have it ripped from him all at once and leave him with nothing. i find this in a lot of people in real life too. even if your trauma wasn't good for you, it sometimes becomes the only thing you truly own. it's like that one quote from bojack horseman. "if i don't, that means that all the damage i got isn't good damage, it's just damage." rin feels like he has something to prove, and if he fails, all his suffering would've been for nothing.

"moonchild" by RM

i may be a bit biased since i love the mono mixtape, and i've written a rin fic about celestial bodies, but....this song just fits him. there's also a remarkable similarity with the lyrics of the previous songs i've listed. i'm just going to list a few:

"smiling in endless pain / you know / there's no freedom when you say freedom out loud"

one thing i love about RM is that he doesn't shy away from character flaws. he writes songs specifically for those who are always picked last, who aren't remarkable in any way, who feel weighed down by their normality. he gives them their spotlight and due diligence. for example, the entirety of the chorus is a repeat of "moonchild, you shine." i find this interesting since it's usually the sun that shines. but the sun is already sae, and rin is relegated to being the moon. yet even though the moon doesn't have its own light (it merely reflects the sun), it still shines bright in the darkness. rin doesn't know it yet, but he himself is a big role model for others such as isagi, his fans, and people just like him. so yeah....i'd take this song as a message of hope for future rin.

SAE

the fanon answer is lana del rey, and i would agree to a certain extent. under the right circumstances, he could become one of those dreamy, emotionally stunted, and tired men you guys all lust over. if y/n ever wrote a romantic song about him, it would be either "west coast" (for the spanish influences) or "art deco" (for the vibes.)

the headcanon answer is nothing. i don't think he listens to music much. even if he did, it would be probably classical/instrumental or just white noise for his long flights. i imagine him listening to erik satie's "gymnopédie no. 3" on a train ride or something.

from my own playlists, i'm going to give him these songs/artists:

"remind me" by röyksopp

i don't know how to explain this, but this song gives a bittersweet sense of nostalgia. think early 2000s when the TV footage was still grainy and had retro graphics. you're carrying around your mini mp3 player whilst wandering through the airport and wondering how the hell you even ended up there. that's the general ambience of this song.

lyrically, the song also matches well with sae. i'm going to give you a few examples:

"it's only been a week / the rush of being home in rapid fading"

again, this is a tribute to the disconnection sae feels from his home. he goes everywhere, but he belongs nowhere. when he finally returns to japan, he finds himself missing spain. when he's in madrid, he thinks about the ocean back in kamakura. there never is a place that truly fills that gaping hole in his chest. i also feel like sae experiences FOMO on a whole other level. he constantly feels like something is wrong/missing and he's not doing enough.

"brave men tell the truth / the wise man's tools are analogies and puzzles"

the idea here is that though sae is blunt with his words, he is a coward with his intentions/true feelings. he can brutally call out someone without hesitation, but to actually reveal his own truths and motives? he'd rather shrivel up in a hole and die. this is especially applicable to love. to him, a wise man is someone who doesn't open his heart up easily. instead, he hints at his feelings, and whether or not you can figure that out is on you. sae hates it when others play games with him. it's where his hypocrisy lies. he demands straightforward honesty from others, but he himself will unintentionally play games with you if it means he can hide himself behind his walls.

"a woman holds her tongue / knowing silence will speak for her"

this is the closest you guys are ever going to get to sae itoshi's ideal type. he loves people who don't need to say something for him to believe it. they just get it. your silence is automatically enough for him to know that you love him. similarly, you don't even need to speak a word to understand what he's feeling.

"night shift" by lucy dacus

this song is sae if he was that one ex-boyfriend who really fucked you up emotionally, and you never got over him even though you said you did. now that i think about it, the story could be told from either POV. this could be sae trying to erase you from his mind, or it could also be you post-breakup.

