#<- living up to the tag

[melit0n]

In no particular order, (or in order, if you can rank them) what are your top 5 Ethel Cain songs? 🎤

Oh Tonee, this is like opening up one of five music based Pandora boxes for me 😭 please forgive the rambling.

Family Tree from Preacher's Daughter

This song drives me MAD. I could talk about her vocals in every song, but her voice in this makes me buzz. The bass throughout is ominous and incredible: same can be said for the SFX. I'm a sucker for when artists add in extra things like that. The flies put me on edge (which links it to Ptolemaea and eventually Sun Bleached Flies) and the bell ringing out during the first chorus makes me feel like I'm attending a funeral. Literally 'for whom the bell tolls', which kind of foreshadows her death later on in the album.

I genuinely think the lyrics are the closets I've come to a religious experience. "They say 'Heaven hath no fury like a woman's scorn', and baby Hell don't scare me, I've been times before." Insane. Ate and left not a single crumb. Her dead tone on "I've killed before and I'll kill again", being a callback to Two-Headed Mother's "I've loved before, I'll kill again" is just. Ugh. I can't even describe it.

+ Special mention to Family Tree (intro). I haven't, and will probably never, get over "Jesus can always reject his father, but he cannot escape his mother's blood."

Televangelism from Preacher's Daughter

There's very few songs, to me, that encapsulate a painful yet quiet death well, and this is certainly one of them. It's a solemnly comforting tune. Considering lore wise, it's meant to represent Ethel's soul coming out of the basement after she's been killed, it makes sense.

The first half genuinely sounds like something the pianist in my Catholic School used to play before prayer started. The fact that it was entirely improvised is absolutely insane, too.

Plus, the incredibly smooth switch from August Underground to this is brilliant.

Ptolemaea from Preacher's Daughter

Literally every part of this song is amazing (pretty much all of Preacher's Daughter is a work of art to be honest). It's definitely one of the few songs that genuinely unnerves me; still has the same creeping, fearful effect after the hundreds of time that I've listened to it.

First, off: The title is a reference to the ninth and final layer of Dante's Inferno: betrayal. Ptolemy commits treachery (a betrayal of trust), which lands him in the ninth circle, hence its name. This is what Isaiah does to Ethel. It's a somewhat niche reference that I love.

Secondly, Death's monologue (some people also interpret this voice as Isaiah, the man who kills and cannablises Ethel by the end of PD, but I'm just generalising it as The Grim Reaper) is so, so eerie. The repetition switching between "Heard you, saw you, felt you, gave you" to "Need you, love you, love you, love you" with Ethel screaming and asking for him to stop in the background always gives me chills.

Thirdly, all the lyrics go hard in this one. "Calling me the one, I'm the white light: beautiful, finite", "Even the iron still fears the rot" and "I am the face of love's rage" are some of my favourites.

Honestly? The entire song puts me on edge. Listening to it, I feel like I'm millimetres away from the sharp point of a knife. The build up to her screaming "stop" is full of panic, but cathartic.

Two-Headed Mother from Inbred

The distorted guitar at the start mixed with her vocals itches my brain so well. Her tone and dictation in this is really 'soft' too, and more spoken than sang, which I adore. It sounds less like a song and more like being hummed an eerie tune as you drift in and out of sleep.

Overall, despite the topic (of both the song and album in general: it's called Inbred for a reason) the beat is an absolute groove. Never in my life would I have expected a song about trauma passed on from a mother so a daughter to have such a blend to it.

On the note of the topic, just, hello?? It mixes a mother's hatred and love and passes it down to a child who sees it in every man she sees. Let alone paints her lover in a horrible image in order to remove guilt from how badly she's treating him. Just how her dead mother still has dictation over her, she exerts the same amount of control on her lover. She knows very well that her two headed mother brought her here and can send her right back.

Head in the Wall from Golden Age

This one just encapsulates so, so much religious based anger and debilitating depression. Every single lyric oozes with pain and I always have to like, sit down when this comes on.

Growing up a Catholic kid, in a not so nice religious environment, yeah. Just yeah. Misogyny was rife and "It's always my fault: girls will be bitches, and boys will be boys" resonates with me a lot. I could say a prayer wrong and be told to sit outside in Winter to do my work for the rest of the day, and a boy could chase me around the playground, pull my hair and try to punch me and it's still be my fault because boys will be boys.

The whole song just illustrates a very depressive mindset, being more angry towards yourself, and then moving on to environmental factors to try and shift blame in an attempt to stop feeling shitty. For those reasons, I don't listen to Golden Age or Carpet Bed all too much because they sucker punch me right in the chest a little bit too painfully, but HITW is still a favourite.

[chiptrillino-art]

(ID in ALT Text) Happy very, very late Mother's Day!

I am not saying that zuko is sokkas substitute for kya. or they look in any way similar! The whole concept here is that something was happening at the moment, be it how they were laying in bed, how the hair pooled over the pillow, or how sokka was able to hold onto it. It just brought sokka back. It triggered a memory, and suddenly he relived a brief memory. Making him suddenly miss his mother again. hope you enjoy!

[beebfreeb]

Louisiana Meshi!!!! Thistle will be at the crawfish boil.

[what-am-i-doing-in-this-fandom]

Suddenly, bell bottoms aren't so bad

Bonus sketch, because I had to vv

"Stop checking out my assistant, Stanley."

