#(HEY SO I'M ALSO SCREAMING BECAUSE THIS RECURRING THEME)

[ochrearia]

This will update in time, but for now all I have

I don't have the courage to post this myself so this will probably be scheduled for some horrendous time at night. I also don't have the courage to point out who is who because I'm scared maybe they won't like how they sound, though maybe if I go into detail too hard it might be possible to tell. Lol. This isn't everyone yet. I still need some more time to see who everyone is, blah blah blah, bunch of stupid abstract brain stuff, but. Playlist of my friends I've made here... yeah

Wounds- doesn't count because that's me. Decided to put it there because why not. I don't need to talk about myself let's be real no one cares about that

Norduris. Funny, somehow right away this was you. I love when that happens, when a song just reacts so strongly with the whole person in my head I'm searching for. Everything I've seen of you screams this song and it's. Beautiful to me. Always is but it doesn't get tiring. So much of you seems like it was locked away and buried in worry. Wistful thinking and hoping for the future. There is so much good in you. I think I'll stick around for as long as I can to help you see that. Kind and comforting. Creative and inspired just about every time I've seen you, I think. But I think you worry too much. There's fear and anger in there and I think, maybe, I wish there didn't have to be. Well, not the unjustified ones at least. But it all pools together for a strength that I think fits you. Still hopeful and still going. I like that about people... That might be a recurring theme for everyone really. But it's still you, too. Such slow waltzing shades of gray, like fog and the cover of rain. Pastel yellow like the sun, deep, deep green accompanying the rest. There you are, Kry.

Lost. You know the song titles don't really mean anything before you might ask. I never take it into account. Just the way it sounds. I also think you worry far too much but then again you've gone through for too much. But you are creative, and fun, and uplifting. Think you have a little bit of a habit of subduing yourself in fear of something I never quite know. But you are patient, so patient and I value that a lot. Especially when it's given to me. Nervous at times, needing permission before letting yourself shine. Wisdom about you that sometimes I really need to hear. You really know how to rile someone up in a playful way and I don't think enough people play into such things anymore. Wonderful to see really. Like a slow stream in a still air, deep, deep gray and neon blue. Streaks of white too, liminal in a way that reminds me of a barren tundra with nothing to be seen in any direction. Nothing but you. Hey there, Gold <3

daydream. Augh, I feel like my brain is stalling over how to put everything I have seen into words. Something about you just feels so positive, an upbeat air to you even if you're not feeling okay. You're still there, and I see you. Confident a lot of the time, and it's well warranted I believe. Other times not so much. Kind and caring like everyone I know here is, and a childlike excitement every time we talk that I do adore. God you know so well how to make other people excited with you. And you care, so much, I know everyone does but there's something about it with you that's just... electric, is the word I think. There's different styles of care but that one is yours. Funny. I think you make me feel safe in all the fucked up ways my own mind will talk to me. Maybe it's because I think we have a lot of similarities. It's always been positive with you, even when it isn't because you make caring about you easy. You know how the light of the sun shimmers on a body of water? That's kind of how you move, a sweet caramel brown and autumn orange, little drops of red about your air. So wonderful to meet you, Karl.

demise. Again, I swear the titles do not come into play with this. I suppose there's only so much I can repeat about someone being kind, caring, and fun before it starts feeling less special. I promise that never happens, no matter how many people I know like that in my life. Especially when your style of caring is just so... calming. And determined. Offering so much to people you care about even if maybe they haven't earned it yet. That doesn't seem to matter to you. You're giving it anyways. You're a giver, I suppose. You do a lot of creating and it's stunning. And you offer so much to others because you want to. Able to make people feel safe and like they matter. Love the mischief you get up to a lot too. Dedicated to so many things. Greens of jade and pastel grass, white all between them like a snow flurry. A bit of silvery undertones. I'm glad that I get to know you Shed.

Night Beacon. I held off for a few days more before considering you because I wanted to be accurate. There is something to be said about being quiet, in a sense that is positive and not whatever I say when talking about myself. A good kind of quiet, maybe mellow is the word I am looking for. I like when my friends are passionate and you are no exception. A certain type of calmness that I can't quite explain. I think there is a kindness in your ability to just exist and that may not make, sense, but it's the best I can say. You tough through a lot of things you might not want to do but there's a strength in that. And of course, you are creative. I make friends with creatives a lot. I think maybe you are the kind of person I would pick first to surround myself with. Chill overall that can swap into a more serious frame of mind whenever needed, knowing how to navigate around vibes and situations while being kind. And still someone who is enthusiastic about things you like in a way that isn't overwhelming. It's nice. Might put you on a loop more often than I should, lol. Peach and bright orange, with yellow mixed in with it. Along with a pretty desaturated beige, the best I can put it. Literally like the air of the world during a sunset. You should be proud of that Isaac.

Autumn Afternoon. I'd like to think you quite pleasant and lively despite your words of "This group space of which I have butted in". Who cares if you did do that? You butted in and we let you because we wanted to. You belong here with us, and with me. In my head singing sweetly the soul of who you are. You worry a lot. Hey, I do too. Maybe we both definitely worry too much. Being anxious kinda sucks. But you know what? Here you are anyway. You worry about your place but you still sit here and take it. That's wonderful strength and you might say "I owe it to everyone else" but you are still here. You have a lot going on that tries to work against you. A lot of us do too, if not all of us. But you power through anyway. Underneath all that anxiety sits so much passion. Excitement for things you like. You're a damn good artist and a life to have around. Pastel lime and steel blue, dancing like petals swept into the wind of faded silver, hinted with aqua blue. Yeah. You're a wonderful one there, Storm.

[transmascxielian]

song analysis of michael caine by madness in relation to siffrin!!

[plain text of title: song analysis of michael caine by madness in relation to siffrin!!]

having recently gotten into ISAT and spent considerable time with my qpp discussing songs that fit siffrin, I've come to the conclusion that it is SUCH a sif song. PLEASE hear me out on this (ive no idea if theres an overlap between isat fans and random british ska band fans but if there is then hi!)

putting this under a read more both because its gonna be long and contain spoilers for pretty much the whole deal with ISAT. also apologies if I fail to pick up my autocorrect making me type 'saffron'

okay so. chronologically through the song theres just a Lot that makes me think of him. this may entirely be a reach but im too big a fan of this song to mind :]

'he's walking where I'm afraid I don't know/I see the firemen jumping from the windows/there's panic and I hear somebody scream'-- immediately the sense of disorientation and confusion that goes throughout both the song and siffrin. also the lack of subjects in the last line (who's panicking/screaming?) further gives this sort of like. unanswered questions that I think really fits sif and their whole. deal

'he picks up useless paper and puts it in my pocket'-- this is sif in the sense of how throughout the loops they become far more disillusioned with how much anything really matters. it all starts to pale in comparison to escaping the loop, and this especially resonates with the complete tunnel vision in the final loop. ALSO the inconsistencies in the entire song between first and third person remind me of the recurring ideas of like. identity and losing touch with yourself throughout the game. idk. im not sure if that's the case with the actual meaning of the song but yknow

'he can't remember tell me what's his name'-- themes of identity and memory and losing yourself. yeah.

