Something I love to think about is every iteration of Leo’s relationship with Splinter and how Splinter’s interests always define how a Leo presents himself.
I used to abide by the idea that a Leo will simply emulate his Splinter directly, and to an extent I still believe that to be the case, but moreso I think Leos have a tendency to mold themselves into what they believe is their Splinter’s ideal son - someone who embodies all the traits Splinter has explicitly shown to admire or value in a person.
Most of the time, they try to be a dutiful and honorable boy abiding by the full extent of ninjitsu teachings. Then you have Rise Splinter, who very much still has undeniable prowess in the art of fighting and being a ninja, but when it comes to how he shows his interests to his boys…one thing reigns supreme.
Acting. Shows. One liners. Flamboyance in the name of gaining an audience’s attention.
He showcases Lou Jitsu movies on repeat for the boys, passing down the morals and words from those movies to them with no small amount of pride. All while fully expecting them to respect these teachings.
So, of course, Rise Leo picks up on this. He’s a Leo, after all, as much a daddy’s boy as any other variation of him, only he clocked his father’s interests to be different than most others. He picks up on the art of showmanship, of keeping things to himself so as to be a more exciting twist later, of treating the world as a set to act in.
He’s an actor, not just because Splinter himself was one, but because Splinter likes acting and showed one particular actor (unknowingly to the boys, it was himself) as the pinnacle of all his teachings. As someone to value and admire. And even more than that - Splinter focuses on the character the actor is portraying rather than just the man himself.
And I think this is all even more interesting when taking the turtle tot short into consideration, because very, very briefly, just as with many times else throughout the series, we see how easily Rise Leo aligns with his other selves, seeming to pick up the sword easier than his brothers do their own weapons - after quoting Lou Jitsu of course. After emulating his idol - the person who his father seems to admire so much.
Point being, it’s so interesting to see how Leos tend to mold themselves in one particular way throughout every variation - that being, what their father is shown to value most in people.
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First of other-pairings fics. Calliope & Lucienne. this dynamic turned out odder than I thought it would.
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At long last the Dreaming is normal again -- such that the Dreaming can ever be normal. After a century of decay in which Lucienne had feared the Dreaming might simply fade away, after the manifestation of the vortex in Rose, when she'd feared it might be ripped apart entirely--after all this, the Dreaming is peaceful again.
It should be peaceful.
Why can't she feel it?
Lucienne is wandering the palace gardens. She does not often wander. Usually she walks with decision. But all the major reconstruction is done in the library, and around the Dreaming more generally, and while there is always general organizing, and a continual influx of new books, her time is not currently fully occupied.
And so she is wandering. Something she had only truly done during Lord Morpheus's absence, when the library became too unspooled to tend, until things decayed to the point that even the gardens felt treacherous and she had retreated to the palace.
She does not think she is meant for wandering. She likes to have something to do. One of the hardest things during this century of a crumbling Dreaming had been not being able to do anything.
It's as she is walking the gardens, the peaceful-yet-strange breezes of the Dreaming fluttering the tails of her coat and chilling the tips of her ears, when she encounters a familiar--yet unexpected--dreamer.
She looks much the same as when Lucienne had last seen her, those thousands of years ago. Poised, elegant, timeless. She's wandering just as Lucienne had been doing, the long hem of her dress brushing the grass, and despite her bare arms doesn't seem chilled by the cool wind. What is she doing here?
"Lady Calliope," Lucienne greets as their paths cross at an intersection, surprise slipping past her usual professional neutrality. There is no perfect way to say, I thought Lord Morpheus had barred you from the Dreaming, but Lucienne is a master of tact. "I... had not expected to see you in the heart of the Dreaming. Welcome."
They had known each other once, though they had never been friends. Lucienne is, and was then, a custodian of stories, and could not help but to admire the muse who had inspired so many. Calliope was, and perhaps is still, a being of grace, and there was much to admire in that. But there was always the wedge of Morpheus between them and the possibility of friendship.
Calliope gives her a wan smile and an acknowledging dip of her head. "Lucienne. Greetings. Fear not, I've not come to trouble your lord. He would not admit me anyway; I know this without having to approach the gates."
