#Emotions are powerful they are the instruments to storytelling | Explore Tumblr posts and blogs

aayakashii · 1 year ago

Text

routine

Pairing: Kagami Subaru x MC/reader

Tags: SFW. Character analysis, a bit of angst, hurt x comfort (I think), fluff and romance between you and Subaru, over 6k words

Author's note: this is probably the biggest fic I've written lol and I'm kinda proud of how it came out, since it also took me some days to fully flesh it out. I'd appreciate comments if you liked the fic! Comments literally keep every writers alive. Anyways, hope you enjoy!

Kabuki Glossary:

Biwa: Japanese short-necked wooden flute traditionally used in narrative storytelling

Geza: the music that plays during kabuki, performed live

Hanamichi: flower path; a long, raised platform, running left or center to the stage through the audience, connecting to the main stage, used to make dramatic entrances and exits

Mie pose: a powerful and emotional pose struck by an actor

Onnagata: actor who acts the role of a young woman

Sewamono: a genre of contemporary setting plays in Japanese traditional theatre

Shamisen: three-stringed traditional Japanese musical instrument

Tachiyaku: young adult male roles, the actors who play those roles; most commonly these are hero roles, though not all of them

Takemoto: a specific type of song, it is also the narration device used during a kabuki play. It consists of a chanter/narrator (tayu) and the shamisen players

Subaru had become used to it.

You would come to visit him right after your classes, if you weren’t assigned a mission, and Subaru would welcome you with tea and some obscure sweet he managed to get, just to let you try it. You two would talk, and you would share stories about your friends in the Academy, how your life was before you became cursed, and he would tell his own stories, even if he thought they weren’t nearly as interesting as yours.

It gave him a sense of belonging.

Subaru hadn't had much experience with friendships or any interpersonal relationship at all.

His life was merely the background for his career as an actor. His bare skin was merely the foundational bricks for the red and white makeup that would adorn him once he was out on the stage.

When he was under the spotlight, his monotone voice resounded loudly – louder than the drums, louder than the shamisen, louder than the biwa. Subaru became gigantic under his costume. His movements were sharp and hypnotic, the flow of his kimono as he walked down the hanamichi and the pierce of his gaze turned all heads towards him. He was a genius, a talent like no other, the future of the kabuki theater.

And he did not see himself in any of it.

Here lies the true tragedy of a burned out genius child: to go under insurmountable levels of pressure, only to find that the dreams of your parents were never your own.

Subaru did not want to be under the spotlight, no matter how much the spotlight wanted him and no matter how much others wanted him to be under it.

As he was forced to keep walking the flower path, his chances of living life as a normal kid were gone: he had no friends, no acquaintances, nothing that helped him find out who he was for himself.

So, he had no experience.

But he knew that he could pick out the feeling of belonging somewhere after spending time with you.

Eagerly, he waited for the clock to reach 5PM everyday, knowing that you would come through his door to spend time with him.

Routine was always something he appreciated, anxious as he was. He didn't like surprises, he wanted things to be predictable, to give him even the slightest sense of control over his new life as a student.

Therefore, to know that you would come to visit everyday, at the exact same time, was his comfort – even if the thought of you made his heart skip a beat, although he didn't quite understand why.

Not even standing behind the greatest stages made his heart drum loudly after a while. As the green, red and brown curtains of the stage were pulled, his body went on automatic. The takemoto went through his ears, unnoticed, and the geza became white noise. He moved gracefully, although his mind flew into other planes. As the audience clapped enthusiastically as he stood in his mie pose, Subaru wished he was somewhere else. He felt extremely guilty for not being able to appreciate the hard work of the musicians and the actors, but after he figured out that the passion he thought he had was merely a reflection of his parents’ passion, everything became black, white and gray.

Yet, planning fancy snacks for you made his hands clammy and his heart restless – and it wasn't the most comfortable feeling, however, he didn't hate it. He knew you'd come through with the routine and wash his anxieties away.

However, much to his dismay, his comfort had been ripped off of him for the past three days. His precious routine had been broken and Subaru would be lying if he said he wasn't counting the hours, the minutes and the seconds until it was restored, somehow.

He just had no idea how to fix it.

You had been fiercely avoiding him for three days, ever since the last meeting was cut short, and he blamed himself for hurting you in the worst way he could have ever done it.

Subaru has always had awful self-esteem.

No matter the compliments about his genius, none of them stuck to him. When you despise what you do, being good at it just brings forth more bitterness towards oneself.

Subaru was a rarity in the kabuki world – someone who could represent a captivating tachiyaku or the most elegant onnagata. He could be the hero or the princess, something that most actors could not do. To don the costumes of two genders was the cause of endless praise and awe from the audience and members of his acting house alike – none of which he accepted.

To him, his talent came as second nature. There was no need to hone his skills – they were already there, much like an additional organ he was born with – and he loathed that fact. He loathed how this pushed him towards a world in which he didn't want to participate.

He truly valued the hard work he was now putting into his studies, something he was creating with his own hands. He could see his own growth and pat himself on the back for it – even if he still had a hard time accepting compliments (he knew the only reason he was the captain of Hotarubi was due to his status, after all. He was just a figurehead).

Subaru’s stigma was an even bigger burden towards his path of bettering himself.

If he hated being an actor, he hated himself even more for his powers. Much like his talent, he did not ask to be bestowed with such a repugnant stigma. It was the reason why his parents would never touch him, never hold him. He was a walking breach of privacy, a dangerous little thing that could easily become a weapon, if the truth of his stigma was found out. He was untouchable in every way, figuratively and literally.

He truly couldn't understand how Lyca, Zenji, Haku and you were so quick to accept his ugliness.

“You aren’t disgusting, something like this could never be your fault”, you had said, when he wallowed in self-pity after revealing his secret. But to step out of his cycle of self-hatred was a tough task.

Your visits helped, however. For the first time in his young life, someone saw him as himself and stayed.

Haku and Zenji were his true friends, but they still saw him through the lens of that one genius kabuki actor. And Lyca… he was alone and desperate.

You, however, had the ghouls of Darkwick Academy wrapped in your little finger and, still, you chose him. Despite his social awkwardness, his anxieties, his anger, his stigma. You chose him whenever it was time to get lunch, when you could be resting, when you could have anyone else. The thought of it made his heart skip a beat again. He was sensing a slight pattern.

Yet, it had been three days, and you were gone. No messages, no visits, no news.

He understood your avoidance despite it all. He had committed the worst sin he could have done to his dearest friend.

He had touched you.

You had come to Hotarubi at your usual time, 5PM, sharp. Your hair was disheveled and a few droplets of water stained the tatami of the tea room as they fell from your face and hands, while you hurriedly took off your shoes.

“I’m so sorry for making a mess, Subaru! I had to run here to arrive on time and ended up forgetting my umbrella… I had to walk under every cover I could find, but I still ended up being sprayed by the rain.” you said, as you stood at the entrance, shaking your body as if you were trying to get rid of the excess water.

Subaru shot up from his spot, his face contorted in worry.

“Oh no, please don’t do that!” he said, as he ran to quickly rummage through the drawers of the room for towels “You always have to use an umbrella when you come to Hotarubi, what if you get a cold?”

You grabbed the towel he gave you, smiling awkwardly.

“I know, I know. I just didn’t want to arrive late. I didn’t want you to get anxious.”