AND THE CHORUS ITSELF IDK. 'and all I wanted was a word or photograph to keep at home'-- obviously the photograph thing but that's very literal, plus the idea of 'home' both in the song and in ISAT. also the 'all I wanted' alluding to regretting whatever caused the loop? which obviously creates the sense of his wish only being to have some stability and not. Yknow. a massive time loop. but hey ho

'the sun is laughing, it's another broken morning'-- loop. sun/star comparisons to be drawn, and the connotations of 'broken morning' in the context of being forced back to the same morning (or should I say, afternoon? [: ) repeatedly. also the connotations of 'another' as something trapping you/repeating ad infinitum AGH its so siffrin

'I see a shadow and call out to try and warn him, he didn't seem to hear just turned away'-- this reminds me of the whole like. futility of sif not being able to meaningfully help the others and just,,,,, agh,,,

'he had to sacrifice his pride, yes, throw it all away'-- further themes of a loss of an integral part of identity. I see this through the lens of siffrin's attempts to leave the loop becoming more and more desperate to the point of willing to compromise anything (of himself) for escape. fun!!

'his days are numbered, he walks round and round in circles'-- Oh You Know. repetition and never finding escape. siffrin..... aside from the whole time loop deal this line is fun to me in this interpretation of 'his days are numbered' but as the different iterations of the loop growing in frequency as opposed to the traditional use of 'days being numbered'. idk I just love flipping idioms

'there is no place he can ever call his own'-- again the themes of identity and home (or lack thereof). sif having nowhere to return to is suchhh an inciting theme of the whole game and this just completely summarises that. I also especially note the 'very' and how it finalises the whole thing; his country is gone, his memories are gone, and unless Something stops it, his family will be gone as well. I need to lie down.

'staring out the window there's nothing he can do now/all he wanted was to remain sane/he can't remember his own name'-- final verse before the last choruses and dear lord. siffrin. again with just the whole,,, memory and desperation and resignation. one very very reaching bit of analysis here is the shift in pronouns/person between the 'I can't remember tell me what's his name' and 'he can't remember his own name'; the forgetting of the name switches from an external thing that almost doesn't hold much weight to something symbolising a complete loss in self. if I'm then applying this to sif's character arc, I think this really just shows how their relationship with memory becomes more fraught and more of a source of stress throughout the game.

SO!!! I absolutely adore both in stars and time and this song, and just think it fits him so well. do you see my vision

[happyk44]

Fun facts about the OG Mary now that I'm thinking about her separately from June and retconned Mary:

Met Hera when she was about six and immediately fell in love with her

A running joke was that one of her friends wanted her to kill her dad (because youngest kills youngest) for reasons and she was steadfast against doing this, but would ALWAYS pause for a second when the option of "hey if your dad is dead then maybe you could marry your stepmom" because oh that's interesting

The other running joke was that everyone in the godly world heard about what happened (it was a thing) and whenever a god figured out that Mary was the little kid who inexplicably screamed "I LOVE YOU" at Hera and then burst into tears before running away, they would immediately start howling "that was you???" and Mary would both plot her suicide but also be like bashful giggling, twirling her hair, she talked about me?? type energy, lol

She inherited her dad's anxiety and paranoia but hates being in charge but also wants everyone to follow the rules (i.e. whatever she thinks the rules should be) and gets very annoyed when her friends point out that her idea of law enforcement is basically being in charge

Can't lie for shit but impeccable at acting (June can't lie for shit either but she also can't act for shit)

Works part-time in the underworld at Nico's request. The initial reason was to help her build confidence in around people because she had severe social anxiety, but as the daydream went on it just kind became a thing that happened. Ultimately the underworld feels safe for her so she just. Bothers the shit out of everyone until they give her stuff to do so she'll go away, lol

Does different tasks as part of her job, including, but not limited to, working part-time as a psychopomp with Hermes and Thanatos (wartimes makes collecting the dead a busy time indeed) (she also has gear that helps her see and grab souls because otherwise she'd be flailing wildly)

Hades tried to prank her as he does with all new hires but it backfired and now she's never allowed to drink coffee that she makes herself because the way she makes it means her heart will probably explode, and, no, she cannot make it any other way

Had this recurring dream (not a nightmare, she knows what a nightmare is and this ain't that) where the end was always her being strapped to a chair while two other versions of herself forced her to eat them ('twas a metaphor for repression)

Cries so much and all the time but also can not handle it when other people cried 'cause she doesn't know what to do and will sort of panic when there is no obvious fix or solution to make the tears stop (I ended up making this a thing for her whole cabin because I thought it was funny for it to be a shared trait)

For a while I had this running joke where if someone tried to compare her to her dad she would immediately panic and try to kill them (she looked a lot like him, and there was this moment I had written in my head where the kids try to see what they'd look like older and genderswapped and she looks so much like her dad Hades is caught off guard for a second before leaving and grabbing Poseidon who immediately starts cackling because holy shit you look just like him)

Active beef with Ash, Thanatos' kid, who thinks Mary who is one of the funniest people ever even though Mary's whole thing about is her being convinced that Ash wants to kill her friends despite there being no proof otherwise and also knowing, logically, that Ash does not want to kill her friends (Ash solely developed a survival instinct because she wants Mary to be the one who kills her)

Mary does love Ash very much - she's just trapped in her intrusive paranoia even when she knows those delusions are wrong

Anyway if I did bring OG Mary back, I think I'd want to give her a new name to separate her from retconned Mary, who is her own person. Something sky themed maybe, like how Coral is an ocean themed name.

Also I think it's so funny she was in love with Hera. Imagine Nico introducing her to Jason like "hey, she also has undiagnosed autism and severe sense of justice that makes her borderline murderous, talk it up" and then Jason ends up discovering that his half-sister high-key had age-appropriate horny dreams about their step-mom pretty much up until the day she died, lol

[skittidyne]

skittyyyy idk if uve answered this before but do any of the htkg cast have tattoos/piercings? besides hams tat lol

SO hahaha actually. most of them do.

i don't know if you noticed (for those who haven't read it YOU DO NOTICE IT) but there's not a lot of physical description of characters, outside of Key Moments/Recurring Themes. (such as christine's bell collar, or how vivienne's pov waxes poetic about dana)

only hammond and codi have tattoos (plural for both of them!). but most of them have more piercings than just the basic ear ones! it just never comes up... whoops...

but the reason most of the (magic) cast does is because they wear charmed jewelry! basic warded stuff, so it's very low-level, but hey. every little bit helps. (for example: natalie usually wears stuff to help ward off headaches, vivienne absolutely has at least one set with warmth charms to try to help her thermoregulate, and You Will Never Know What Charms Codi Uses Because You're Not Cool Enough.)

avery has two sets of earrings, an industrial, and an eyebrow piercing

vivienne has three sets - two in the lobe and one in the higher place on the shell. idk earring placement names.

natalie and hammond both have two lobe sets, though hammond usually doesn't wear his unless going out on jobs.

mark has just one set, but he always wears them (usually black studs, though he has a few options). he tends toward headache-warding ones, too. but also has a set that is supposed to increase your attractiveness level. no one knows why he thinks he needs this.

megan had a nose stud but lost it bc laziness. you'd think a healer would pay more attention to cleaning requirements of body piercings...

please imagine a scene like in the parent trap where christine tries to pierce emil's ears for him and he screams

(christine has just a regular lobe piercing. she, ofc, wears gold jewelry. it's the Aesthetic.)

yun-hee probably has her fox ears pierced! lucien doesn't, despite how often she tries to cajole him into it, pointing out all of the expensive jewelry he could show off.

now i'm imagining yun-hee and penelope holding down lucien and piercing his ears, too. he also screams.

isaac pierces sam's ears for him and sam does not scream. isaac, however, screams because he gets demon blood on him.