Lucienne thinks this is true; if she were meant to find her way inside, she would have already, else Lord Morpheus would have found her here. But Lucienne had not been aware they were even on such meager visiting terms.
"It is no trouble," she says. "You are welcome."
It is strange, though. An upset to the tentative balance. Only Morpheus softening his ire could not be a bad thing... could it?
Calliope trails her hand along a flower petal; the stem shrinks back, and then reaches for her again. She touches another: it shrinks, and then reaches. "Yes, it seems he has given me leave to wander the gardens. I suppose this is progress."
Lucienne's curiosity overtakes her propriety. "Did something... change? Recently?"
"Oneiros and I met recently under poor circumstances," Calliope says, and looks up at the tall spires of the palace, just visible over the trees. "We had not spoken for a millennia."
When she doesn't continue, Lucienne asks, "And... you are speaking now?"
"It was I who first went silent on him," Calliope says, skirting the question--though perhaps the fact that she's outside of the palace instead of in is its own answer.
"I remember," Lucienne says. She remembers, too, Morpheus afterward. Lucienne does not believe in exonerating him of fault, but when it comes down to it she is Morpheus's man, so to speak. If there must be sides, she always knows which one she is one, particularly when it comes to his heart. And there are always sides when a marriage falls apart.
She wonders if she should be wary at all of Calliope's renewed presence here. Not that the goddess would mean harm, but harm does not have to be meant to be enacted.
Calliope gives her a knowing look, like she suspects much of what Lucienne is thinking. She is clever, and perceptive. Once Lucienne had thought--hoped--that she might be good for Morpheus. That she had mettle enough to withstand his tempests, and to stand up to him, and yet the gentleness to be soft when he needed it. That her steady tides might temper his storms. Perhaps they had, for a time--Lucienne's knowledge of the situation is certainly not entire. But storms and tides... too easy for the storm to whip the tide into a froth. Too easy for the tide to pull back into the ocean right when the storm is about to fall.
"We are not speaking," Calliope says at last, "though I have made the offer. Perhaps I was silent for too long. I could not forgive him for how he treated our son. Still, I cannot. But..." She looks up again at the highest spires of the palace, expression creasing in a pain that's familiar. Lucienne has felt it herself. "But, I think that I no longer begrudge him the strangeness of his grief."
Lucienne wonders if Morpheus's grief is not so much strange as it is simply buried, but doesn't say so.
Calliope shakes her head, looking back to Lucienne. "I speak too much. Long has it been since I have been in the Dreaming this way. It loosens the heart, does it not?"
Perhaps for dreamers, Lucienne thinks. For herself, she knows quite well how to shore up her heart. Perhaps she learned it from Morpheus, all those years perched upon his shoulder.
"The Dreaming does reach for emotion," she says. "It recognizes you."
Calliope touches one of the flower petals again. "Yes. Tell me, how is he? You have always had a most perceptive eye."
Met under poor circumstances, she had said. Lucienne wonders whether Calliope knows where her former husband was this century. The manner of the question suggests that she may, but Lucienne won't speak of it regardless.
"Lord Morpheus has been busy," she says. To say that he is well might be overstating it. But he has... changed, she thinks. Perhaps for both good and ill.
"I imagine," Calliope says quietly.
"But it is peaceful here," Lucienne adds. She will convince herself of it.
"So it seems," says Calliope, even as another chill wind rustles her hair. "I am glad of it."
Lucienne wonders if Morpheus will speak with her, eventually. And whether that will bode healing or more grief.
A stronger wind blows past. Calliope looks away, as if hearing something far off--the morning is calling her to wakefulness.
"My lady--" starts Lucienne, before she can disappear--but Calliope says--
"Please. Calliope, now." Her smile twists--reflecting on something Lucienne does not know of. "I am finding I don't care much to be... deified in this age."
It is strange to have seen her and Morpheus in the early notes of their courtship, at the peak of their joy, its plunging wake, eons of silence-- and to see them now, backs turned to each other, and yet something so similar upon them. Sometimes, Lucienne does not know what to do with all that she has witnessed.
"Calliope," Lucienne amends, and Calliope gives her a real smile. "Shall I tell him you were here?"
"I am sure he knows already," says Calliope. And this is true, Morpheus certainly does.
"Shall I tell him anyway?" says Lucienne.
"I do not wish to make you into a messenger between estranged former lovers; you have more important work to do than that, I am sure," says Calliope, but looks contemplative. "Yes. Do tell him. I should like this open door to be..." her gaze flicks up again at the palace, and then away, "acknowledged. Thank you, Lucienne. Fare you well."
Then she's gone, back to the Waking. Lucienne watches the gently-swaying flowers. Truly, strange breezes are blowing in the Dreaming. And she does not know if the tentative peace can hold against them.
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could you explain the meaning/context of drugstore perfume? I know little about the band but intriguied by your post
yes omg it would be my pleasure!!
so lots of hesitant alien as an album is about hometowns, specifically feeling trapped in yours and spending all your time as a kid wanting / trying to escape. lots of hesitant alien is also really easy and natural to read through a trans lense which only adds to the escaping your hometown motif, with how many young trans people from rural areas / small towns feel like they need to get out of their town before they can really become themselves. the subject, aka the 'she' of the song is a girl who kind of embodies this (trans) feeling of wishing for an escape from your small town.
“she waits at windows” - this girl is wistfully waiting for a chance to escape. the image of a girl ‘waiting at the window' for me always brings to mind the idea of a military wife gazing out the window waiting for her deployed husband to come home. its not exactly the same in this context, since this girl isn’t waiting for someone to come back, she’s waiting to be the person who leaves, but the images are similar in a way.
“her dreams don’t show in color” - she feels so trapped in this town that she can’t even see color anymore, it’s literally draining the life out of her. she’s so held down in this place that she barely even knows her own name, which circles back around to the transfem reading of the song. the place she’s living makes it impossible for her to connect to the person she feels shes meant to be.
“and she explains how long she’s waited for / she wanted more” - as a trans or otherwise gender noncomforming kid, you often feel like you’re meant to be more than what you are, but you have no idea what exactly it is that you're supposed to be, and even less idea how to become it. you’re always waiting for something - you don’t know what, but you know you’ll know it when you see it.
“wear another girl’s evening out” - this is a pretty undeniably transfem line to me. this girl is gazing wistfully at other girls, wishing she could live in their body for a day, wear their clothes for an evening. the way the line is specifically phrased reads as if to say she wants to wear another girl's experience in the world at large.
i am definitely a firm believer in the idea that mcr’s entire discography is made infinitely more layered by treating every song like a person having a conversation with themselves, especially in songs that switch between he and she pronouns or have an ambiguous ‘she’ character. this interpretation is central to the idea of the demo lovers both being gerard, which i think makes the story so much more deeply heartbreaking and resonant. this song could be read as gerard speaking on a relationship they had with this woman, but considering the context it reads to me like the speaker is gerard at the time that they wrote the song, while the ‘she’ is a younger gerard who had yet to escape their hometown.
even down to the title of the song - ‘drugstore perfume.’ it has this element of ‘cheap’ femininity. since mcr really made it big, gerard has pretty much always been one to express femininity through performance and just generally interact with femininity outwardly in a very costume-like way. thats not to say that they were treating femininity itself like a costume though, because i feel like that has a negative / exploitative connotation and that has never been how gerard treats femininity. even at the peak of them expressing it on stage as an element of performance art, they were also wearing neutral colored eyeshadow in their daily life and growing out their hair just because it made them feel pretty. their femininity has always been an important part of them, it has never been 'just' a costume or something they used only in a 'stage-gay' context or to piss off homophobes, even if that was an element of it.