Subaru blinked, face blank, as he was caught off guard by your answer.

“You… you don’t need to worry about me. I’m not that anxious.”

You laughed, and he felt his breath hitch on his throat.

“Suuure, and I don’t breathe oxygen…” you said jokingly, hanging the towel on a nearby hanger after you finished patting your face and arms dry, giggling as you noticed the way he was pouting slightly. “I’m just playing with you! I’m sorry.”

“No no, I’m sorry about worrying you to the point of you having to hurry…”

You rolled your eyes and raised your hands to put them on his shoulder, quickly stopping yourself before you could actually touch him, resting them on your hips instead.

“Subaru. You don’t have to apologize for something like that. I am doing this because I care about your well-being. You're my friend and I want you to be okay. It’s not something to feel apologetic for. Instead, you can just thank me for being a great friend.” you winked and he immediately looked away from your face, that was too bright for him to stare at.

“O… okay… Thank you.” Subaru murmured, forcing himself to look at you again, from under his lashes, a small smile adorning his features.

“You’re very welcome.” you nodded “Now let’s drink some tea please, I do need something hot to warm myself!”

“That’s true, let’s get you warm so you won’t get a cold, please.”

Soon, time slowed down as you two sat and chatted about everything and nothing at all. You talked about how weird Darkwick's shopkeeper is, how awfully crowded the dining hall is (Subaru avoided it like the plague), how scary Professor Hyde can be sometimes, how loud Kaito and Luca are, how cute are the little cats running around all day…

How funny it is that you two always met for lunch in a place where only romantic couples hung out, you mentioned in passing, almost mumbling to yourself like you didn’t want to be heard.

“Does it make you uncomfortable?” Subaru asked, already looking apologetic, hearing you despite your low voice.

“No, no” you were quick to dismiss his concern “It’s, um, I don’t know... Doesn’t it make you a little nervous?” you said, laughing sheepishly, a foreign blush warming the tips of your ears, which went unnoticed by him.

“You get nervous when we’re there? We can eat somewhere else, you don't have to stay in a place you dislike just to appease me…” Subaru muttered, frowning “I’m so sorry I didn’t notice that it was making you uncomfortable…”

“No, no, no” you shook your head vigorously “That’s not what I meant at all! I… I don’t think I can explain it to you just yet. I don’t think I’m… ready, or… whatever, I don’t know…” you trailed off, incoherently.

“Ready? I’m sorry, I don't understand.”

“It’s okay” you flashed him a smile and grabbed one of the kimono catalogs that were littering his table, fidgeting with it, mindlessly “Don’t worry about it. Let’s just keep eating there, okay? Promise we’ll keep eating there?”

“But I want to understand what you mean- oh!” Subaru cut himself off as he saw a thick sheet of paper cut your thumb while you flipped it anxiously “Your thumb…”

You looked at the small cut that was letting out a single droplet of blood and shrugged.

“Oh, I didn’t even notice… it’s okay, I’ll put a bandaid over it later. Wait, Subaru? Wait… wait, no!”

The boy didn’t quite register his own movements, as his hand went to grab your bleeding one, gently grasping your pulse with his soft fingers, running his own thumb over your cut, as if his touch could heal you faster.

His hands were bare.

You inhaled sharply and, instantly, it all flashed into his mind in quick succession. Like a large wave overwhelming an inexperienced swimmer, he was pushed down into the deep waters of those memories, causing him to gasp, breathless.

Subaru was swarmed by visions of himself in every possible situation. He saw how your gaze followed him when you spotted him from a distance in the campus; how you searched for him in the crowd of students during lunch time, on the tranquil balcony in which you two have shared your food together plenty of times before; and how you turned your head around whenever you heard someone mention his name in passing.

He had glimpses of the way his hands moved while making tea; his profile as he smiled gently when he tried explaining your homework to you; and his own eyes softening as he talked about Lyca. In your eyes, he looked magical. Ethereal, even. Someone who deserved to be admired, loved, praised and he knew these were your own emotions being whispered so subtly to him.

Subaru saw himself in a way the mirror had never reflected back to him. He discovered parts of his being that he wasn't able to find out for himself, because they would only come to the surface when he was with you.

In his mind's eye, right then, Subaru laughed, loud and breathless, as he clutched his stomach – all the restraint he built through his lifetime, gone through the window, after you had merely told him some silly joke. The way he brightened with your words, making your heart beat in a terrifying, yet delightful way, made your breath catch on your throat.

And much like a dying man seeing his whole life flash through his eyes, he arrived back to the present and saw himself, staring wide-eyed at his own hand tightly gripping yours.

He blinked, and his consciousness came back to him.

Subaru, like usual, felt incredibly weak after using his stigma, yet he still quickly turned his gaze towards you, eyes wide and mouth opening and closing like a fish, unable to say a word.

Your face was beet red and your eyes were blankly staring at your own lap, lips pursed into a thin line and eyebrows furrowed. Your free hand was clenched into a fist, knuckles pale with the force in which you dug your own nails into your palm.

“I…” Subaru murmured, trying his best to weave a coherent thought.

You got up quickly, breaking the hold Subaru had onto your arm, and grabbed your things in a hurry.

“I think- I think I should go.” your voice cracked and you cleared your throat harshly “Thank you so much for the snacks and tea, they were delicious like always” you blurted out, quickly making your way to his door.

“Wait, no, I- I'm sorry, I-” Subaru held his hand out, as if he tried to reach you but you were too far away, oceans of distance between you two.

“There's nothing to apologize for!” You said, way too cheerfully for him to believe you “I just gotta go now. I have… I gotta go. Yeah. See you soon, Subaru.” you stepped out into the rain and soon disappeared into the mist that surrounded Hotarubi, not waiting for whatever he tried to say.

Subaru stared at his own hands. The little droplet of your blood stained his fingertip, and he took a deep, shaky breath.

He had betrayed you. He had seen your innermost memories without your consent and now you were mad at him. He had to apologize. He had to beg for your forgiveness, until you took pity on him and allowed him to be your friend once again.

Falling into a deeper pit of self-hatred was hard, but he tried to keep it together, for you. He needed to be lucid in order to beg for your pardon once you came back to visit him. He just hoped it would be soon.

But you did not see him soon at all.

“I don't think they're mad at you for seeing their memories, it’s not really like them. But maybe they're embarrassed?” Haku pondered, taking a bite of the mochi Subaru had set out for you out of pure habit.

“No” he shook his head, adamant “They wouldn't simply disappear if it was just that. I don’t believe that. I have done something that made them angry at me. I saw something I definitely shouldn't have seen.”

It was the fifth day of you avoiding Subaru and he was hanging on by the thinnest thread. He was so close to snapping that it was becoming clear to the other Hotarubi students. And so, Haku and Zenji came to intervene.

“Well... I can't really give you my proper opinion if I don't know what you saw.” Haku said bluntly, making Subaru flinch.

“I can't tell you. I would be breaching their trust again. That’s the last thing I need to do right now.”

“You are absolutely correct, my dear friend!” Zenji remarked “However, we can’t possibly figure out the true essence of your situation if you can't tell us the whole entire story! How can we write an ending without knowing the beginning and the middle of the plot?”

“I don’t know…” Subaru murmured, looking more miserable with each second.

Haku sighed loudly, shifting his legs on the seat.

“Subaru. We don't want to gossip. We just want to know the situation better. We are their friends as well, you know?” he smirked “We can help you figure out their emotions. If anything, you might feel better after venting. How’s that phrase? A burden shared…”

“Is a burden halved!” Zenji finished, boisterously.

A pang resounded in Subaru's heart at how his friends were doing their best to help him.

“O…okay. I'll tell you”

After finishing recounting the last day he saw you, Subaru sighed loudly.

“Well?”

After a moment of silence, Zenji exclaimed loudly, startling the other two.

“Oh!! The spring begins!!” he yelled, one hand on his chest as the other went up in the air “How lovely it is to see young buds bloom into perfect flowers!!”

Haku slowly nodded at Zenji’s words and chuckled, rubbing his own face in disbelief while he noticed how absolutely perplexed and confused Subaru still was.

“I see now…”

“What?” the brown-haired boy fidgeted, almost desperate to grab Haku and Zenji and shake them by their shoulders “What's going on?”

The other boys looked at each other, before turning back to him.

“Subaru, I don’t want to beat around the bush so I’m just gonna say it straight away. They're like… very much in love with you.”

He blinked slowly, as if the words were entering his brain at a snail’s pace.

“What?” was all he managed to utter.

“Yes, my friend! Our lovely flower seems to be completely smitten by you!”

“No” Subaru shook his head “That can't be. It doesn’t make any sense.”

“Man, if there’s one thing that makes sense in the world, is what we’re telling you right now” Haku said, while laughing “Specially after everything you said you saw. You just… saw their feelings when they weren't ready to tell you yet, so I bet it feels embarrassing. It's probably eating them alive right now. That’s why they’re not visiting.”

Subaru stared at his own lap, his mind not properly processing the depth of the situation – the word “Love” bouncing in his brain like a lost temari.

“Then…” he whispered, throat hoarse “What should I do now?”

“What do you feel for our little flower, my friend? Do you correspond to their feelings? Do you love them back?” Zenji worded gently, as if he was talking to a scared wild animal.

“Do I love them back…”

Haku nudged Zenji, motioning for both of them to get up and leave Subaru for the moment.

“Figure that out first. If you do, go after them and tell them you correspond to their feelings. If not, just let them deal with it on their own. Also, if you don’t like them back, don’t ask for them to come visit you again like nothing ever happened. You’d just be rubbing salt on their wounds.”

“How do I figure that out though?” Subaru looked up at the two men as they leisurely walked outside of his room, eyes already brimming with tears.

“You're a smart guy. You'll figure that out by yourself.” Haku winked at him and both him and Zenji slipped away, leaving Subaru at a loss.

Subaru did his due diligence the only way he knew how: by studying. He started reading romance mangas and watching romance movies. It was the type of media his family would never approve of, as they deemed it unworthy of someone refined like him.

Still, despite him thinking that that “forbidden knowledge” would give him all the answers, it still led him nowhere.

He wasn’t like any male lead from these works. He could never run after someone in an airport and yell their name, begging them to stay and forgo all of their life plans. Subaru wasn’t like that. He couldn't run, couldn't yell and could never see himself as more important than anything.

His self-esteem wasn’t nearly as good as what was necessary for him to feel even the slightest kinship towards the strong, bold male leads, who always had something impressive to show – something that made them who they are, even if they had failures in their personalities.

Subaru could say he had his career as a Kabuki actor as something impressive, but again, it wasn’t him. Kabuki was a part of him, yes, but he wanted to shed it like a cocoon.

Despite that, he thought, then, of all the romantic plays he had performed.

He remembered the pain of most love stories, the tragic end of most sewamono plays he performed and he felt the thorns of grief strangle his chest, tightly.

He remembered the star crossed lovers who could never be together, the man who was promised to someone else and couldn’t be with his beloved, and the woman who had her life binded to a place that would never let her be with the one she desired the most.

All of them, lovers who could never be together, so they chose to erase their own light, because being without one another was more painful than dying together.

Subaru thought about not having you in his life for a moment and he figured: maybe not having you was its own type of death. A life without his most beloved friend felt like an empty one. A loveless one.

He paused.

Love. He thought of this word so candidly, it came to his mind without conscious thought – like it was second nature, like it was the obvious conclusion. And so, he decided to allow his thoughts to flow naturally, without pressure or expectations for once.

He thought of the way he searched for your gaze whenever you two were in public, seeking your comfort and approval.

His heart skipped a beat whenever he glanced at you and you found his eyes, smiling silently at him, as if you two had a secret inside joke.

His chest swelled with pride whenever you agreed with him (it didn’t matter the subject) and he almost felt like he could burst with it whenever you thanked him for his help studying, or when you praised him, or when you giggled at something he said.

Subaru cared for your tastes and opinions, always asking for your favorite foods, flowers, scents and colors. He made sure to smother you in your favorite things, in order to keep you more comfortable – in order to keep you with him just a little longer everyday.

His thoughts wandered over to you at any given moment and he didn't even notice. He'd question himself whether you'd like something, which sweets he could order for you, which teas he could brew.

Without noticing, he based his life around you and it felt absolutely right when he did that. It felt like belonging somewhere.

Subaru inhaled sharply.

The place in which he belongs is wherever you are, he figured.

Subaru hastily got up and bolted out of his room, out of Hotarubi and into Darkwick's campus, where the rain was pouring heavily, accumulating around the lamp posts and pitter-pattering loudly on the asphalt. His clothes were drenched in mere seconds.

He had forgotten his umbrella.

Subaru banged as loud as he could on the door of the rundown cathedral, trying to blink away the raindrops that stuck to his eyelashes and blurred his vision. He could barely see through the heavy rain anyway, so he missed the lights on the windows flickering on and your shadow hurriedly descending the stairs to walk towards the tall doors.

“Subaru?!” you yelled through the sounds of the storm, his hands still raised in fists, ready to keep on banging at the door. “Oh my goodness, Subaru, you’re drenched!”

You pulled him by his uniform’s sleeve, doing your best to avoid touching him without his consent. ‘Always so thoughtful’ he thought to himself, feeling a little floaty after finally seeing you after a whole week.

With his realization, the dam that was keeping his feelings for you safely contained inside a hidden part of himself was no more.

Subaru acknowledged that he was madly in love with you and he immediately began feeling foolish. His fingers itched to touch you despite his fears and he could look at you for hours on end, drinking every detail and every mannerism.

It was like admitting his love was also letting go of his self control. He felt like something inside him nudged him to be as close to you as possible and it flustered him.

No wonder the movies and mangas said that being in love made people a bit sillier, a bit dumber. But the extent of it was almost ridiculous.

He followed you like a lost puppy when you motioned for him to come with you, and soon you two found yourselves in the kitchen.

“Okay” you let out a loud exhale “This is the warmest place in this dorm. You’re lucky I was already making myself some tea. Also, I’m gonna bring some towels and a change of clothes for you, although I might not have something that’s your size. Geez, Subaru, what were you thinking, walking all the way here in this storm? And this late? Without an umbrella!” you rambled on and on, pouring boiling water into a mug for him to drink and dipping a tea bag inside, carelessly.

Subaru grabbed the warm mug and looked at you, with saddened eyes that felt like an arrow through your heart.

“I missed you.”

You took a long breath as you heard the words coming out of his lips, and stared at him, dumbfounded, like he had suddenly grown a second head. You were about to reply, when Subaru shivered intensely despite the warmth of the kitchen, and you came back to your senses, walking briskly towards your room, in order to fetch the towels, leaving his words unanswered.

Subaru sipped on the tea, suddenly every insecurity bubbling up to the surface while he waited for you to return. What if he totally misunderstood your memories? What if you just loved him as a friend and nothing else, what if Haku and Zenji were totally wrong, what if what if what if-

The sound of your hurried footsteps interrupted the avalanche of thoughts that were most definitely about to bury him under a panic attack. He focused on your silhouette approaching him with a handful of towels and what appeared to be a big nightgown.

“Okay, let's get you near the stove.” You said, beckoning him to sit where you were standing.

As soon as he sat down again, you covered his head with a towel and began drying him up as best as you could. Subaru focused on the feeling of the soft fabric rubbing against his head, and then his neck and his arms.

“I'm gonna turn around and close my eyes. Meanwhile, please try to dry yourself properly and then put on this nightgown I found, okay?” you said, quickly turning around on your feet, not waiting for his input.

Subaru stared at your back for a moment, and began doing as he was told – the thoughts that were plaguing him calming down and silencing on your presence, as if you were a protective charm. His protective charm.

“I'm done” he muttered, hair still dripping, but mostly dry when it came to his whole body.

You sighed, looking at his wet mop of hair and began drying him again, in silence.

“I’m sorry for touching you” Subaru was the one who first broke the comfortable stillness between you two.

“You know I’m not mad at you because of that, right?” you replied.

“You disappeared” he stares at you, the hurt in his eyes clear as spring water.

“I know, and I'm…” a beat passes by, longer than it actually was “I apologize. I know running away isn't the best approach, but that was all I came up with.”

Subaru stayed silent, as if he was waiting for you to complete your answer.

“It's just… I can imagine what you saw and I wasn't ready to discuss it yet.” you finished, shoulders slumping after you finish drying his hair.

Subaru moved a few strands of his brown hair away from his eyes.

“What do you think I saw?”

You glared at him, cocking an eyebrow at the question that sounded way too much like a tease.

“I don't think you’re in a position to ask questions like that, are you?” you replied, unintentionally snappy.

“Oh, I'm sorry… it truly wasn't my intention”

But it was Subaru that was standing before you, not anyone else. Truthfully, you knew he would never in a million lifetimes think of teasing you on purpose. It was one of the reasons why you ended up so lost in your feelings for him.

You sighed, more in frustration with yourself than anything else.

“I know, I’m just… Look, Subaru… I'm sorry too.”

It was his turn to raise his eyebrows, but in confusion.

“For what?”

You chewed on your bottom lip, avoiding his eyes even though you were standing so close to his sitting form that his whole presence overwhelmed you.

“For putting this burden on you. I know you saw my… like…”

He waited yet again for you to finish.

“I know you saw my feelings for you.”

Subaru could immediately feel a warmth spread through his chest, cheeks and ears at your words. So he wasn't mistaken? So you liked him back? Truly?

“But I didn't want to burden you with them.”

The smile that was tugging at the corner of his lips suddenly dissolved into nothing.

“B-burden me?”

You pursed your lips, transferring your weight between your legs, back and forth, back and forth, anxiety clear on your face as you thought of how you could tell him what was on your mind.

“I didn't want to ruin what we have, I think? But there's no point in hiding now, right?” You chuckled nervously “I mean, you already know, but I really like you, Subaru. If I ruined our friendship because I got too greedy, I think I wouldn't be able to handle it.”

You looked at him, eyes swirling with emotion and, for a second, Subaru thought this could all be a dream – the only thing that confirmed otherwise being the uncomfortable chill of his body, a sign of a fever approaching.

“Everything you do… every interaction we have, I just get more and more in love” you cringed at how emotional your own words sounded “But I am so scared of your rejection. I think in part I was hoping you'd forget about that incident during my time away from you. I didn’t imagine you’d come after me.”

Subaru's heart beat drummed loudly and fast inside his chest, although he tried to keep it hidden (his face betrayed him, however).

“Did you think of me while you were away?” He managed to mutter.

“Are you kidding me?” you laughed, breathlessly “You were all I thought about this whole week.”

His ears burned red.

“I… thought about you all the time too.” he mumbled, gaze fixed on his own hands.

“What?”

He took a sharp breath and steadied himself, training his eyes on you as he spoke his next words.

“I'm so… I'm so sorry I'm not good with emotions and I'm sorry that it took me a whole week to understand things when I could have relieved you of this earlier but… I figured it out. I finally did.”

“Figured out what?” you tilted your head to the side and his chest warmed once again at the effortlessly cute gesture, giving him even more certainty to keep saying what he had to say.

“I like… no… I love you too.” he watched the way your eyes widened and darted all over his face, as if to search for a sign of truth behind his words.

“I am so blind and afraid of other people that it took me that long” he proceeded “But I know now. I.. I really do love you and I don't want to be away from you any longer. You don't have to stay away anymore. So please.” He got up from his seat and took a small step towards you “Please don't leave me behind like that anymore.”

You shook your head, tears welling up on your eyes, his intensity squeezing your lungs until you thought you could die, breathless, his eyes stealing every ounce of air from you.

“Subaru… Please… please don't tell me you're doing this to appease me.”

He paused.

The thought of you not believing in his words tugged a little at his heartstrings, but he also couldn't blame you. Not when he was so unsure of all of his feelings on a daily basis, towards everyone and everything, and you were the main witness of the way he clumsily stumbled his way into understanding himself.

He was absolutely sure of this, though.

“I'm not.” he said, voice steady as he looked at you.

“Because if you're saying this just because you want to keep me close, I would never be able to forgive you.” You looked away from him, pain over this imaginary scenario clouding your face. It was the time for him to extinguish your anxieties and insecurities for once.

“I'm not.” He took a step closer towards you.

“Please… don’t try to please me if you don't truly feel the same way.” You shut your eyes tightly, throat clenching as you felt the tears threaten to fall.

“Look at me.” He pleaded, and you hesitantly complied, breath hitching on your throat when you noticed how close he was standing to you “I promise you. I'm not.”

Subaru leaned forward, capturing your lips into a quick, chaste kiss, a fire burning on his cheeks at his own boldness.

He was still afraid of his stigma and how it would work with the other parts of his body besides his hands, but once he noticed he was still grounded in reality and not locked in another memory of yours, he got a bit bolder once again, and kissed you for just a little longer, lips melding together just a little more. The softness of your kiss made him sigh and his heartbeat deafened his ears.

He tentatively rested his forehead on yours once the innocent kiss was broken.

The first thing he noticed was the warmth you radiated while he stood near you. Both of you had beet red faces and your minds were hazy, as if they were made of clouds.

You were the first to come back to reality and giggle at how overwhelmed both of you were with just a little kiss.

Slowly, hesitantly, your hand came up to cup his cheek, and he leaned into your touch like a cat.

“The stigma?” you whispered

“Not activated”

“Good.”

Your other hand came up to run your fingers through his hair, on his nose, on his chin.

“Do you believe me now?” Subaru asked, wholeheartedly.

“Maybe, I think I'm going to need a few more kisses to fully believe you.” you smiled, teasing him a little bit.

“Really?” He leaned away to look at your eyes, still a bit worried he hadn’t convinced you yet.

“No” you snorted “I'm just joking.”

“Oh I see… sorry I didn't get it right away” he furrowed his brows, apologetically.

“I don't mind getting more kisses though!” you squeezed his shoulders, reassuring.

Subaru chuckled, still a bit flustered at your proximity. Suddenly, however, he scrunched his nose and stepped backwards.

“Subaru?”

“Oh. Oh, I think I'm gonna–” Subaru quickly turned around and sneezed into the towel that still hung on his shoulders “Oh-oh. I think I'm getting a bit sick.” he said, nasally, nose dripping a little bit as he sniffed loudly, back still turned towards you.

You fretted, hovering all around him as you scolded the poor boy.

“See! What did I tell you!” You quickly placed your hand on his forehead and gasped “Let's get you to bed right now, Subaru. You're already feverish!”

You pulled him quickly towards your room, hearing his wheezes as both of you climbed the stairs that led to your quarters.

“But I don't regret what I did” he stifled another sneeze “I needed to talk to you.”

You blushed, opening the door to your room, and glared at him.

“And now you're sick…”

You two climbed the stairs to your lofted bed and you pulled the covers, motioning for him to lay down.

He sat on your bed and looked at you, puppy eyes blinking his allergy tears away.

“But… it kinda looked like a movie thing, didn't it…?” he said, sheepishly.

You pushed him towards your pillows and covered him thoroughly, pouting a bit.

“I think it did…” you stared at the giddy smile that tugged on his lips and sighed, shaking your head.

“I'm going to be down there” you pointed to the bottom of your room “So if you need anything, I'll be here. I'll just grab you some water and medicine and come back quickly, okay?”

You got up, but as you began to leave, Subaru held your hand. His eyes were already droopy, the events of the day getting to him, along with the cold that was quickly racking his body.

“Are you going to start visiting me again?” he asked quietly.

You felt your heart skip a beat as you looked at his sleepy face, the question making you fall even deeper in love with the adorable boy in front of you, if that could be even possible.

You nodded.

“Everyday, for as long as you want me near you.” you said quietly as well.

He shifted on the bed, snuggling closer to the blankets, and closed his eyes, letting sleep wash over him.

“Forever, then.” he mumbled, and, soon afterwards, began snoring softly.

#tokyo debunker #subaru kagami #tokyo debunker subaru kagami

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riaschamberofsecrets · 6 months ago

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Shifting is a matter of the mind.

Shifting can be likened to the experience of dreaming, where the mind crafts vivid narratives that transport us to far-off places or fantastical realms. Just as dreams allow us to explore alternate realities while we sleep, shifting invites us to consciously navigate different dimensions of existence while awake. This process highlights the incredible power of our imagination, suggesting that our minds can act as portals to experiences beyond our immediate surroundings.

Imagine watching a movie that captivates your attention so fully that you momentarily forget the world around you. The characters, settings, and emotions become so real that you feel as though you are part of the story. In a similar vein, shifting allows individuals to step into a narrative of their choosing, where they can embody different roles or inhabit new worlds. This act of immersion underscores the mind’s ability to blur the line between fiction and reality, drawing parallels to how we engage with various forms of storytelling in our lives.

Consider the way athletes visualize their performance before a game. Many elite competitors employ mental imagery techniques, vividly picturing themselves executing flawless plays. This mental rehearsal enhances their actual performance, demonstrating that the mind is not merely a passive observer but an active participant in shaping reality. Shifting operates on this same principle: by visualizing a desired reality and believing in its possibility, individuals can create a pathway to that experience.

Furthermore, shifting can be compared to the process of learning a new skill. When we embark on a journey to master something, such as playing a musical instrument or learning a new language, our initial attempts may feel clumsy and challenging. However, with practice and persistence, we gradually become more adept. Shifting requires a similar dedication to honing one’s mental focus and belief in the ability to traverse different realities. Just as one must practice to become proficient in a skill, the act of shifting often involves cultivating a mindset that embraces exploration and the unknown.

Additionally, think about how nostalgia can transport us to fond memories of the past. When we reminisce about a cherished moment, we can vividly recall the sights, sounds, and feelings associated with that experience. This emotional connection illustrates how our minds can traverse time and space, allowing us to relive moments that have shaped us. Shifting taps into this same capability, offering a structured way to revisit or create new experiences that resonate deeply within us.

Ultimately, shifting is not merely an escape from reality; it is a profound testament to the capabilities of human consciousness. It encourages individuals to embrace their imagination as a powerful tool for exploration and self-discovery. By recognizing that the mind can shape experiences and realities, we unlock a greater understanding of our potential to redefine existence itself. In this way, shifting invites us to engage with life more fully, reminding us that our thoughts and beliefs hold the key to new possibilities.

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bluejutdae · 1 year ago

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Stray Kids as Hozier songs | OT8

Chan

Take me to Church - the song resonates with leadership and a commanding presence in the same way Chan does, with a very bold and powerful nature. It's a very intense song. Chan is devoted to the members and the music and he’s a determined man. Chan's unwavering presence is always passionate and the soulful vocals of the song coupled with the powerful instrumentals mirrors the role of Chan in the group. The lyrics also reflects resistance, something we know Chan is well versed into.

Minho

Nina Cried Power - The empowering theme of the song resonates with Minho's social involvement. "It's not the song, it is the singing". It's no mystery Minho is very well conscious of inequalities in the world, and he does what he can to fight them. The song also explore power and the force of collective strength, something that pairs well to Minho and his attentive care to guide Stray Kids in dancing as a unit. "It's not the wall, but what's behind": he understands and communicates perfectly how the connections between members (even beyond the surface) are part of the strength of the group.

Changbin

Jackie and Wilson - Stylistically speaking, the song’s instrumentals are impactful and strong just like Changbin's rapping and his ability to make strong artistic statements even when in a group. The lyrics convey the sense of overcoming challenges, something Changbin himself admitted to have done, and in doing so, he made a lasting impact in the musical world and in the lives of many (who often speak about the impact Changbin had on them).

Hyunjin

Cherry Wine - sweet and soulful, a very gentle and emotional atmosphere, tender but complex, almost like it’s hiding a constant questioning. The song has the ability to convey emotional depth and a story, and it’s mirrored by the ability Hyunjin has to do the same while dancing. The song has a tone of melancholy in itself, a bittersweet taste that Hyunjin is able to replicate with his ability to convey emotional complexity with just a facial expression or a movement. The poetic nature of the song, despite the negative narrative aspects, reflect Hyunjin artistic expression and many of his paintings.

Jisung

From Eden - Jisung's creative style match the complexity and depth found in the narrative of the song. In the song there's a sense of familiarity and introspection, and both Jisung and the song manage to be amazing storytellers. The imagery in the song it's very vivid, just like Han's lyrics, and the symbolism is so Jisung coded.

Felix

Almost (sweet music) - smooth and stylish, the song depicts a sophisticated atmosphere, yet a longing and emotional one. There's a mix of style in the song, a bit of classic jazz and something more contemporary, and it translate perfectly in Felix's duality. The heart being, in a way, the main character is also something easily paired to Felix, who always wears his heart on his sleeves.

Seungmin

Someone new - an hopeful and melodic atmosphere, a "friendly" song even to those who are not fans of Hozier. There's lightness in the lyrics yet they’re honest and clear, and they translate in Seungmin's position in the group. As said, it’s an honest song, almost like a self-discovering journey from the narrator and it suits Seungmin so well.

Jeongin

To noise making (sing) - bright energy, uplifting and optimistic tones. There's a careless energy in the song and exuberance that reflects Jeongin's. The melodies are almost whimsical, and paired with the uplifting message it reminds me of the constant positive and cheerful aura that I.N. has. It also always makes me think it can be read as a message to Jeongin from his hyungs: the undeniable love they have for him, the unwavering support and the joy they all feel just by watching him being happy…

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chillinglikeashilling · 8 months ago

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At some point when it is not 1 am on a work night I'm going to make a proper post about why I think people who are really enjoying the storytelling of Misfits and Magic 2 should give The Maid and the Crocodile by Jordan Ifueko a shot but the most concise pitch I can give you is that TMTC is also a story about a magical world undergoing a revolution, that explores themes about systems of power and the ways those systems work to exploit certain people to the benefit of others.

The main character Sade is literally disabled by these systems and her love interest/deuteragonist is an obnoxiously beautiful man who has literally cursed himself in pursuit of justice against these systems.

Also for everyone who liked the shadow possession thing- they have a magical bond that let's him feel her emotions, which is absolutely necessary because Sade would rather die than admit to being uncomfortable. In fact Sade's willingness to accept discomfort (and the willingness of the powerful to ask her and others like her to shoulder discomfort so they don't have to) plays a pretty big part in the story.

Lastly, and this is actually an appeal to all my fellow Bob stans from PoL, there are a lot of songs involved in the magic in this book and the audiobook narrator sings all of them. Not in a very polished, instrumental backed way but just in a way that feels true to someone making up a song on the spot.

It's a standalone story in the universe of author's main duology so there's more to explore if you want but it's not necessary to understand this book.

#The book comps from the author are Howl's Moving Castle and Beauty and the Beast but you should be aware it is much closer to the book HMC #Than it is to the Ghibli adaptation #At least imo #Also it's a majority black cast of characters.#misfits and magic #the maid and the crocodile #Evsam #Non-dimension 20 #I'd apologize for the amount and breadth of posts I make after an episode but that's the ADHD baby!#Please feel free to block me in the tag though if I am fucking up the vibe

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tojisth3rdwife · 7 months ago

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Given Name: Suguru Geto

Role: Guitarist and Vocalist of Gifted Curse

Birthday: February 3, 1993

Zodiac: Aquarius

Height: 6’3

Favorite color: Purple/Black

Favorite food: Sushi

Suguru is the multifaceted guitar player and third member to join the dynamic band Gifted Curse. With an impressive array of skills that encompass songwriting, music production, engineering, and vocals, Suguru brings a wealth of creativity and expertise to the group. His musical journey began as a solo artist, where he honed his craft and developed a distinctive sound that resonates with depth and emotion.

Everything changed for Suguru when he met Choso at a live show. Their immediate connection and shared passion for music drew him into the vibrant world of Gifted Curse, where he found a collaborative spirit that ignited his artistic vision. Joining the band marked a transformative chapter in Suguru’s career, allowing him to merge his solo talents with the collective energy of a group committed to pushing musical boundaries.

As a guitarist, Suguru’s playing is characterized by intricate melodies and innovative riffs that complement the band’s eclectic sound. His ability to seamlessly blend genres—drawing from rock, rnb, indie, and electronic influences—adds a unique layer to Gifted Curse’s compositions. Beyond his instrumental prowess, Suguru’s skills as a producer and engineer allow him to contribute to the band’s sonic landscape, ensuring that every track is polished and impactful.

In addition to his technical abilities, Suguru is also a gifted vocalist, bringing emotive and powerful performances that resonate with audiences. His dedication to crafting meaningful lyrics and memorable hooks showcases his passion for storytelling through music.

As Gifted Curse continues to explore new horizons, Suguru remains committed to the art of collaboration and innovation. His journey from solo artist to integral band member exemplifies his belief in the power of music to connect people and inspire creativity. With his diverse talents and unwavering enthusiasm, Suguru is poised to leave an indelible mark on the music scene, both as a member of Gifted Curse and as a visionary artist in his own right.

Check back soon for exclusive content

< Meet the Band >

#jjk #anime #jjk suguru #geto suguru #jujutsu kaisen suguru #jujutsu geto #jjk geto #geto fanfic #jjk fanfic #giftedcursefanfic

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seasaltmemories · 6 months ago

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Top AMVs of 2024 - 20 - 11

A more in-depth breakdown of what I am doing can be found here, as well as the past entries here. Today's entries are as follows:

20. Royal Revue by Scoobisms

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Audio: One Girl Revolution by Superchick

Visuals: Princess Peach Showtime!

I am always a sucker for gmvs that make use of actual gameplay footage, and Scoobisms pulled off this exact trick with a very unexpected source. It turns out though, that Princess Peach Showtime!’s theatrical setting and variety of outfits/roles for her to try on gives a lot of material for Scoobisms to work with. There is a good balance here with the gameplay footage helping accent the flashy cutscenes while still remaining interesting with little flourishes of internal sync.

This vid is also not lacking at all for personality, and I think the song choice especially helps threads that needle of “fun girl power anthem” while still giving less traditionally feminine aesthetics a chance to shine. A good example is the instrumental break where we get the focus on spy!Peach and all these fun classic espionage scenarios. Overall both Peach and Scoobism put on a great, charming show.

19. Ctrl Alt Delete by ManlyMango (CW: Suicide)

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Audio: Did It To Myself by Orla Garland

Visuals: Wonder Egg Priority

I sometimes find I have hot takes when it comes to storytelling in amvs. As much as I try to make sure my prior knowledge of a source doesn’t influence my judgment, I find that compared to clear, linear narratives, I often value visceral, detailed conflicts and emotions even if the exact events are vague. I can’t help but give bonus points when I not only can summarize the video easily, but I feel like we take the time to untangle more complex stories.

Thankfully, plenty of people seem to be in agreement that the storytelling of Ctrl Alt Delete hits hard. I have heard about Wonder Egg Priority’s troubled production/unsatisfying ending, but ManlyMango manages to get to the heart of mess by exploring our protag having to grapple with both monsters and her best friend’s suicide. What she “did to herself” is vague and unspecific (perhaps the fact she didn’t save her friend from her troubled circumstances) but what is important is how clearly it showcases the guilt and frustration she puts upon herself.

And while the music is upbeat and poppy, I love that the ending actively denies us catharsis. No matter what she does, her friend is gone, and we in the audience also just have to sit with that loss. Mango mentioned being surprised with the warm reception it got at several contests, but it really pulls off what could be a convoluted, hard to approach topic with a deft touch.

18. Champagne for the Exes by JazzVids

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Audio: Who Do You Blame (Ablainkan Remix) by SAINt JHN

Visuals: Noragami

In comparison, JazzVid’s amv took me a while to get. While the basic premise of a break-up is clear, I was real unsure why Noragami was being used as the source with this song, what motivated her to included a comedy sketch in the middle of the vid, or what purpose the border and text work was for.

Still something about it all together just works for me. There’s a deliberate back and forth between the prideful boasting of the verses with the vulnerability and sincerity of the chorus/outro. And editing-wise, she includes a good amount of slapstick to keep it a fun time, but also plants some set-up and payoff (the fact we don’t see Hiyori’s face clearly until the end for example) that just makes all the disparate elements resonate. It is always a treat to encounter the type of art I might struggle to categorize but that compels me all the same.

17. ToxiCommoner by Spuddstaaa

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Audio: You Signed Up For This by Maise Peters

Visuals: The Apothecary Diaries

I am a strong believers that artists should make whatever they want, but it is always exciting to see people explore outsider their comfort zone. Despite being known for more goofy, upbeat vids, Spuddstaaa has spent a lot of 2024 dipping his toe into the drama/sentiments pool and this one is my fave of his experiments.

Outside of the basic premises of the show, I don’t know much about this series or Maomao’s particular struggles, but there still manages to be this engaging underdog narrative to it all. It is nice to see this sorta loser coming of age amv with a female protag, both a bit tongue in cheek yet empathetic. The sparkly overlays really work, as does the dance footage for the climax, and by the end of things I feel the I want to sign up for this gal and all her shenanigans.

16. A Story of Despair and Hope by MarshmallowGoop

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Audio: 15 Min Flame by Poets of the Fall

Visuals: Witch Hat Atelier

Although she had worked with some manga elements in the past, MarshmallowGoop said this was her first full on Resolve MMV, and I could barely believe it. There is no fear in using overlays, masks, and animations, to create so many engaging compositions.

The text also deserves special mention. MarshmallowGoops creates some of the most creative captions you might never see if you never consider to toggle them on, but here she goes all out in the vid itself. Not only does she pull from the lyrics of the song, but she also includes the manga text itself, often sync it to strong beats for pacing and dramatic effect. Which for an already tense part of the song, just ups that suspense even more.

She mentions initially wanting to make this vid longer and possibly coming back to this project to expand, but even just this 30 second snippet is such a delight

15. Crossings by AdventLostKaichou

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Audio: Stray Italian Greyhound by Vienna Teng

Visuals: Hyouka

There is such a deliberateness to Kaichou’s editing here. Not only does it take a lot of masking to play with the partially coloring going on for most of the vid, but it is used for such delicious slowburn storytelling purposes.

Another commenter mentioned that Hyouka can be a “talking heads” kinda show, and she admitted to really wanting to make sure she didn’t just spend time using the iconic scenes of the show (and it in fact takes us until 1:49 to get some of the more iconic surrealness). So not only does the gradual increase in color help give us some sense of the male lead’s growing feelings, but she also plays with the coloring reverting back to its dull gray haze during moments of repression like at 2:16. By the time we reach the last chorus and the money shots, it is an earned moment of release that really matches the singer’s similarly overwhelming feelings.

The rest of the video is also great of course, but it is that attention to detail and care that makes a concept that could be one-note and cloying really work.

14. Never-Ending Dream by Madmegatex

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Audio: Dreamstate by Son Lux

Visuals: Omori

Speaking of tension, this vid is another example of tight, deliberate control. I have never played Omori (although this vid did make me read up on it) so I can’t say how much the cutscenes are just like this or due to her manipulation, but either way, in the hands of a less skilled editor, this could be a very slow and boring vid.

But not only does Madmegatex make use of ever bit of movement and visual interest, but she is very careful in how information is given out. There is a clear structure and rhythm to it, even foreshadowing the central conflict haunting the protagonist. A scene as simple as the protag getting up to play the violin feels as dramatic as any high energy scene thanks to the careful context that has been built.

Despite the oppressive atmosphere dominating most of the vid, the move towards a hopeful conclusion is nice. Its not a clean ending, but it is one the lets you truly breath a sigh of relief, buoyed by the overall pitch perfect pacing.

13. angsty metal by Silent Hero Studios

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Audio: Song 2 by Blur

Visuals: FLCL

Silent Hero is a master of just dropping some of the slickest action without any warning, which I guess is true to his name. Song 2 and FLCL feel like the kind of combo that should have existed the minute the anime came out, but whether this is truly the first time this was done, or this is only the latest render, Silent Hero makes it his own.

Not only is the overall flow and all the heavy beats extremely strong, but he is a genius at nailing down a lot of the more understated song elements, such as infectious riff from 1:15 - 1:18 or the singers vocal inflections at 0:51. I am always a sucker for internal sync, and he just makes it look like the easiest thing in the world. By the time it ends, I’m always just ready to cue it up again.

12. NiteLight by Radical Yue

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Audio: The Night Out (Madeon Remix) by Martin Solveig

Visuals: Multisource

I can bounce off of big multisource upbeat videos sometimes as I like having something singular to really focus on. But what really keeps me glued to NiteLight is the atmosphere.

The neon aesthetic definitely unites the various sources together, but overall I really like the relaxed pace to it all. There’s a deliberate rise and fall for each drop that keeps the entire vid from just melting into a compilation of sakuga moments. A good example is the two HSR women dancing. While I’ve seen the more dramatic moments of this clip/video, Radical Yue lingers a lot in the flirtation and tenderness. And when the drop needs to drop we can kick into high gear just as easily, with several sweet masks.

Radical Yue mentioned being inspired by "Welcome to the DCC" by TakeshiAMV and Kuroo and how it seemed a celebration of anime in general. She accomplishes a pretty similar goal with this varied and lovely curated source list. It feels like a big party where there is something for everyone to enjoy, whether they are a veteran fan or just got into the medium yesterday.

11. Long Live Shonen by Sean.PNG

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Audio: Lost in the Echo - Linkin Park remix by Paul Udarov

Visuals: Multisource

There have been some serious data about the impact Linkin Park has made on amvs. I could pull you up some sources, but I don’t think they’d be telling you anything you don’t already know. So using a remix to update the classic Linkin Park/Shonen formula is the kinda of concept that on its own gets butts in seats.

Best of all, Sean.PNG also kills it on execution. As talented as he is with stringing so many shows together, what really elevates it is how easily he redirects the motion. Some of the struggle I can get when editing action is feeling constrained and stagnant with my flow, but if Sean.PNG ever felt stuck like that, it doesn’t show in the final product. It all flows great without ever falling into predictability, just as comfortable using either subtle masks or basic cuts. Really one of those amvs I was so grateful I got to see on a big screen this year.

#my reviews #amvs #fanvids #anime music video #princess peach showtime #wonder egg priority #noragami #the apothecary diaries #witch hat atelier #hyouka #omori #flcl #Youtube #amv talks

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louisupdates · 1 year ago

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FULL ARTICLE ON EUPHORIAZINE

By Saskia Postema 26.4.2024

Mere days after winning “Artist of the Year” at the inaugural Northern Music Awards, Louis Tomlinson is celebrating the only way he knows how – by giving back. Tomlinson just dropped a surprise album, which includes a curated list of live performances over the past years. It’s a risky move, as live albums are notoriously difficult to make worthwhile. But there’s no doubt about it: Tomlinson is deserving of that award, and the recordings on Louis Tomlinson: LIVE deserve to live forever.

After an initial stop-start to his solo career, Tomlinson has certainly flourished since finally getting to hit the stage. He’s been touring extensively over the past few years, performing a mix of tracks from his first two albums. Both were solid records that heavily referenced anthemic, rich sonic soundscapes. In fact, Tomlinson previously admitted that he wrote certain tracks with a live show in mind. Indeed, songs like “Face The Music,” “Out Of My System” and “The Greatest,” from his No. 1 selling album Faith in the Future, absolutely benefit from the live instrumentals compared to their studio versions.

It isn’t often that live performances consistently seem to not only live up to but objectively improve the perfectly engineered studio recordings. Perhaps it’s the love that the album so clearly captures for live music that does it. The singer-songwriter is an avid fan of his own fans and gets to share a collective experience of joy with them. Just listen to the crowds serenading Tomlinson in return during “Chicago,” recorded live in – you guessed it, Chicago. From Tomlinson’s perspective, audiences across the world have always been part of breathing life into these live recordings. Now, people get to live that same experience with him by listening to this record that is woven together with impeccably mixed joyful screaming in the background.

Tomlinson’s storytelling isn’t hindered by the crowd’s reaction. Rather, it is bolstered by it. In both power ballads like “Common People” as well as raucous tracks like “Silver Tongues.” The live setting seems to function almost akin to a prism – each song shining brighter, richer, fuller. Perhaps the only track that is tighter in the original version, is the seductive “Written All Over Your Face.” Nonetheless, the instrumental break and palpable, wild excitement make for an enjoyable listen.

Similarly, right in the middle of the highly addictive “All This Time/We Are Beauty” mash-up, a fan can be heard screaming “I love you” if you listen closely. The sheer adulation of the crowd is decidedly earned. Tomlinson has worked hard to prove himself, despite never having lacked the talent. Perhaps merely the confidence that he could do it, would do it, has done it. Nevertheless, he’s been open about the tension between his own love for music, and his at times debilitating need for perfection. As he’s settled into his career, a quiet undertone of determination and grit, of relief and fulfillment – of gratitude remains in every single show.

On “Saturdays,” you can actually hear Tomlinson mumble that the view’s never been better from where he’s stood on stage. It’s a high-maintenance track with all the right ingredients for a Tomlinson classic. There’s confessional lyricism, emotive delivery, and a gradual yet powerful crescendo in musical arrangement. It needs to be sung with conviction, and it’s clear that Tomlinson pulls power from the audience to deliver.

Notably, none of the covers that Tomlinson frequently incorporates in his concerts made it onto this live album. With that in mind, perhaps this release signals that Tomlinson has finally embraced his own artistry. Because if anything, Louis Tomlinson: LIVE is a reckless celebration record. An ode to joy, the synergy between artist and audience, and the impact of well-timed, flawlessly executed live guitar solos.

#louis press #louis tomlinson #louis tomlinson live #26.4.2024 #album review

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neukkimafterdark · 2 months ago

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Let me just start this with a simple confession — Bleach was my very first experience with the Big Three, and to this day, it's the only one I've completed. (For the curious: yes, I've just started Naruto, so don’t come at me yet 😶‍🌫️.) But when it comes to Bleach… oh man, where do I even begin?If I managed to stick around through 300+ episodes, fillers and all, it’s because this anime was so worth it. The highs, the lows, the pure madness of the battles, the sheer style — everything about Bleach kept pulling me in.

And I can’t even begin without mentioning Aizen-sama 🙌. Good god, this is what happens when the creators pour their energy into crafting a villain so compelling, so calm and calculating, that fans like me fall in love with the wrong guy. But was it really wrong? Because Aizen is what a peak villain looks like. That effortless dominance, that sense of control in every scene — chef’s kiss. He didn’t just change the flow of the story, he became the story for a huge part of it .

Honestly, Bleach had a lot going on beyond just flashy fights. The plot was deeper than people give it credit for, and the character growth? Insane. And among all the legends, my absolute favorite will always be Kenpachi Zaraki 😍😍. The brute force this guy carries is beyond words. He doesn’t play by the rules. No overthinking, no drama — just raw power and a thirst for battle. It’s the only version of masculinity that I genuinely, fully respect. This man doesn’t need a Bankai. He doesn’t need tactics. He lives for the fight, breathes chaos, and smiles through the bloodshed. The kind of brute force that can’t be explained — it’s just felt. He’s wild, unfiltered, and somehow manages to be one of the most authentic characters ever written.In a world full of power scaling, energy attacks, and plot twists, Kenpachi is just there — raw, real, and wrecking everything in his path.He’s chaos wrapped in a captain’s coat, and I loved every second of screen time he got.

Now let’s not pretend the ride was flawless. The fillers? Yeah… they tested me. They tried to kill me with boredom🥲. But for a 300+ episode anime, I’m willing to forgive them. The canon arcs made up for it tenfold.

And then came the Thousand Year Blood War arc… oh man. The animation. The pacing. The storytelling. The vibes. It was like Bleach got reborn and came back stronger 🤯🤯🤯. Everything felt grander, darker, more intense. And just when you think Aizen’s the last boss we’d ever need, along comes another villain who blows our minds. It felt like the entire series had leveled up, and I couldn’t look away.

One last thing that absolutely deserves appreciation — the soundtrack. Peak. Music. Every track is a feeling. Whether it’s a haunting instrumental or a high-energy battle anthem, Bleach's music knew exactly how to hit your soul at the right time. It added depth to the fights, weight to the emotions, and straight-up chills to so many moments.

So yeah, this was my little rant. I had to do this. I’ve got no one in my circle to geek out about this with. It’s not just another anime — it’s an experience I’m grateful for. From Soul Society to Hueco Mundo to the edge of a war-torn Seireitei… it’s been one hell of a ride💓.

Thanks for reading. If you know, you know😏.

#anime and manga #japan #bleach #kenpachi zaraki #sosuke aizen #ichigo kurosaki #anime blog #anime lovers #mini rant

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msommers · 2 months ago

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B, H, P, and R for riya, jorina and maeve?

hi i answered these in a timely manner and made complete sense for the entire post, hundo p <3 tyyyyy // oc asks: au abcs

B. band au. What is your OC like in a band AU? Are they a performer or a groupie? What instrument would they play? What's their relationship with their bandmates and/or the group(s) they follow?

RIYA — front woman riya is an absolute blast to consider. a singer/dancer that lives to bask in all of the attention such a spot would give her, including any scandals and drama, naturally. i think her beginner level piano skills would carry over here for simple melodies while working on songs, and she'd have a small interest in the guitar but would be put off actually learning how to play because she doesn't like how it feels to hold it and that's enough for her to quit lmao. she'd be just as obsessed with the public appearances as the performances, and easily the most active bitch on socials (some may say too active, but they're boring probs). i imagine she'd be a fun bandmate with all of the passion and enthusiasm she'd bring, but idk bestie. maybe we could do with a few less suggestions on horny songs.

JORINA — she'd rather die than be on a stage in front of a crowd, first of all. tbh i could see her in a manager role over anything else. making meticulous schedules, crunching numbers, and organizing appearances/performances, etc etc all her favorite kinds of things. maybe she's got a hidden talent with some string instrument that her mother taught her, but it wouldn't really come up. this is where i put the natural concept of her being the manager of aleksi's band because that'd be funny as hell. “we have to leave at precisely 6:35am to fulfill today's schedule” vs “okay but consider this: staying in bed until the hotel boots us out at checkout time” FIGHT

MAEVE — not to get all swiftie about it but i think maeve would positively crush a folklore/evermore style of music. piano and strings focused music (pop + folk pop + ballads + whatever other amount of genres around there, too lazy to list ