something bad happened to you, and you died, and you came back wrong.
not wrong all the way. the little ways. you forget important dates, stopped going out with friends. it's harder to make you smile. you're apathetic towards things you used to love, afraid of places you used to go to cheer up. quieter. flinching. different.
you came back for love. you're still here for love. what pulled you back was a brightness so loud that even death couldn't outshout it. death heard the call and smiled at you and said okay. go home. somebody is waiting for you.
but you came back different. like lot's wife; you've turned into salt. you used to chirp through life in hops and skips; but now you lose skin just standing up. you have to move slower, skimming across this world without-touching-it. most things feel dull - until they're suddenly all-too-much. life, and being alive just rushes up and over you and you get hopelessly crushed.
you try to explain it to them: it is ugly, but this is what you are, now. the huge golden hoop of your halo now a little bronze ring. you are still watering your plants and wearing the same clothes. after all, you worked hard to come home. this life; so odd and off-color, now that you are wrong.
but they waited for you - it's just that they wanted the "you" that happened before this. the "you" that could sing in the show and hug people tight and look at a blade without breaking down to cry. the you with a smile in pictures. god, holyshit, it's like looking at a completely different person, isn't it. that other-you; the one they actually wanted.
you are the consolation prize. you are the body that forgot the ghost. you are the memory of the bad thing, and the death after; like you are wearing that memory as a banner. you are a fragment, an assembly. simulacrum. you don't make eye contact in mirrors, afraid the light will glance off and your true nature will flash back at you.
you hear them talk about it in their hushed, desperate whispers. sometimes they even admit it to your face; harsh and violent, acid thrown at christmas dinner. god, can you just fucking be normal again. you do not remember what normal is. you had to climb so far to get back here; you are far too exhausted. you want to open the glass door of your heart and show all the gears. can you help resolve whatever got messed up?
you try so, so hard. you came back for them. because you believed they would love you, even when you were so horribly broken. because you believed they would be patient. because you believed unconditional meant "without exception." you cannot do things the same way. you just get tired too quickly these days.
you want to put them on a couch and pour them the tea with hands that shake more than they remember. you want to line them up and draw them a map of where you have had to wander. you want to show every bruise in a backsplash; the little helpless ant of your soul carrying all that weight, over and over. you want to say: yes! it is different! but i did it for love!
you want to say: "i'm not the same, but i'm yours and i'm here. can that be enough?"
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Here is a dream Jimmy has had again and again: he is sitting in a cage.
It is, he thinks, probably not a particularly nice birdcage. No one’s bothered to gild it; maybe he should consider it lucky for the white polymer enameling that means the bars don’t rust, but in some ways, it’s more insulting that no one’s tried to dress up that it’s a cage. There is straw on the bottom, a water dish, a small plate of fruit. There are mirrors and colorful bells and perches hanging from the ceiling. There is a knife on the floor, half-hidden by the straw and so polished that it almost looks like a mirror.
As he starts to pull his hands away from the straw he’s been sat upon, recoiling from the knife for reasons he doesn’t know how to explain, he can see he’s not alone. There’s a bird in here with him, a little yellow canary. (Of course there is.) The bird mostly hops, rather than flying, but its wings aren’t clipped; it could fly if someone let it out of the cage. It has a lovely song, and it sings it over and over, as though it doesn’t know what else to do when it’s locked in.
That’s normally when Jimmy looks for the door, then. There’s a little black digital lock holding the cage shut. It’s on the wrong side of the bars and the bars are too close together for him to reach anyway. The first time he had the dream, he spent the whole time there, trying to figure out how to get at the lock. He couldn’t figure it out, though, not before he suddenly stopped being able to breathe.
The rest of the times he’s had the dream, he’s bothered to look outwards. There, he sees people; many of them are familiar, but most of them are strangers, blurry figures that are only distinctive in that all their eyes are looking at the cage. He yells for their attention, rattles the cage, rages, and sometimes, one of the familiar faces sees him. Tango and Joel at least tried the lock; they didn’t know the passcode any more than he did. Others talk to him, but don’t bother with the lock. Jimmy tries not to be angry. It’s not like it will open without the code.
No one else seems to see him at all, though. They’re too focused on the bird. His words steadily get more and more drowned out by the birdsong, even as the room starts to heat up and smoke starts to coil on the ground. By that point, not even the people who know Jimmy seem to be able to hear him over mesmerizing birdsong, and as he desperately tries to get someone’s attention, vision swimming in and out, desperately tries to reach the lock again, do anything, nothing happens.
And then, one time, they turn to look at him as the bird succumbs before he does to the smoke.
They still don’t get the door open in time.
But the last time Jimmy has the dream, it’s shown him what to do.
He picks up the knife.
And as he exits the mine with blood and yellow feathers on his hands, he does not regret it at all.
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I've seen some people complain about loser, baby featuring Husk comparing his gambling addiction to Angel's sexual abuse. And I feel like this criticism entirely misses the larger context of them bonding over having both sold their souls. Like, maybe slavery isn't quite the right analogy for this situation (it's unclear what power owning someone's soul actually gives you. Alastor and Valentino resort to bribery and manipulation respectively, so whatever power it is doesn't seem to be absolute) but its pretty darn close.
This song is one person who doesn't fully own himself telling another "our lives our fucked beyond repair. Give up your pride, it won't save you anymore. But. We can still make something worwhile out of our lives, if we acknowledge the pain and help each other weather it."
An example ive seen criticiszed a lot is when angel says "it's OK to be a coked up dick suckiny ho?" And husk says "baby that's fine with me"
But in context, husks reply is less '"I see no problem with this and think it's fine" and more "I get it man. I won't abandon you for the things your master makes you do, or the way you cope with them. We're in this together"
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Hey there! Are there any other beasts in slug city or is it just the orchid and electric ones?
there are other beasts !!
Smooks has one, it's made of paint! Best seen in this image
Delta and Oster and Co. have them too, Delta's is a round-ish beast with many leg and eyes surrounding its entire body with waterfall-like tears. Oster and Co's is one with multiple heads, each representing one of the "main" alters. I would like to heavily rework these both design-wise and concept-wise. Here's old art of them!
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actually it occurs to me now that you could read "titane" through a transfeminine lens and it would make way more sense than the transmasc interpretation. our protag is a woman who conceals vital parts of herself in an attempt to appear acceptably masculine, despite the severe toll it takes on her. her father insists over and over that she's a boy in the face of overwhelming evidence to the contrary. gradually, he starts to come to terms with the fact that she isn't his son and never has been. at one point he walks in on her wearing a dress and reacts not with anger, but with love and understanding. in the final scene, after being mute for nearly the whole movie, she rejects her male name and asks to be called her female one, and her father complies, showing that he's come to accept her for who she is. like this isn't even me reading into things this is just literally what happens in the movie
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