also, something mira girlgerard pointed out earlier that i hadn’t noticed until now: drugstore perfume kinda transitions into get the gang together, which makes sooo much sense when you consider what each song is about. drugstore perfume is about longing to escape your hometown, and get the gang together is about returning to it long after you finally managed to escape, reuniting with old friends (‘the gang’) and eventually remembering what made you leave in the first place. one of the most clearly transfem lines in all of hesitant alien is in get the gang together - “whatever happened to rico / you heard what happened to sly / anyway, they all call him michelle now / and he had a new baby, a little girl gemini” - the girl from drugstore perfume is returning to where she escaped from and hearing small town gossip about her, who she used to be and who she became once she left. hesitant and arguably much of mcr’s discography is autobiographical, and this line is included in that imo especially with regard to the fact that gerard’s daughter is in fact a gemini. they are two halves of a whole song, and in turn tell two halves of the story of one whole life. i really like this interpretation because i feel like it fits nicely into the whole vibe of the current tour, looking back on when times were infinitely harder and it didnt look like there was ever going to be a way out and then looking all around you and realizing you found it.
anyways im no lyric analyst and i could be reading too far into lots of this but thats just some of my thoughts on this song. i could honestly do a line by line analysis if i had the time to, its just so packed with meaning and room for interpretation. anyways everyone go stream hesitant alien by gerard way right now
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"still life" by rm - mini lyric analysis
I'm still life, but I'm movin'
Just live now, goin' forward, yeah
A still life that does not stop, keep my flower blooming again
finally time for me to ramble about kim namjoon's stellar wordplay and lyricism :D
already namjoon sets up the seemingly paradoxical nature of this song with that first line "i'm still life, BUT i'm movin'." the word "still" can refer to something's continual action, like "life is still happening", but it can also be used as an adjective, like something is calm and peaceful. when a river is still, it's not moving.
so in the first line, namjoon presents the statement "i'm still life, i'm still living and existing and life is pretty stationary right now" then juxtaposes it with "but I'M moving, i'm the one going forward." yet then he says "a still life that does not stop" implying how no matter how "peaceful" a still life may feel it's always moving through time
Still nonstop life
Shall my flower bloom again
you're always moving and your external world is always moving too, so it's easy to feel you're trapped in the same mundane routine everyday. it's a "nonstop still life" and you're just racing to catch up to where you were ten seconds ago. and let's not even start on how this is perfectly visualized in the still life mv where namjoon is on a train, meaning even if he stays still, he's still moving forward with the train, and if the train stops, he's confined to that space for how far he can move forward. i knew the mv would slay, but i didn't know it was gonna be a whole freakin artistic metaphor so props to the producers behind that one.
also super cool how namjoon mentions flowers in these lyrics and he asks "shall my flower bloom again", probably referencing his title track "wildflower". if the wildflower is supposed to represent him, then it's like he's wondering if this nonstop still life will allow himself time to grow and develop.
OKAY ONE MORE THING.
Gimme no name 'cause I'm untitled (Oh, yeah)
My life is on display, still life, still life
I want to escape the frame of this canvas (Oh-oh)
a big theme in indigo is about namjoon grappling with his identity in the midst of all these expectations people have about him and namjoon ingeniously introduces the metaphor of a painting to describe this. he mentions how he is "untitled", a moniker often given to pieces of art that don't have a name (which is also how he describes himself in "wildflower"). the term "still life" can be used to refer to "still life drawings" which are what the name implies: drawings of inanimate objects in the natural world. if namjoon sees himself as a "still life", he is quite literally trapped on a canvas in a painting where nothing moves. one might also speculate that he no longer wants to be seen as just an "artist" or be identified only by his "art" since heaven knows that literally describes the last 10 years of his life. it calls back to "Yun" where he sings "i want to be a human before i do some art"; namjoon is perhaps trying to reclaim his status as just another human being living life amidst all these people throwing all their expectations onto him.
The shadow cast over me by yesterday and tomorrow
also the way the line "the shadow cast over me by yesterday and tomorrow" perfectly encapsulates both a person's regrets about the past and their worries about the future, like *chef's kiss* brief and brilliant poetry
I just calmly livе errtime (Oh-oh)
24/7, yeah, baby, I’m on timе
I just live every minute and every second of today
and also i love the subtle imagery implied in "baby, i'm on time", which could literally mean he's punctual, but i get the picture of him standing on top of time, like maybe on the second-hand of a clock, so that he's moving forward with time itself and not pausing to think about the past nor worry about the future. he is fully in the moment.
okay that's it for real.
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