All Men In This Series Have Slutty Earrings And That's Canon. (actually i don't think oliver does.........)

i'm too wiggly about coming up with tattoo designs to ever 100% concretely design/explain what kind of tattoos codi or ham have. use your imaginations and that's word of god on that.

[fuckyeahkagepro]

Kagerou Project Comparisons -> Lyrics/Quotes -> “cliche”s “This ‘wish’’s end I won’t let it end by something that cliche’d!!” - Snake of Clearing Eyes - Imaginary Reload IV, Manga Route 2 [2018] [bolded emphasis mine] “ In this kind of clichéd story, There must only be one ending. ” - lyrics of Kagerou Daze, a song from Hibiya Amamiya’s POV [2011]

[japes-the-clown]

THE SPONGEBOB SQUAREPANTS MOVIE: AN INVERSION ON “COMING OF AGE” FILMS AND A CRITICISM OF ADULTHOOD

Hi hello hey it’s me Jericho Jay “Japes” Marshall out here with a pretentious love letter to the filmmaking on display in nickelodeons The Spongebob Movie. Yes, I know it’s a kids movie. Yes, I know it’s not that deep. But I’m majoring in english, and deeply depressed, so I need to get this OUT and onto a PAGE.

I have watched this film many times over my lifetime, a few when i was just a kid, then in my early teens, even when i turned eighteen, and now, a month before i turn 20. Every time, I grow a new appreciation for the nuances that this movie brings to the table, and on my most recent watch my own deliverance from childhood makes me relate to the core themes the hardest I ever have. The Spongebob Movie isn’t just a movie about childhood, but a movie about adulthood.

Today, I’m going to make clear exactly how The Spongebob Squarepants Movie criticizes our understanding of adulthood and how society treats the neurodivergent, while effectively turning the “Coming of Age” genre on its head, within its 87 minute runtime.

START: CONSISTENT CHARACTERIZATION

One thing a lot of films (ESPECIALLY kids films) fail to nail is consistently showing aspects of a character throughout the runtime, enough that changes to a character feel impactful and justified instead of rushed and stifled. The best examples of movies that fail to do this are often the marvel movies that people tend to not remember- the first two thor movies, the avengers age of ultron, etc. In these movies, characters certainly have traits, but their personalities and motives can be very weak and make dramatic changes feel A LOT less dramatic. This can be seen in age of ultron, when quicksilver gave his own life to save someone else, which felt like nothing because he wasn't well developed. He wasn't particularly endearing, nor did him sacrificing his life contradict a part of his character. It felt very much like the writers trying to say "Look, this character which was once opposing the avengers, is now dying for one. Please cry." No hate to the writers of Age of Ultron, but it proves itself often to be an unmemorable part of the catalogue.

In the Spongebob Movie, the characterization is ON. POINT. After the introduction, with the pirates rushing in to watch spongebob, we get so much information regarding spongebob as a character.

Pictured: Spongebob holding a piece of cheese like an operator

The first scene of the plot is a dream sequence a large crowded scene at the Krusty Krab, with a customer not receiving cheese on his patty, and it being positioned in the same way as a bomb being located. In the dream, everyone is panicked, and Mr. Krabs is visibly distressed, almost like a damsel. Spongebob comes in, announcing his position as manager, much to the relief of Krabs. He goes in, and puts cheese on the burger (again, very akin to a bomb defusal scene), bringing the perturbed customer out safe and sound. Everyone lifts spongebob up as a hero, which is interrupted by his boat alarm.

This scene is JAM PACKED with stuff that both introduces the character to new watchers and introduces the crux of his arc to everyone else. Spongebob of course is very fond of the Krusty Krab, and wants to be the manager- he wants people to see him as cool, and as a responsible adult. He wants to be the sort of person that can be trusted with big responsibilities. And we also see, most importantly, that he is extremely childish through his faximile of what it meant to be adult. Everything is scaled up; it's a very silly situation, which well suits both the joke and his character as an inexperienced kid. This is one of the most direct ways to convey someone's character, because a dream can be interpreted as a direct port into a character's desires. This being the first introduction to the character in the movie sets the tone for EVERY following situation.

In the next few scenes you see Spongebob's real life, which involves his lengthy morning routine; his life is sort of whimsical, and so too is his routine. He showers by shoving a hose into himself till he bursts with water, he uses toothpaste to clean his eyes but not his teeth, and he puts on pants which he must fold to make. Again, all pretty solid jokes, but also very telling about his outlook. He is funny, weird, and childish, which is juxtaposed by the scene where he's- he's uh- showering with squidward. Squidward is an example of the "adult" that spongebob isn't. This has always been the case, but here his normal routine makes it very clear that other people in this world aren't like spongebob. They shower normally, they brush their teeth, they put their clothes on like normal. Spongebob's world is one of wonder and without responsibility, which makes it questionable as to whether he could handle one.

Pictured: Spongebob's room, adorned with childhood imagery

Pictured: Spongebob celebrating his position as a manager, despite Krabs saying that it was squidward who got it

Even his room in this scene screams "kid". He has toys strewn about, glow in the dark stars, and pictures of superheroes on the wall. He even says "Sorry about this calendar" as he rips a page, personifying inanimate objects as a kid would. The movie is telling you, "THIS CHARACTER IS A KID", but in a way that's masked because it's also just a set up for jokes. It's done so well, in my opinion, that it would go over your head because from your perspective you would be laughing along as spongebob did his wacky antics.

On top of that, his excitement for his assured managerial position at the Krusty Krab 2 continues to be bolstered. He marked it off with a cute drawing on his calendar, for those familiar he changes his normal "I'm ready" chant to "I'm ready- promotion-", and he's even already set up a party to celebrate at his favorite chain, Goofy Goobers, a child's entertainment restaurant similar to chucky cheese, albeit replacing pizza for ice cream. He hasn't just gotten excited, but has this childish anticipation for something which isn't even assured.

Spongebob arrives at the opening of the Krusty Krab 2, where he is so excited he can't contain his glee. He breaks the silence and makes members of the crowd uncomfortable, reinforcing again that spongebob is a standout in a world of adults, and a kid who doesn't understand certain social norms, which society looks down upon. When Krabs reveals that Squidward got the managerial position, Spongebob hyped himself so much that he starts celebrating, not even noticing that he wasn't picked. He gets on stage, and begins to give a speech, to which Krabs interrupts.

The next part I think best illustrates Spongebob's clear ignorance to society: Krabs attempts to subtly tell spongebob that he isn't getting the job, but spongebob repeats everything he says into the microphone. Again, fantastic joke, grade A, but the amount this shows how invested spongebob was. He already saw himself as an adult, someone who everyone would look up to as a manager- he could take the responsibility, and isn't aware of everyone likely cringing in the audience. This is the natural step for him in his mind, especially because of his exemplary work which had been previously celebrated through employee of the month awards. This was not an option for him. There wasn't a world in his mind where he would be outclassed by squidward.

Krabs has to break to him that he lacks responsibility, and that his childishness makes it difficult for Krabs to give him such a job. This might seem harsh, but I think the intro again shows how Spongebob saw the job; he didn't understand what it would be like, fantasizing another level in the menial work structure to be an amazing adventure of a job. People in the crowd reaffirm that in the eyes of society, spongebob is just a kid, a goofball. In my eyes, this is a story not just of childhood, but of neurodivergence. Spongebob isn't normal, and is blocked by society for his ignorance of social norms and sunny disposition. He finds things fun that other people can not, and he places values in completely different things. So he is blocked from the meaningful recognition he desired, despite the obvious evidence of his commitment.

I think this is a mighty interesting dichotomy!!! Simultaneously, spongebob's understanding of the world truly is warped, often resulting in a lack of consideration for others as well as harm for himself when things don't go his way, AND he is a good worker which puts in MANY hours of work without so much of a complaint. This is COMPLEX. You have to ask yourself, as a viewer, "would I give spongebob the job?" The answer can be different and can be REASONED.

And that's JUST spongebob! There are other characters with characterization that mixes into the themes of the movie very well, but I'm going to bring up any related points in future sections.

Okay, Okay. So now you're saying "WOW OKAY GREAT so why does any of this matter?" I'm so glad you asked. VERY glad.

2: THE BREAKING OF A YOUNG MAN'S SPIRIT

THIS is the point of the movie. The obstacle in this movie truly isn't adulthood, but instead self doubt. Spongebob's whole world is turned upside down by Krab's rejection of his basic personality. Spongebob asks himself: is it REALLY okay to be who I am? Am I an adult? Is the world fair? One of the most shocking scenes in the movie is blended so well in tone with the rest that you don't really notice; spongebob eating ice cream to cope with his disappointment, akin to that of adults drinking alcohol, and appearing to be visually "drunk" and washed up. This is BRILLIANT, and a recurring theme, where the true line between adult and childhood becomes blurry and impossible to see. Spongebob, the representation of a kid, gets hungover, spiteful, and angry about the injustice of his situation. This is often how adults act in the fact of adversity, but what's funny is that this too is how a kid would act; getting angry and overindulging, feeling entitled and acting socially immature when he didn't get what he wanted. He walks in to the Krusty Krab literally just to shit talk Krabs. And it doesn't stop there.

Pictured: Plankton finding "Plan Z" and looking at it like a centerfold in a playboy magazine

Almost every character in this movie juxtaposes another, again smearing the line of what it means to be an adult. For example, Spongebob and Plankton are polar opposites; plankton is cold and vengeful, angry at the world around him, and spongebob is a happy person who tends not to take things personally, a friend to all. In planktons first appearances in the movie, he is portrayed with clear adult themes, mocking spongebob, making pinup jokes about plan z, and living in a fairly dark and grey space. But, as the story moves along, we see many similarities; both spongebob and plankton are fairly one track minded, and when spongebob's perception is broken he himself gets a little vengeful. When eugene is put in danger over this, though, we do see that he places the lives of others over his own wants. And, even at the end of the movie, we see their similarities. Plankton reuses the "Sorry Calendar" joke that spongebob used at the start of the movie, drawing another line of what it means to be an adult. Is it childish of plankton to say that? Is the inherent irony he has impactful here? His want for something that isn't his, and his disregard for others in pursuing it feels just like how a younger child may steal the toy of another, without understanding what it means to share.

Pictured: Neptune flipping his shit at his lost crown

Then, there's the character of Neptune. Neptune is a big man baby. He rules the entire land, commands the most respect, and is considered the most powerful person under the sea, and yet, we see that he gets overprotective of his property, prepared to execute anyone who even annoys him. Throughout the film, he's obsessed with chasing an image of youth, as he is bald, and ignores the suffering of the people on bikini bottom to make sure no one sees his bald head. He throws what's equivalent to a tantrum when he finds his crown is missing, and believes a very crude note written by plankton saying that it was eugene who stole it. His character is an "acceptable" child because he's in a position of power, where spongebob is an "unacceptable" child as he is just a working class member of society. And the funniest part is, that he mocks spongebob for wanting to go for the crown, when even he, the strongest person in bikini bottom, refuses to go out of fear.

We see that these "bastions" of adulthood, plankton and neptune, are the ones who are responsible for missteps of society; we're ALL children in the long run, but the strict enforcement of a perceived true adulthood creates a space where they can act immaturely yet those under them/around them cannot. Dennis makes this case even more, as the only thing he does in this movie is hurt others. There's only one thing that seems to truly denote adulthood, and it's cruelty.

Even squidward, the adult that is supposed to be more responsible that spongebob, refuses to go on the quest to retrieve the crown, as he acts mostly in self interest, even later claiming to only care that plankton was stealing the secret formula as it was hurting his own paycheck.

Spongebob is the only one willing to go, willing to defend the man who wronged him, willing to value life over his own interests. He is both child and adult, just as the adults are too children.

As he moves through the plot of this film, he becomes less confident in his disposition, with his naivete causing moments like him and patrick crossing the state line and immediately getting carjacked, or them being put into an uncomfortable situation by all the bubbles they blew when they tried to get their car back. His bright personality is questioned constantly: Only five days to shell city? BY CAR. This is man's country. But weren't we the double bubble blowing babies?

Pictured: Spongebob caught trying to take back the key to the patty wagon when patrick fails to distract everyone

This is made more obvious to him as patrick remains oblivious throughout; patrick is a mirror for him, that acts as a childhood constant, that makes it clearer for him every day the draws of his childishness. There's the moment in the club where patrick's distraction was poorly thought out, and only because he said he wanted to do it adamantly, there's the moment where patrick challenged neptune on how many days they would have to do it, which served no purpose but for his own fun, there's the moment patrick points out the free ice cream trap- he is the unemployed uncritical lens that spongebob is afraid he is.

So everything's fucked, and anyone who is childish is bad i guess!!!

But that isn't so,

3: The illusion of manhood

So we've talked about spongebob's characterization as a naive child, how this is impactful in his transformation into someone who is anxious about that aspect of his personality, and how the society around him is hypocritical in it's own immaturity. But where does this all come together?

Pictured: Planktons dystopian world, which Mindy shows Spongebob and Patrick

It's at spongebob and patricks "conversion to manhood". At his lowest point, spongebob becomes a squidward- he becomes critical of his AND patricks interests, and regards them as childish, deciding that this means that they can't make it to shell city, as it requires them to be adults. When mindy shows them the dire situation back home, she hopes that spongebob's sunny personality and care for others would shine through, but instead he turns to what society has been telling him; it's impossible. He can't do it, he's just a little kid, and there is no point to any of this as he'll fail regardless.

Thinking about it like this, it truly is one of the darkest points in the entire series; spongebob just openly admitted that there was nothing he could do, that all of his friends were goners because he was effectively useless.

Mindy comes up with an idea; she'll trick spongebob and patrick into believing they're men; she convinces them of mermaid magic (their innocence allowing them to believe) and uses kelp to make them think they've matured into adults. Notice that physical modifiers being the only key to this "fake adulthood". With this, they jump off a cliff because they believe that with adulthood, they are invincible.

This is really telling about how the society they're in thinks of being an adult, and relays that to children. There's another level, a distinct separation between spongebob and adulthood, which seemed like the difference between a squire and a knight- being an adult means that you aren't weak anymore (as though he was weak in the first place), and thus you can do things you never thought before. Is it truly healthy that this is how a society tells kids that adulthood is like, for them to enter the world and feel a truly awful financial and literal hellscape waiting for them? uh, you can, you can decide that for yourself i think.