[ohnonotthehorrors]

Can I... talk about the theory that winners help craft the next game?

Because, and I really can not say this enough, it puts So Much into perspective.

Everything starts out Normal. Three lives, simple, cut and dry, there hasn't been a winner yet. No one to help craft the game. (And there's something to be said about how simple it really was. Not even a real expectation of the world becoming pvp or combative. No idea of the war to come)

Then Grian wins. The green killer, the man who vowed his first life to the one whose life he took. The next game the boogie man is born. A mechanic that allows and, in fact, demands, a green kill. People can trade lives back and forth, currency and debt wrapped up in one. (can we still be friends? Said the red partner. A life time later and reds are hostile, alone. Maybe it's an answer: No. Not anymore)

Scott wins this time. He refuses to play the game. He will not kill his team, he will love and he will do so fiercely and with all of himself. The next game people are attached through to their very souls. Every bit of damage to one soul is done to its twin. There is no boogeyman. (There is no way for a widow to be left without their love)

Pearl wins and she wins a blood bath. Spent the game draped in red, only wolves for company. Sitting in her tower, shivering in ice, maybe she wanted it to end. To see where it would. Limited life rewards you for killing, limited life has a clock tick tick ticking down, you always no how long you have. A curse yes, but a blessing too.

Now It's Martyn's turn.

And what a turn it is.

Keep your secrets, says the disloyal man, keep them well. Everything hurts, everything Matters, says the man fracturing with every loss. (What if we could love each other without hurting? Says The Hand, who never wanted to be coated in blood)

More importantly, Martyn has always seen the watchers below the surface. Now, they're right here in front of him. Something that could almost... be rebelled against, no? Something that someone else could finally point to and say: hey, hey isn't that familiar?

[sabertoothwalrus]

some kabru party memes

[newttxt]

this is opla!zoro, to me 🙂

[heartorbit]

happy halloween! 🎃🐈‍⬛👻🐇

[littlefankingdom]

Bruce Wayne is canonically a very handsome man (he is called a "pretty boy" and he is in his 40s, for fuck's sake), and he is pretty famous as a rich philanthropist who doesn't want to leave his awful cursed crime infested city. So, there must be a ton of people thirsting over him on the internet. Fancams, edits, fanfics and imagines ("kidnapped with Bruce Wayne 😍 by a Gotham rogue"), the whole charade!

And anytime one of the batkids stumbles on a thirst post, they have the most dramatic disgusted reaction, loudly gagging, before sending the link to the batkids chat, because if they must suffer, then they should all suffer. Clicking on a link in this groupchat is like playing russian roulette, and getting rickrolled is a good ending.

[amazingdeadfish]

It's the Spookie Month

[ink-ghoul]

What if I re-paint my own painting, but like, not pixel this time, it would be fun

[sandflakedraws]

re : how each brother reacts learning that they can't go back

you'll have to pry the "all the Brozone Bros knew what happened at the tree" headcanon outta my cold, dead dead dead hands.

[uncharted-constellations]

It’s been a minute, (both post wise and design wise) so decided to update the fam + a couple additions compared to last time

[stealingpotatoes]

If BBBO had met would Bail be able to improve Owen's opinion of Obi-Wan?

he can try...

(commission info // tip jar!)

[umblrspectrum]

i got lazy in the second panel and didnt feel like coloring or whatever bite me

[bungobble-my-balls]

OK correct me if I'm wrong, but I feel like the main 'yin/yang' parallel with Atsushi and Akutagawa is not something like 'this one is bad but secretly has a good side and this one is good but secretly has a bad side'.

I feel like it's more about 'who they are at their core vs who they choose to be'.

At his core Akutagawa is kind and at his core Atsushi is not. But despite this Atsushi tries every day to make the kinder choices and I love him so much for it. He has to work so hard to be good.

He wants to be a bitch SO bad I know he does but he tries his best to help people and be nice (sometimes he fails but that's OK <3)

Atsushi doesn't always WANT to help people, a lot of the time he's selfish and scared, but he does help people anyway. He keeps helping people over and over again. There's still some selfish motivation to it, and his initial motivation for helping people was because the headmaster told him that's all he was worth, but overall he does care about the people he helps and it weighs on him if he fails to save them. And of course, as the series goes on he starts helping people more because he can rather than because he feels like he needs to.

In Akutagawa's case, he's still capable of being kind but his environment led him into being someone who chooses to hurt people. But he's always been a protector at heart. In the start he was bad compared to Atsushi because he was choosing to hurt people and keep the cycle of abuse going. Just like how Atsushi developed in why he saved people, Akutagawa starts to get redeemed when he chooses to not just act on his rage. Not only does he start to spare people, but he speaks more kindly to them (apologising to Higuchi and telling Kyouka he's proud of her). It all culminates into the moment he chooses to help Atsushi and sacrifice himself for him, going back to his core value of being a protector. Even when he's finally revived, he keeps this role in his new position as Aya's Knight.

I kind of see the streaks of white in Akutagawa and the streaks of black in Atsushi not as their 'hidden sides' but as their fundamental selfs. That's who they are at their core, and their main colours (black for Akutagawa and white for Atsushi) are how they're presented to everyone else and how they try to have people see them as.