"you've got a 9 to 5 / so i'll take the night shift / and i'll never see you again / if i can help it"

i know this one lyric caused controversy all over tiktok, so i'm going to add my own interpretation. at face value, this is exactly what it says it is. sae doesn't want to see you again, nor do you. he's willing to go out of his way just to avoid you, and truthfully he would. when sae finds himself in trouble, he doesn't look for something new to fix him. instead, he cuts everything off and subtracts anything that is deadweight. if you're out of his life, then you're out of his life. he's not coming back for you (or at least that's what he says to convince himself). same thing with rin. he knows he hurt rin, but he's not going to go back and try to make it right. he's going to move on and try to justify his actions every step of the way. one day, rin will move on too, and then sae would have been right all along. (unfortunately, that is not the way things work, but that's a lesson for another time.)

the alternative interpretation is that y/n is the other woman. this could be literal as in sae already has someone else in his life, and he only sees you at night. you're only ever going to be the night shift. it could also be metaphorical as in you're merely a distraction in the grand scheme of things. you're the mistress, but football is his wife if that makes sense. his career will always take precedence.

"you get me so high" by the neighborhood

this song is all the words sae wished he said to rin but never did. it made me cry because everything would have been so different if they had just set aside their pride and truthfully sought each other out.

"hope you don't regret it / i pushed a lot back but i can't forget it"

repressing feelings seems to be a recurring issue with the itoshi brothers. like....maybe if i just push it out of sight, it will also go out of mind. and at its core, this all stems from fear. fear of facing the consequences, the hypotheticals, the terrifying realization that you did something you regret and there really is no turning back from it. but realistically, if you think about it, a lot of this is the byproduct of overthinking. sometimes the situation isn't as complicated as we might make it out to be. sometimes an apology doesn't fix everything, but it's a proposition to be something more, an attempt at a solution. but sae and rin are so blindsided by their own internal turmoil that they cannot see this.

"for a long time i took it all for granted / i really thought we had it / but at the time it was more than i could manage"

ah....the "taking for granted" part. i could ramble on about that for hours. i think it really is some sort of self-fulfilling prophecy that we never miss something until it's gone. and in a way, it's not something that we can always control. the value you assign to a person/object when you have it is going to be fundamentally different from the value you assign to it when it's no longer in your grasp. that's how scarcity works. something with a limited supply is always going to be worth more. the vice versa works as well. you might yearn after something but then throw it away the moment you finally have it and grow tired of it. this sort of dilemma that comes with appreciation is so common i really wouldn't blame the itoshi brothers for what they did. it is immensely difficult to know when you're going to lose something or when you need to let it go. and sometimes it's hard to be constantly grateful for what you have because many of us are wired to want something more. tbh that's what makes the itoshis relatable.

"if we can leave it all behind us / and meet in between"

now sae would never say this unless he himself had actually reflected on what happened and fully processed it. but maybe in the future, they could set aside their differences and reach out to each other. (this is how i cope)

"but i just had to let you know / i never meant to hurt you, though / i had all my motives / i didn't know they wouldn't mix with your emotions / i just had to reach my goals / never knew i'd meet you though"

that's the thing with personal ambition. sometimes you get so caught up in yourself, you forget all about others. and this isn't really selfishness, or at least intentional selfishness. it just sort of happened that way. you never meant to hurt them, but you still somehow did.

"we should stick together / you're my best friend / i'll love you forever"

yeah....this line was the one that did it for me. something about the dysfunctional sibling dynamic just eats away at my insides. like....i could've loved you, we could've been so much together, but why aren't we? what we have isn't hate, but it isn't the love i know and crave either.

"we could be the greatest / it doesn't matter if we're never rich or famous"

ok but if rin ever heard this leave sae's lips, i think all of his trauma would just be magically healed. he just wants his brother to see him. like fully see him and love him. but alas, what is blue lock without angst, am i right?

"love in the dark" by adele

now i don't think sae would ever listen to adele, but the lyrics are just too fitting. i was going to write a fic on this, but it's going to have to ferment a bit in the drafts for now. basically this is the entire rin/sae traumatic scene but as a melodramatic torch song with adele's heavenly vocals.

"take your eyes off of me so i can leave / i'm far too ashamed to do it with you watching me"

um...this is literally sae's internal monologue??? i feel like letting go of things is something both the itoshi brothers struggle with. their lives are constantly pulling them in different directions, and eventually they become numb to it all. they don't form any strong attachment to anything besides football because that's the one thing that won't change for them. in a way, this is necessary for their character development (in the sense that they need to discern for themselves what to keep and what to let go), but it also destroys any sense of belonging they might have (hence why they feel lonely.)

"don't try to change my mind / i'm being cruel to be kind"

sae would definitely say this. like word for word. if only he wasn't a vague dumbass with no communication skills.

"i can't love you in the dark / it feels like we're oceans apart"

this is literally their dynamic in one lyric. there is the physical distance, and then there's the emotional distance.

"we're not the only ones, / i don't regret a thing / every word i've said, / you know i'll always mean"

this sort of reminds me when sae said that the world is huge, and there's so many players way better than him out there. i think spain really gave him a reality check, and he grew angry at rin when rin couldn't understand his disillusionment.

"everything changed me / and i don't think you can save me"

adele sort of echoes this softly at the end of the song. i feel like sae would do that too. he wouldn't admit his own insecurities until the very end, and only then does the truth come out.

"i'll sleep when i'm older" by bruno major

this is sae when he's older and fully mature, preferably after he meets you. he finally decides to damn it all and do what he wants.

"conversations with elders and the wisdom they bring ... / the view from an aeroplane at twelve thousand feet"

sae views things that previously annoyed him in a new light. he used to hate his elders, but he visited you and your mother once, and something changed within him. now he calls his parents more often, and his eyes linger on the old couples near the park benches. sometimes, his gaze softens just a bit when he imagines the two of you growing old just like them.

flights used to be a mundane part of his routine, but now he finds himself leaning over your window seat to see the mountains down below. the clouds and sunny weather set him aglow. and you just look so pretty when you fall asleep on his shoulder. he doesn't ever want this change.

"meet god on a mountain top along with the stars / find love somewhere, anywhere / fall deep from the start"

sae used to avoid love, but now he's running at it full-force. people tend to shy away from making sae a romantic because it seems too ooc. however, in the right situation, i think sae could entirely abandon his previous ideals and become someone else entirely. (that's why it's called a character evolution guys.)

"misplace my mind and follow my heart"

again, if you're able to make sae lose all rationality and let his heart guide him instead, then you've really done something. kudos to you for penetrating the walls of the coldest asshole known to mankind.

"i'll be a firework, not a flickering flame / treat life all around me like a one-player game"

this one lyric applies both to younger and older sae. younger sae is someone unafraid of risking it all if it means he can achieve something worthwhile. it doesn't matter how many players he has to defeat, how many people he has to leave behind. in this world, it is just him and the goal he has to accomplish.

however, after he's mellowed out after a few years (i'd say around middle age), he probably reinterprets this as something else. he's not going to constrain himself to his tunnel vision anymore. there's so much more to life than that.

"i'll go to the party and forget all the names / should it climb back to haunt me, / it ends all the same"

sae finally lets himself live the life he never thought he'd have. he does stupid things like get drunk and make a fool of himself. but you're there for him, so he doesn't really care. in fact, he can finally say that for the first time in a long time....he's having fun.

KAISER

the fanon answer is the weeknd. i'm not going to lie, i completely agree with this one. i saw this one edit of him to "party monster," and i can say i have been fully enlightened and converted. however, this is not just about a toxic male manipulator anthem. it's much more than that.

this is about running away from the ugliest parts of yourself, becoming a slave to your vices, knowing you're broken somewhere and you can never fix it. i would say his character is most similar to "starboy" in the fact that he literally flaunts everything he has to hide the fact that deep down inside, he really has nothing else to hold onto. "starboy" is all about the status symbol (money, red lamborghinis, glass table girls turning into ebony table girls lol). but at the end of the day, he doesn't really have anything except an empty heart and a satirical quip for all those who made him famous. the same theme applies to "the morning" and "house of balloons."

in the romantic sense, i think "don't break my heart" would represent kaiser. and no, this is not a justification for him being an f-boy. it's more so an exploration of why people might think he is an f-boy. i do not condone his actions, but i do try to understand them. in particular, i feel like the lyrics of "sacrifice" also fit him well.

"i was born in a city / where the winter nights don't ever sleep / so this life's always with me / the ice inside my veins will never bleed"

i headcanon kaiser as being born in either berlin or munich. and if you don't know anything about those two places, just know that you freeze your ass off during wintertime. i think it's interesting how his past could be intrinsically tied with a place, and he takes a piece of his past self with him wherever he goes. the ice in veins part also made me think about how kaiser would rather freeze up every weakness within himself than let them run free and make him human.

"every time you try to fix me / i know you'll never find that missing piece"

guys...did you hear that? to all you delusional people out there, this is your service announcement. you cannot fix someone who does not want to be fixed. write that down and memorize it. all meaningful change starts with a shift in mindset, and if they themselves are not in the right headspace to recognize that something is wrong and actively want to change, you're not going to get anywhere. so yeah....kaiser is not going to change unless HE starts doing the changing.

"i hold you through the toughest parts / when you feel like it's the end / 'cause life is still worth living"

i think this lyric sort of explores kaiser's dynamic with ness. on one front, he is the one picking ness up from his miserable past and instilling a sense of hope into him (intentionally or not.) but on another front, this could also be a problem. kaiser is almost forcefully optimistic in the way that he believes anything is possible. it has to be possible because there can be no other way. but the thing is.....you have to know your limits sometimes. blind optimism is, ironically, similar to cornering yourself.

"i can break you down and pick you up / and fuck like we are friends / but don't be catching feelings"

this is definitely the type of bullshit kaiser would spew. i could picture a fwb or situationship with him where y/n just constantly receives the short end of the stick. now this may be reaching, but i also feel like this is how kaiser projects his own trauma onto others. he himself clawed his way up to the top and put himself back together every time he fell down. the problem is that he also expects you to be that resilient. he's going to treat you badly because you're supposed to be like him: someone who can overcome everything and strive towards the impossible.

the headcanon answer to his top artist would be keshi. in particular, i think kaiser would fit the vibe of "2 soon" and "drunk." long story short, you finally broke up with him, and he's still reeling from the impact.

within my fics, i envision a dialogue between kaiser and y/n from each one of their perspectives. so based on that, i'm going to assign him the following songs/artists:

"gibson girl" by ethel cain

i know i said earlier that kaiser's character is not solely about toxic manipulation, but you have to understand that all bad habits originate from somewhere. kaiser is innately self-destructive, and he brings you down along with him. this song is about that but from y/n's perspective. there's this idea of trying to find agency in a situation where you have none. i don't have the word count to explain ethel cain lore in all of its naked glory, but all i can say is that this song is a banger and deals with themes like femininity as a performance, finding power in pain, religious motifs, etc.

"glory box" by portishead

this song is y/n's last plea to kaiser before they fully give up on him and leave. i'm also a sucker for anything that involves an exploration of gender dynamics and what it means to be a woman, and this song is riddled with it.

"suffocation" by crystal castles

this is kaiser post-isagi defeat (cue that one scene where he was trying to choke himself.) similar to sae, it's all or nothing with him. he suffers from this feeling of inferiority. everyone made him out to be this great figure of impossible dreams and legends, but look at him now. he's nothing. aren't you disappointed? he had you fooled, but he also fooled himself. so yeah....kaiser is definitely the most self-deprecating out of all of the boys at blue lock.

ISAGI

the fanon answer is laufey, and i also agree. he's so sweet, and laufey's music just makes me feel all warm and fuzzy inside. he would also be that one love that came creeping up on you when you least expected it. "valentine" would be the song for that. i picture a reader who's had a series of unfortunate breakups and is right on the edge of giving up entirely. but then isagi comes along, and it's just so easy to love him. as easy as breathing. and then you think maybe it wasn't so bad after all. you just never found the right one until he came into your life. furthermore, isagi is a jazz pop princess, and you can't convince me otherwise.

the headcanon answer is IU. more specifically, i would say "troll" from her lilac album. i feel like even if you and isagi broke up, it would still be like you two never broke up at all. you're both on good terms, and even though you know it's counterproductive to keep cycling back to each other, you do it anyways. and it's okay because you're both still in love.

from my own playlists, i would assign the following songs/artists:

"winter bear" by v

this is my comfort song. it feels like those big sherpa blankets you tuck yourself under when you're lying next to the heater in winter. isagi would kiss your forehead and nuzzle your nose before you two drifted off to sleep.

"a boy named pluto" by hailey knox

this one is so romantic lol. i also like the dynamic where one party is afraid to love, but the other person loves them unconditionally. that would be isagi. he'd respect your decision and wait for you as long as you need it. but if you're ever ready to give him a chance, just know that he's going to treasure all of you.

"put your records on" by ritt momney

the inspiring thing about isagi is that he never lets anyone put him down. he takes rejection as redirection, failure as room for improvement. and in that way, i think this song encapsulates his resilience. he'd be such a good boyfriend not just romantically but in the way that he would literally pick you back up to your feet, dust you off, and make sure everything was alright.

"fairy of shampoo" by dosii

i picture isagi as someone who falls first and falls harder. he just loves you so much, and he doesn't even need a reason why. i saw somewhere that sometimes you don't love someone because they're your soulmate/twin flame/supernaturally fated other. you love them because you consciously made the decision to. isagi is like that. he loves you on purpose.

helppp why does this sound like an academic paper...i'm sorry anon. i got carried away with this, but i hope u like it.

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fave-fight · 9 months

Text

ROUND 2, MATCH 43

NO MAGIC, POWERS, WEAPONS, OR ADDITIONAL HELP FROM OTHERS

Kevin:

“He has killed before and he will kill again. He is immune to the ol' "go for the eyes" trick some opponents might pull, because he doesn't HAVE eyes. He can still see just fine because he's granted Vision by the Smiling God. Despite the mention of his "smile knife" in the Mudstone Abyss arc, I think Kevin doesn't entirely NEED weapons because I fully believe he will bite anyone and not hold back. He'll rip a chunk off you if he has to, he'll go fucking apeshit. His whole motif is teeth and gore and devouring. And he'll be so upbeat and sunny the whole time. Now if he could GET a weapon, he would prefer that, but if he absolutely has to fight somebody unarmed, he could manage against the average person off the street. However, caught off-guard, he is easily defeated. There's a part in canon where he believes he's having a diplomatic discussion (it was actually pretty fucked up and evil but Kevin's sense of normalcy is hella skewed), and a (presumably human) character just suddenly grabs him and slams him through a portal. So it can be assumed that if someone lands an unexpected attack on Kevin, he'll get his ass kicked easy. Kevin is also probably not formally combat trained. Someone with actual fighting skills would probably beat him. He's just reliant on bizarre violence more than actual skill, in my opinion.”

“hes gods favorite freak. he wrote a whole freak bible about bugs and teeth. also he should get to bite people like that anon said”

Magikarp:

“Magikarp are a joke in the Pokémon world. Their signature move does nothing. They learn 4 moves, which are all very weak. It's value to most players is its evolution, but I just think one magikarp would be funny.”

“He's just a fish. He jumps. He splashes. That's it. He will lose a lot but that's ok because he has a song dedicated to him on the official Pokemon YouTube channel so no matter what, magikarp can rest easy knowing he's won my heart ❤️”

“If it can stall out the opponent for 40 turns while it drains all its PP for Splash, it can use Struggle to damage the opponent! There’s a chance!”

#fight fight fight #round 2 #poll tournament #tournament poll #poll #polls #kevin wtnv #welcome to night vale #desert bluffs #magikarp #pokemon #pokémon

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project-sekai-facts · 5 months

Text

The 2DMV for Twilight Light contains various references to previous 25-ji, Nightcord de. media, as well as lots of imagery connecting to the members.

To begin with, each member is associated with an object or two that which appears frequently in the background of the 2DMV.

"of the box that gently resounds"

Kanade's item is a music box, a nod to the music box her father made for her mother. This music box played a significant role in Kanade's first unit event, Carnation Recollection, helping her to realise why her songs weren't reaching Mafuyu.

"of the sealed up cocoon"

Mafuyu's items are a birdcage and chains. This is likely a reference to the marionette doll from Mafuyu's first event, Captive Marionette, that was kept in a similar-looking cage. This doll was what started Mafuyu's arc of rediscovering her true self and realising her mother was hurting her, which culmintated in N25's second arc ender.

The lyric that accompanies this is likely a reference to Kanade's trained Determination Ignited 4* card, which contains a purple butterfly (representing Mafuyu) locked in a glass lantern.

"Inside of the picture frame that keeps chasing"

Ena's items are a picture frame and a tin of paint. The tin of paint is likely a nod to the Unsatisfied Pale Color event and Ena's trained I Don't Want to Give Up 4* card. The picture frame is a reference to the Portray Yourself set that accompanied Ena's 3rd unit event, Someday, This Wish Will Transcend the Morning Sky.

"Inside of the abandoned mirror"

Mizuki's items are a mirror and ribbons. This is a reference to the IDSMILE 2DMV, the 2DMV for Mizuki's first unit event. Both that song and Twilight Light were produced by toa.

Because of the shared producer, there are also some similar lyrics in both songs, such as "The boundaries have begun to blur, the future uncertain" from IDSMILE, and "The boundary lines where disharmonies resound with each other" from Twilight Light.

There are also a few references to N25's second arc ender, Saying Goodbye to My Masked Self, most notably there being a glitch effect when Miku sings the lines "I still can't hear you, not yet" and "I still can't see you, not yet". When she appears on a phone screen in the second chorus during the line "I'm right here", she also appears glitched. In the event, Mafuyu's phone was damaged, causing the Virtual Singers to appear glitched when their holograms appeared. Miku couldn't contact Mafuyu for a while before the phone was able to turn on again, hence the lyrics.

Miku projecting out of the phone is also a nod to how she usually manifests herself to Mafuyu.

These images appear over the following lyrics:

The melodies that we create, The words that we pull in, The colors that intertwine together, And the scenes that are stitched together,

Once again they contain the items associated with the members in this MV, but the lyrics and on-screen text reference the members' respective roles within N25: composer, lyricist, artist, and editor.

Before the final chorus, the members of N25 are shown with picture frames behind them, another reference to the Portray Yourself set.

This part of the song contains multiple other references too, including:

The heart-shaped apple gem that originated as a charm on the costumes from the Snow White in Oblivion set, and later appeared as it does in this MV in some of the cards from the Where is ♡? set. Ena's card from the latter set also contains the birdcage associated with Mafuyu in this MV.

The apple is significant to Mafuyu as it was the food her mother would feed her when she was sick as a child. It was this care her mother showed her that caused her to want to become a nurse, the very dream her mother shattered. Those apples might also be Mafuyu's favorite food.

The blue butterflies that appear during this part and also at the start of the final chorus, which are a reference to the Samsa single jacket, and the Poisonous Fangs and Peeking Shadows set which had butterflies as a motif, particularly noticeable in Kanade's Determination Ignited 4* shown earlier in this post.

The phone underwater, which is actually a reference to three things. Firstly, this is a direct callback to the in-game jacket for Lower, Mizuki's second event commission.

However the phone falling in the water also links to a plot point from Saying Goodbye to My Maked Self, when Mafuyu's phone fell in her fishtank during a fight with her mother.

The throbber (loading wheel) on the screen is possibly a reference to the arc ender animation that plays after chapter 8 of the aforementioned event, which can be further backed up by the "Chasing your light, at 25:00" text that appears during that animation appearing in the 2DMV about 15 seconds after the phone is shown.

This part of the MV being underwater also connects to the Searching for a Reflection Beneath the Waters event, which introduced a lake to the Empty SEKAI.

The Heart in Water set from that event takes place underwater because of the new location, which in turn might be a nod to Mafuyu's trained Dive Into Me 4* fes card.

#project sekai #25 ji nightcord de #2dmv #sorry this doesn't include the 3dmv another cuts- clpl banned sharing them online and copyright claimed basically all clips of them #i know for a fact they dgaf about what gets posted on tumblr but i don't have the cards myself and couldn't find any surviving footage #cards #songs #those too

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alastheswarmleaderhasescaped · 1 month

Text

BIONICLE music fans, I need your help

Remember that I once wrote a funky BIONICLE Suite using themes from multiple movies/games etc., for an assignment? If not, it's here:

youtube

(here is the post on my dedicated music blog @transcriptions-of-unknown-music btw)

This suite is very dear to me: I scored top marks in my Arranging class with it, and later won a conducting audition with it. And now, in about a year or so, I will be getting the chance to perform it with a professional symphony orchestra. Like a full orchestra instead of the weird ensemble it was originally written for.

BUT

I need to reinstrumentate it, of course, but that also means that I can update it. The original assignment had a time limit of four minutes; this time I don't have that restriction, so I can basically do whatever the fuck I want.

And this is where I need the fandom's help.

I have a pretty solid base idea of what to do with it, but I want to put in as many nods to the width of BIONICLE as possible. The original suite was based on the music of the first three movies with motifs from mostly the MNOGs thrown in, because those are what mostly marked my personal BIONICLE experience, but BIONICLE is more than that. It's also the GBA games, the console games, the songs, the commercials, the online episodes, the later flash games, the Piraka rap, the singing squid, and so on. Which brings me to what I need you all for:

Please let me know your favourite BIONICLE music!

It could be literally anything; from an entire game soundtrack to just the drum rhythm during one specific section of a game. I'd love to know what BIONICLE music you love or is important to you!

What will I do with this information?

Currently I'm already working on gathering motifs and soundtracks into one musical book, transcribing them into notes and bringing them down to their core elements. This will serve as my vocabulary, of sorts: if I have a collection of themes at my disposal, it will be much easier to see if and how they fit together.

Here is an example of a piece from the Templar episodes that I 'collected': (it sounds off because it's MIDI, but what I did here was write down the actual notes so I can transcribe it for other musicians)

youtube

Please don't hesitate to let me know your favourite BIONICLE music (and also feel free to tell why a certain piece is important to you)! There is no time limit to this; you may always reblog or reply to this post, and my ask box is also open!

Hope you all can help me make this a real community thing, showing our Unity!

#bionicle #lego bionicle #mnog #mnog ii #Youtube

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aspoonofsugar · 2 months

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Hi! Can you analyse "More Than Anything" from HH?

Hi!

Sure! More Than Anything is actually my favourite song of season 1! It is so sweet and very loaded thematically and character-wise!

I have briefly talked about it in this meta, but here it comes a deeper analysis!

LUCIFER AND CHARLIE: DREAMING OF LOVE

More Than Anything has two main themes that come together in Lucifer and Charlie's relationship:

Love

Dreams

The father-daughter bond is rooted in both. Specifically, they express love through dreams. Or if you prefer, they dream of love.

This is explored in the first two stanzas.

Firstly, Lucifer explains that his dreams were broken:

You didn't know that when I tried this all before My dreams were too hard to defend And in the end, I won't lose it all again

And that Charlie is now the only dream left, which is why he will protect her:

Now you're the only thing worth fighting for More than anything, more than anything I'll shelter and adore you more than anything

Charlie replies that it was Lucifer who inspired her dreams:

So in the end, it's the view I had of you That showed me dreams can be worth fighting for

And adds that her dream is for her people to be safe:

More than anything, more than anything I need to save my people more than anything

So, father and daughter are the opposite and the same.

On the one hand Lucifer believes fighting for dreams isn't worth it (my dreams were too hard to defend). On the other hand Charlie insists that it is (dreams can be worth fighting for). At the same time, Lucifer dreams of protecting (loving) Charlie, whereas Charlie dreams of protecting (loving) all her people. Desperation and microchosm vs hope and macrochosm. This is the root of Lucifer and Charlie's foiling at the beginning of the song. How does this juxtaposition develop? Let's go deeper by exploring some imagery present in the song.

LIGHT AND SHADOW

More Than Anything uses a light/shadow motif to express the two main themes:

Love (1): lights and shadows comment Lucifer and Charlie's bond. They both have been hiding parts of themselves (shadow), but throughout the song they show their true selves (light)

Dreams (2): light is a metaphor of dreams and of how the characters relate to them

1- More than Anything starts with Lucifer and Charlie distant and in the shadows.

They are repressing a lot and have no idea who the other is. Still, as the song goes on, they get to understand each other:

All that I'm hopin',now that my eyes are open Is that we can start again, not be pulled apart again 'Cause in the end, you are part of who I am

And in the end they embrace in the light.

What is initially in the shadow comes to light. So, Lucifer and Charlie see each other for who they are.

2- Lucifer mentions his past dreams and summons light. However, he throws it away because he has given up on his ideals:

Charlie hurries to pick the light up, just like she is pursuing Lucifer's discarded beliefs with her Hazbin Hotel project. Still, Lucifer stops her and holds her hands. His daughter is his new dream and he is ready to throw everything away, if he can protect her.

This resolution is highlighted in the next sequence:

Lucifer remembers the Elders of Heaven attacking him, then he imagines their weapons pointed at Charlie. Out of fear he drags her away. What's interesting is that Charlie is targeted when she stands in the light, while the moment Lucifer pulls her to safety, she steps into the shadows. The meaning is clear. Lucifer fears that if Charlie takes the spotlight, she will attract Heaven's anger. So, he wants her hidden and sheltered in the shadows. Just like a child. This is why his hug is sweet, but also suffocating:

Charlie wants a different kind of love. She needs the father who inspired her with dreams and stories. Specifically, Charlie remembers a light show Lucifer put up for her on the spot:

This scene is key and it combines the light/shadow symbolism with another motif.

THE UGLY DUCKLING

In their flashback, Lucifer tells Charlie a fairy tale by using light as a medium. The story itself is pretty obvious:

I never dreamed of so much happiness when I was the Ugly Duckling!

A little duck swims in a pool of water, but suddenly grows into a beautiful swan. Lucifer's Ugly Duckling is a metaphor of his situation, as the swan has six seraphim wings and shines at the centre of the universe. Specifically, Lucifer's fairy tale is the inversion of his own story.

Lucifer used to be a beautiful seraphim, but fell from Heaven and lost his family (the angels). He is now stuck in Hell, as a little duck:

Lucifer: Now presenting… the magic-tastical back flipping rubber duck! Haha! That spits fire!

Oh look! Lucifer himself is a magic-tastical duck, who spits fire :P

So, his fairy tale gives a happy ending to his own tragedy. It is a wish. A dream. It indirectly shows how Lucifer has been handling pain and misery by creating. It also suggests that Lucifer puts himself at the centre of his dreams. He is the ugly duckling.

At the same time, Charlie's narration tells us about herself and how she sees her father.

When I was young, I didn't really know you at all I always felt so small But I hеard your stories and I was enthralled Thе tales about your lofty dreams, I listened breathlessly Imagining it could be me

First of all, Charlie states she never knew who her father was. It is implied Lucifer kept his distance because of depression:

Charlie: We just have never been close. After he and mom split, he never really wanted to see me. He calls, sometimes, but only if he's bored or like needs me to do something.

This is highlighted in Charlie's memory too, as Lucifer appears in a dark study room. Not only that, but he is in the spotlight, while Charlie is in the shadow, which is a metaphor of how she felt distant from him:

Still, Lucifer embraces little Charlie and shows her some light. He reveals a caring and idealistic self that Charlie is initially unaware of. And this version of Lucifer inspires his daughter.

This affirms that Lucifer's dreams aren't useless. Sure, they are left unfulfilled, but they still motivate Charlie. They are why Charlie is who she is. Moreover, Charlie is enchanted by a simple story, not a big manifestation of power. It isn't a theme park or a circus or human free will. It is a short fairy tale Lucifer comes up with in a matter of seconds. No matter how small, a dream always touches dreamers.

Secondly, Charlie sees herself as the protagonist of the story. She wants to be at the centre of her father's universe and to make him proud. Well, Charlie is going to do exactly this. She is Lucifer's dream. She will fulfill his ambitions. She is turning into a beautiful swan.

Lucifer's arc starts when he understands this:

I've been dyin' to find out who you are I've been waiting, wanting the same thing Looks like the apple doesn't fall far Took you a while I've missed that smile

The King of Hell has been stuck in his own head, consumed by his depression. This is why he is initially alone and surrounded by mediocre rubber ducks. He can't create anything new because he is too focused on himself. The moment he opens his eyes and looks at Charlie, he finds hope again:

I'll support your dream, whatever lies in store And who could ask for more?

Charlie is his new dream, so he should do his best to help her become who she has the potential to be.

When Charlie is a child, Lucifer tells her a story, where he himself is the protagonist. Now that Charlie is an adult, Lucifer must accept Charlie is the protagonist of her own story. And he must help turning this story into reality. This will be his greatest creation. A duckling becoming a swan. A daughter growing-up.

PASSING THE TORCH

This frame has Lucifer:

Use his light again

Spread his wings

He starts the song by throwing his light away, but ends it by summoning a bigger and brighter torch. Similarly, he starts the episode making rubber ducks out of depression, but ends it with beautiful swan wings.

This metamorphosis happens because Lucifer isn't putting himself at the centre of the universe anymore. Rather, Charlie is his universe.

Lucifer creates a pocket-dimension, which is a bigger version of the fairy-tale of the flashback and has Charlie be its protagonist. He has her play with water, like the little duckling:

And has her fly at the centre of the scene like the swan:

In this scene, he gives her the spotlight, both in how he exits the frame and in how he has the light follow her. Charlie is the swan shining brightly at the centre of Lucifer's world (the circus).

More Than Anything starts with Lucifer desperate and focused on the microchosm. It ends with him finding hope in Charlie, who becomes the key to a bigger and more beautiful reality.

Lucifer's biggest success is that he gave birth to Charlie and showed her the light (dreams), even when he himself felt engulfed by the darkness (hell).

#hazbin hotel #hazbin hotel meta #lucifer morningstar #charlie morningstar #my meta #asksfullofsugar #anonymous

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