Nonetheless, they survive the fall, and conclude that they really are invincible, able to power through a ravine with their happy go lucky attitude, eventually befriending the monsters which were once trying to kill them. They weren't acting like adults, but the labels themselves made it possible for them to soldier on with the childlike disposition they had. I find that to be powerful. If we were able to be more hopeful as adults, and power through the worst things brightly, could we do great things? Idk but these depression meds sure do taste good nom nom

After crossing the ravine, spongebob and patrick meet dennis, and have their worldview crushed as it's revealed that they are actually still kids. Dennis being the "alpha male" that he is, is characterized by violence and a lack of morality. The pair are saved by a giant boot, which is the first of two humans in this movie. Spongebob and patrick are both taken by the man in the diver suit, as we fade to black, marking the end of their illusion of adulthood.

4: Back from the Edge (of death)

Spongebob and Patrick awaken in an antique shop, realizing that they were surrounded by fish that had been killed specifically for sale as tacky antiques. They are lifted out of their fishbowl, and put under a heatlamp, as their fate is sealed to become a member among those dead fish. In spongebob's final moments, he mourns his inability to be an adult, as well as to reach shell city; but before they both die, patrick points out that they truly did reach shell city, as the crown was within their reach.

This. This is a phenomenal scene. Why? Because of what it means for spongebob's arc.

Pictured: Spongebob and Patrick on their deathbeds, finding happiness

He sees the crown, and realizes that, unequivocally, that even if he didn't bring the crown back, he made it to shell city. Every person he met told him that he couldn't even do that. and he did it. He is a kid, yes, but he's a kid who went where not even NEPTUNE dared go. Everything people said about him, about how him being a kid stopped him from success, was suddenly shattered. He has been asking himself if it's okay that he is a kid, and he saw, unambiguously, that it is. He is allowed to be happy. He can enjoy things that other people don't. He can be naive. He can be himself, no matter what anyone says. And so can you. Great things can be done by people who are "childish", who are "naive", who are kind without expecting a return, all of it. YOU are okay. Your stims are okay, your comfort series are okay, your interest in tropes are okay, YOU'RE OKAY!!!!

with that, spongebob and patrick are dehydrated on the table, and ostensibly die, the kids that they are, shedding one final tear each, forming a heart beneath them.

...

Miraculously, the tear electrocutes that lamp at it's socket, causing smoke to rise and set off the sprinklers, rehydrating the pair, and bringing them back to life. The "Man in the Suit" attempts to capture them, seeing them about to lift Neptune's crown, but the rest of the dehydrated fish come back to life- squirting him with his own glue and beating him to the ground, as spongebob and patrick run out with the crown. David Hasselhoff offers them a ride back to Bikini Bottom, and the pair begin their ride back.

5: The confrontation of Adulthood and Childhood

Pictured: Dennis looking all lame and shit

As spongebob and patrick are being swam back to bikini bottom, the boot under which dennis was crushed rockets to Hasselhoff, spitting him back out to finish the job. The appearance of Dennis, IN MY OPINION, makes him look rather goofy, with his broken glasses making him look more like a office worker than a badass assassin as he attempts to kill spongebob and patrick. Spongebob, in trying to reason with him, is able to ruin his eyes with bubbles, and then survives as dennis gets hit by a raised platform which spongebob and patrick are too low to be hit by.

Having defeated one representation of adulthood, spongebob and patrick are shot down by HasselHoffs MASSIVE MAN TITS with the crown in order to prevent Krab's fate, blocking Neptune's lazer just in time as they crash in.

All seems to be well, but plankton uses one of his mind control helmets (which we'll be getting into later) to enslave even Neptune, putting mindy, spongebob, patrick, and Krabs against the wall.

In another stark moment of characterization, Spongebob tells patrick that "Plankton Cheated", which prompts plankton to tell spongebob that the situation wasn't a kiddy game, and that it was the real world. This sort of distinctions in their ethos tell you how spongebob interacts with justice; he believes in "playing fair", while plankton is bitter and believes in getting what he wants.

Finally, the apex to our plot, is a musical number. Spongebob begins to make a long-winded speech, where he takes ownership of every label he was called as he stood on the stage at the beginning, the similarity between the two events being clear (holding a microphone at an inappropriate time, making a speech as he blocks out input from an adult trying to talk him down). Spongebob then busts out into the film's rendition of Twisted Sister's "I Wanna Rock", "I'm a Goofy Goober". This results in spongebob reversing plankton's whole plot with "the power of rock and roll". Plankton is made powerless, and thrown into a little padded cell.

The final scene in the movie has Mr. Krabs freed from his imprisonment in ice, and spongebob is offered squidwards position as manager of the second Krusty Krab. He seems hesitant, and squidward offers an insightful analysis of what spongebob might be feeling (the typical analysis of a coming of age movie, where the protagonist finds out that what they wanted all along is not what they wanted, but it was what was inside all along). Spongebob refutes that squidwards fly was just down, and GLADLY accepts the job.

AND THAT'S THE MOVIE

6: AN INVERSION ON THE COMING OF AGE GENRE

A coming of age story tends to be one which is focus on the growth of a character from childhood to adulthood, asking questions about what it means to be an adult. A character reaches for their perceived adulthood, and realizes what it means to ACTUALLY be an adult, typically juxtaposing what people think (drugs, parties, sex) versus what the movie postures as the correct adulthood (responsibility). In this, I think that the spongebob movie directly criticizes the position of what "an adult" is, in the sense of how someone acts.

Like we discussed in part 2, every adult character in this movie tends to be very childish in themselves, unable to see through simple ruses, and often very possessive of personal property. I don't think we actually see a child in this movie as a speaker at any point, only really as background characters (in goofy goobers to solidify spongebob as childish, and I believe in the chum bucket as they're lead to an unsafe place by their parents, who are supposed to be responsible). Thus, what is mostly examined is how adulthood and childhood is a very thin line. Squidward, for example, going directly to plankton to accuse him of stealing the formula, instead of taking it to the top immediately, which would have ended this whole thing fairly quickly; that was rather silly, and was the fruit of his need to assert himself as an adult.

Spongebob goes through this movie FIRST not caring much about whether or not he was an adult, and it is only after the social pressure from adults does he start to chase it. He then chases his perceived image of an adult, going on an adventure, and is crushed by the fact that he isn't an adult. Instead of finding what an adult is, he instead becomes comfortable with his existence as a child, finding himself at the end of the movie able to comfortably chase after an ideal again, where in a normal movie he would humbly reject the job he was offered.

This is, truly, what we should all take from this film. Spongebob realizes that people who aren't necessarily socially adjusted or acceptable can do great things, regardless of what the people around them say, especially because the people around them are liable to throw tantrums and be actively harmful to society. He is allowed to find comfort in childish things, and to be naive, because the world needs more people willing to help others. It's a scathing criticism on the imposed adulthood that exists in a lot of coming of age films, which begs us to drop fun in the interest of doing the right thing, as though those two ideas are contradictory.

BONUS: EXTRA STUFF THAT I LIKED

The goofy goober song became really good storytelling, at first marking childishness, then marking a level of discomfort and judgement in the club, then marking spongebob recognizing that his happiness came from what he liked and not some vague idea of adulthood, and finally marking his full acceptance of his childishness, taking the form of rock, the music of rebellion. It's not as subtle as leitmotifs, but it works really well in how the same song can give very different feelings throughout, and inform how we interact with a story.

There are a lot more examples of adults being pressured into childishness, with the connected twins who liked goofy goober at the club, who were beaten senseless for absolutely no reason, which highlights the way that the society hurts people that, by all means, are just as much adults as anyone else. There's of course Plankton's helmets which created a society of people who simply slaved away with nothing to say, taking life as it came and listening to authority.

On top of that, this movie is PRETTY ANTICAPITALIST AND ANTIMONARCHY, despite those things being allowed to continue to exist at the end- monarchy is seen misusing power constantly and often for unfounded reasons, and Spongebob's diligence at work is rejected by a penny pinching Krabs, who cares only about money. Like, THE KRUSTY KRABS ARE RIGHT NEXT TO EACH OTHER? THAT IS SOME MONTY PYTHON ASS SHIT. This year is the first year i laughed at that joke, because it's really some "capitalists are fucking dumb as shit" humor that slipped over my head when i was a kid. The villain literally being defeated by Rock and Roll, which was sung with a message against the oppression of differences in people? Yeah, I think the spongebob movie hated rich mother fuckers.

END: UH YEAH THAT'S WHAT IT IS

So yeah. The movie is good I think. There's a lot more i could go into, but I've been writing this post for hours and at this point i haven't even read it so...

I recommend going back and giving this film a rewatch!!! Pay attention to all the moments where adults act like children/kids act like adults, because it'll make ur brain pop like a zit. Anyways that's me, I'm Jericho Jay "Japes" Marshall, and I HATE facism.

[spicycreativity]

Soft-Shoe Shuffle - Ch 1

Chapter: 1/12 Rating: T (for language) Content Warnings: Canon-typical Remus content. This chapter only: alcohol use Characters: All Pairings: Moceit, background Prinxiety, background Intrulogical (yes I played a little game of "pair the spares") Additional Tags: Hey it's the fic I published on Anon because I was embarrassed of how utterly pretentious it is!, post-PoF, sickfic, dirty poetry, humor interspersed with philosophy and Janus-typical pontification, this is VERY speculative and will get Jossed in the future lmao Summary: After claiming his place in the Light and coming face-to-face with the consequences of his actions, Janus finds himself unwillingly re-calibrating his moral compass. For selfish reasons, of course. But one apology snowballs into several, and soon he's running around the Mindscape with a low-grade fever and a guilty conscience as he desperately tries to regain some sense of self. Oh, and he's definitely not falling in love with Patton, so don't even bring it up. One Last Note: I wrote this in an ADHD fugue state. It is HEAVILY influenced by Dostoyevsky's Crime and Punishment, but there are also references to poetry and various other works of literature. I also deliberately used symbols, themes, and motifs. Most of them are pretty in your face except for the recurring ouroboros, which is used as a symbol of rebirth. ...Told you it was pretentious.

When you wake up to the promise of your dream world comin' true With one less friend to call on, was it someone that I knew? Away you will go sailing in a race among the ruins If you plan to face tomorrow, do it soon

Janus appeared in the Dark side of the Mindscape, elation swelling in his chest. Even the ringing headache and bitter taste in his mouth couldn't hollow the unfamiliar triumph that warmed him to the core. Caught up in his own thoughts, it took a moment for him to register the sight before him: Remus, upside-down on the couch, his brow furrowed and face an alarming shade of purple.

For a moment, Janus stood stock-still as he tried to get his bearings. He must have been more flustered than he'd realized-- He'd been aiming for his bedroom.

But here he was, staring down at Remus, who was definitely going to burst a blood vessel (or several) if he didn't flip over soon.

"That's not horrifying at all," Janus said, thinking it would be rude to dismiss Remus, especially since he had probably been eavesdropping. He had likely heard everything. Everything. Even the ugly parts.

"Do you remember when Thomas read that post about Nutty Putty Cave?" Remus asked in a strained, strangled voice. "That spelunker who died because he got stuck upside-down?"

"No," Janus said, before realizing his mistake. "Yes." He definitely wanted Remus to remind him of the gory details.

"That's what I thought," Remus said with a wicked grin.

Janus sighed through his nose. Remus, though he thrived on attention, seemed content enough to continue his experiment by himself. On the other hand, if Janus didn't bring up a certain insult he'd levied at Roman, Remus most certainly would, and at a time where it would cause the most upset and turmoil. Better for Janus to deal with it now, even if he would have to fight the tension pulling his muscles taut. He wanted to dance. He wanted to scream.

Hesitation proved to be Janus' downfall, and by the time he'd opened his mouth to broach the subject at hand, Remus had beaten him to the blow. "You're not usually this quiet, Oralboros. Snake got your tongue?"

Janus, again, sighed. Rather than answer, he doffed his hat, set it on the coffee table, and clumsily arranged himself upside-down next to Remus. The change in position immediately made his head throb. He ignored it. "I definitely meant it when I called you 'evil'."

Remus' eyes widened in faux-shock. "You called me evil ?" he shrieked, voice ringing out high and clear. "Me? How dare you. I'm an angel!"

At least Remus was taking it well. "Sarcasm is my thing," Janus said, realizing that he might make it out of this without having to properly apologize.

For some reason, Patton's face flashed into his mind, and a subsequent twinge of guilt made his tongue go sour. Fine. If there was ever a time to start telling uncomfortable truths… "But I am sorry I said that."

"Wow!" Remus laughed. "You must be upset." A red stain began to spill across his left eye. "You don't apologize."

"It’s not like I care about your feelings or anything." Janus would have liked to have drawn himself up to his full height, but it was impossible to do while upside-down. "As much as I'm enjoying watching your blood vessels slowly burst, would you please turn over before you hurt yourself? I've suffered enough psychological trauma for today."

"Oh, fine." Remus kicked his legs and landed neatly on his toes like a gymnast.

Janus, by contrast, got his arms tangled in his capelet and nearly folded himself in half before he found his balance again. "I meant to do that," he said, turning to grab his hat so Remus wouldn't see the blush on his face.

The sudden sensation of blood draining from his head made the room whirl. He steadied himself against Remus' shoulder until it slowed somewhat, but nothing could dampen the horrible ringing in his ears.

"Well," he said, adjusting his shirt. The sudden appearance of his conscience had taken the wind out of his sails more than he cared to admit, and all thoughts of dancing bled out of him along with a good deal of energy. "I'm not going to go scream into my pillows until I tire myself out."

"Being an agent of chaos is hard work," Remus said with a sage nod, "but that doesn't sound very relaxing, Mr Self Care."

"It's a form of meditation, if you think about it," Janus said.

Remus made a face. "You know I don't do that."

"...Meditate?"

"No, think."

"Ah. Well." Janus made only a token attempt to hide his fond smile. "Good night, Remus. Please stay up late and injure yourself."

"Can do, Snakeypoo.”

Janus turned. It was close enough, he might as well walk to his bedroom, especially considering how well his last attempt at appearing in it had gone.

The reason why that had been so difficult became apparent in mere moments. Janus froze in the hall and dropped to his knees at the giddy wave of horror and delight that made him too light-headed to stand.

He knelt in front of the empty stretch of wall where his door had been previously.  Heat flooded his face.

"Jay?" The rounded toes of Remus' boots appeared in his line of sight. Janus zeroed in on them, the mud splatters and stains on the soft leather. "You have an aneurysm or what?"

Janus, unable to speak, motioned for Remus to turn around. He couldn't deal with this right now.

"Ohhh," said Remus. "Well. Good luck with that ." He hauled Janus to his feet. "So you're a boner fide good guy now, huh?"

Janus stared over Remus' shoulder at the empty stretch of wall where his door used to be. "That depends entirely on who you ask."

Remus shrugged and rose up on his toes. "You can scream into my pillows instead, if you want."

"As tempting as that is…" Janus trailed off, his eyes still fixed on the wall. It was tempting, despite the constant chaos in Remus' room. But he'd have to face the Light side sooner or later. It wasn't like he could move his room back, not without psychologically damaging Thomas and undoing all the work he'd done. "I'm really looking forward to getting insulted some more."

"Alright," Remus said with a shrug. "Try not to throw me under the bus this time, alright? Unless it's a real bus…" His gaze became dreamy, unfocused. "And it's doing 50 in a school zone and there's a whole pack of screaming kids in the crosswalk--"

"Goodbye, Remus." Janus turned and left.

--

The barrier between the "dark" and the "light" sides of Thomas' brain had been a joint venture. It would have been there in some form no matter what, but it was Janus and Roman (with Patton's tacit blessing) who had worked to put up something more physical between them.

Janus ducked under the red curtain, trepidation percolating in his stomach, but what he found on the other side was anticlimactic to say the least: It was dead silent on this side of the barrier.

Janus wasn't sure what he'd been expecting. He knew by now that the so-called "Lights" had issues working out their interpersonal issues, and this most recent conflict wasn't the kind of thing you just got over. It did follow that they would all go off to lick their wounds for a time.

Hesitantly, toe-to-heel, Janus crept down the hall. It felt for all the world like he was sneaking around a vast hotel, right down to needlessly ornate design on the plush carpeting. That was probably Roman's doing.

Janus focused, trying to call the Mindscape to work for him. He wanted to go to his room.

The Mindscape listened. Janus turned a corner and found a row of doors stretching down yet another brightly-lit corridor. His eye was immediately drawn, not to the brilliant yellow of his own door, but to the figure huddled in front of it: Patton sat with his arms wrapped around his legs, forehead resting on his knees.

"Looking for someone?" Janus asked, slightly louder than necessary.

Patton jerked his head up. "Oh! Janus!" He plastered an unconvincing smile on his face. "You sure pop star-tled me."

Scaring Patton hadn't brought Janus nearly the level of schadenfreude he'd thought it would. He crossed his arms over his chest, extending a third to help Patton up. "Take your time getting to the point.”

"Oh." Patton accepted Janus' proffered hand and got to his feet. Warmth spilled from him, permeating the fabric of Janus' glove and gently heating his palm. "Well, it's just…" He took a deep breath. "I noticed your door and I thought-- Well, I wanted to make you feel welcome!"

A high-pitched tone resonated in Janus' skull. He bit down on the inside of his cheek to keep from wincing at the mounting pressure-pain-exhaustion in his temples. "Aren't you just a saint ." Patton's face fell. Janus fought the urge to swear aloud. He usually had a better handle on himself, and he knew better than to alienate potential allies. "I mean, thank you, Patton. Truly. I appreciate it." Patton had proven himself useful. Janus should at least cultivate that relationship, even if it meant a little discomfort.

"Have you eaten?" Patton asked. "It's a little late, but I could make something if you wanted." He paused. "Maybe we could play cards or something." Another pause. "O-only if you want to, I mean."

Janus let his face remain impassive even as he internally cringed at the idea of staying awake for even another second. It would be so easy to brush Patton off with a few honeyed words and disappear beyond the barrier of his door. But Patton had stood up for him today, or at least he'd tried to. Janus sighed. Quid pro quo. "That sounds like an utter waste of time."

"Are you… I'm sorry, sometimes I can't tell when you're…"

"Yes, Patton. That sounds lovely."

Patton actually hopped in place, an adorable little jig that absolutely didn't send a confusing little shockwave of fondness through Janus' ribcage. "Really?"

"Really," Janus lied.

He followed Patton down the hall into the living room, which opened into the dining room and the kitchen. Janus studied his surroundings, trying to take in as much as his exhausted faculties would allow. Even in the absence of other Sides, the living room felt warm and welcoming. All the lights were on, and they bathed everything in gentle golden light .

"You're awfully quiet," Patton said.

Janus shook himself. "I was just getting my bearings."

"I guess you've never really been over here, huh?" Pattton opened the refrigerator. Was he actually going to cook , instead of just manifesting something? How quaint. "Do you like grilled cheese?"

It had been a long, confusing day. Doublespeak came to Janus as naturally as breathing, but he was obviously running circles around Patton even when he wasn't trying to. "Yes," he said, hoping to telegraph his sincerity by not emoting at all.

It seemed to work. Patton studied him for a moment before turning back to the fridge. "Then that's what I'll make."

Janus took advantage of this temporary distraction to clamber onto one of the barstools. The slick velvet of his capelet tended to disagree with surfaces like wood and vinyl, and he needed a moment to arrange things so he didn't look as unbalanced as he felt.

He watched Patton work in the kitchen, a detached coolness washing out the scene. Quid pro quo, he reminded himself when he felt his facade begin to slip. He owed Patton this.

He certainly didn't feel the slightest twinge of guilt, that he had been the one to orchestrate this breakdown. Yes, the Light Sides had loaded the gun, but in the end it was Janus who had pulled the trigger.

He shook his head and thought about playing cards, good Bicycle playing cards with holes punched through them like they'd come from a casino. "What should we play?" he asked, pulling the deck from his breast pocket.

Patton looked up from the stovetop, his eyes flicking to the cards in Janus' hand. "Do you know Kings in the Corners?"

"Not personally, no."

Patton laughed, but there was something cold about it. "It's really simple," he said. "I'll show you how to play and you can tell me if you like it."

--

It was nearly impossible to cheat at Kings in the Corners. Janus doubted this had been a calculated measure on Patton's part, doubted he had the capacity for that kind of foresight, but he respected it just the same.

They played in funereal silence, staring each other down across the light wood of the dining room table. Janus, ill-inclined to take off his gloves, utilized a napkin to keep from staining them with melted butter from the grilled cheese Patton had made. Neither one of them smiled. Neither one of them spoke.

Janus pulled a card from the deck to indicate the end of his turn and glanced up at Patton. His face was somber, almost sorrowful, and it clashed against the gentle domesticity of the dining room, with its floral table runner and mismatched placemats.

Janus started to laugh.

"What is it?" Patton asked, cheeks darkening. "What? Do I have something on my face?"

Janus swallowed down another peal of laughter and cleared his throat, unable to wholly restrain the smile tugging at the corners of his lips. "You look like I’m holding you here at gunpoint." It was somewhat ironic, considering Janus was the one who felt like he couldn't leave.

"What?" Patton smiled, but it was more akin to an offering than an expression of joy.

"It’s not really funny. " Janus wasn’t quite sure how to make Patton understand.

Patton sat back with a sigh, placing his cards facedown on the table. "But I guess it is pretty funny, huh? In a really sad way."

Janus almost asked what was sad about it before realizing that Patton probably missed his friends. Instead he said, "Yes" and stifled a yawn behind his free hand.

"I'll make coffee!" Patton leapt to his feet and was off to the kitchen before Janus could so much as blink.

The newfound solitude made it that much harder for Janus to ignore his headache, which had only worsened in the hour or so he'd been playing cards with Patton. Despite the nonchalant facade he'd tried so hard to project, he'd been holding himself tense.

Maybe the night (or morning, at this point) would be easier to tolerate if he had, say, a bit of gold rum.

The corner of a flask dug into Janus' hip. He smiled.

"Just how late are you planning on staying up?" he asked Patton when the latter returned holding two mismatched mugs.

"Oh, I don't know," Patton said. Lied. He set a mug down in front of Janus and then resumed his seat, the cards forgotten by his elbow. "I'm… A little scared of what tomorrow will be like."

Janus eased the flask out of his pocket. "Rum?"

"Oh, um," Patton said, staring at the flask. "I don't know…"

Janus raised an eyebrow, working something out. He landed on it a millisecond later: Patton wanted to be convinced. Easy enough. Janus opened the flask and poured what he hoped was a shot into his own mug. It was black, he noticed, except for the yellow snake that wrapped around it, its tail firmly in its own mouth. Ouroboros. "Surely you don't intend to make me drink alone?"

As Janus had expected, Patton buckled the second he was pushed. "I guess not."

It was funny, Janus mused as he carefully tipped rum into Patton's coffee, how lying was only off-limits when Janus suggested it. Hilarious.

But now wasn't the time for bitterness, now was the time to repay the debt he owed Patton. "Cheers," he said, pocketing the flask once more.

"Cheers."

Janus sipped his coffee. "You put milk in this," he observed.

Patton's smile was surprisingly sly. "I know you want me to think you take it black. Virgil did too, at first. I know you ‘Dark Sides’ have an image you like to uphold."

"And how does Virgil take his coffee now?" Janus asked, lifting an eyebrow.

"With Snickers-flavored creamer."

"Well, I do take my coffee black," Janus lied.

Patton's smile never faltered. "We'll see, kid-- Uh, Janus."

"Patton," Janus said, before he could start thinking about the implications of Patton wanting to call him 'kiddo,' "you are planning on sleeping tonight, aren't you?"

"Maybe eventually," Patton said, suddenly unable to look Janus in the eye. "At some point."

"Tomorrow will come whether or not you sleep. It's definitely better to pull an all-nighter and feel like garbage instead of facing everything with a clear head."

"I know." Patton leaned forward so he could rest his head on his hand.

For a moment, Janus was tempted to mirror him. Sitting up straight was becoming quite the chore. "I know how the others love a calm, rational discussion."

"Oh, I wish." Patton's expression turned wistful.

Janus stifled a yawn behind his hand. He had half-expected the coffee to counteract the depressant effect of the alcohol, but all he had to show for the combination was a racing heart.

"I'll be fine out here if you want to go to bed," Patton said. Without seeming to realize he was doing it, he brought his hand to his mouth and bit down on his thumbnail.

It was a tempting offer. A day ago, Janus would have taken it. After all, it wasn't like he cared about Patton outside of professional courtesy. They weren't friends. But guilt nagged at him and wouldn't let him entertain the idea of abandoning Patton for longer than a second.

"That's a remarkable impression of a window," Janus said, waiting for Patton to look confused before elaborating, "I can see right through you."

"You got me." Patton smiled sadly. "That's something I've always admired about you, Janus."

Now it was Janus' turn to be confused. "What?"

"You're so… clever."

Janus narrowed his eyes. "Please do keep trying to change the subject."

"It's just… I don't want to have to lie there and, and think about today and everything I did wrong. I hurt Thomas. I hurt my friends." Patton's eyes were shiny behind his glasses; the unshed tears sparkled in the light when he locked eyes with Janus. "Aren't you going to think about the same thing?"

Anger flared, perhaps prematurely, in Janus' chest. "About what you did wrong today?"

"About what you did wrong," Patton said timidly.

"I," Janus said icily, "didn't do anything wrong." He stared Patton down across the table, jaw set, daring him to push back. Let him lecture and nag, let him prove that he hadn't changed no matter what he said.

But Patton only nodded, his face lined with misery. "Okay," he softly. "I think you're right, Janus. We should go to bed."

Janus thought about how much faster he could get to bed if the table was cleared, and all the dishes and cards vanished in a blink.

"Um, Janus?" Patton said.

"Yes?"

"I don't regret everything that happened today."

"Oh?"

Patton only nodded and sank out.

Janus made a beeline for his own room; better to find his way there on foot rather than risk appearing in the wrong spot.

Once inside, he looked around to ensure nothing was amiss, eyes roving over the dark wood of his bookshelves and desk, his mirrored closet doors, the leather armchairs across from his bed.

Everything was exactly as Janus had left it. He nodded, satisfied, set his hat on the nightstand, and sprawled out of top of the covers without bothering to further undress.

One hazy thought crawled to the surface of his mind before he fell asleep: At least he wouldn't be one of the regrets haunting Patton tonight.

[brazenedminstrel]

It’s here! Finally! After two flipping months... 

This one was tough to make. I kept running into problems with too many instruments playing at once, not having the right soundfont, dynamics and more difficult composer stuff. But it’s here and it’s good! 

I took the title straight from the scene where I made the track for. The song is for the latter half of chapter 10, starting when Lena says “Alright yeah but hey for a first time that wasn’t to-”

Onwards with the screaming, drama and one pissed off vampire! Yeah these are my favorite scenes to make songs for...

I highly recommend reading the analysis of the song under the read more. It contains information about the motifs I’m using, the emotions in the song and symbolism I worked into the melodies. 

These are the other tracks I made for The Huntress, they’re all in one playlist for convenience.  

Next up: maybe the dragon battle, maybe a bunch of solo harp stuff not related to The Huntress, maybe some repost of my older tracks on soundcloud. 

The Huntress is an Overwatch fanfic by @mizuaoi

Firstly, some recurring motifs: - 0:15 is what I'm going to be using every time that the Witch of the Wilds appears. The staccato piano thing. - 0:19 is a little piano line that I borrowed from my Widowmaker theme remix, A la Vié, a la Mort. It will probably appear whenever Amélie is angry. - 0:23 I'm going to use this piano line, or a variation on it, whenever Lena starts fading. - 1:01 this is the Witch's theme. - 1:31 a harp quietly plays a melody from the main theme. - 1:49 it's the love theme! But chopped up and dramatic! - 2:02 Amélie's motif returns full force. This is a cool section of the song. - 2:25 Another instance of Lena's panicky motif.

Main Theme (go to 1:43 to hear the harp melody)

Amélie's motif is from here.

And this is the (calm, soothing version of) the love theme.

I decided to start this song with a tiny bit of the Overwatch overture, since I associate that melody with Tracer. But the melody doesn't stay happy for long. First there's some spiky piano accents, then it's on to a panicky melody. A couple flutes, one of Lena's signature instruments, join the accents and around 0:58 you can hear one mimicking a screaming voice. (God why do I write songs that way?)

Angela's melody comes in on piano, accompanied by low strings. Then it's gradually joined by solo cello, brass and woodwinds. You can also hear a quick harp line from the "Junkenstein's lab" portion of the Main Theme. I think I did this because Angela was there with the mad doctor.

Moving on from creepy melodies, the entire orchestra joins in for a dramatic rendition of the love theme. I'm very glad how this sounds, since I never thought I could transform that soft melody into something so epic. At this point in the song, Amélie is pissed at the Witch and Lena is still screaming. Then Amélie's own theme plays. I put this right after the love song to show that in this scene, the two really do care for each other. Also because the Huntress's theme is epic.

It's back to mostly solo piano after the loudest part has subsided. The two high notes you hear every few seconds are supposed to be Lena's name being yelled by a very angry vampire. Here the piano gradually "fades" in and out of the song, just like Lena's fading in and out of reality in the story. Also there's a celesta, which is an instrument I associate with Lena. It sounds like little bells, but isn't out of place in my opinion. Then there are a lot strings which play a sad melody. Lena faints. The end.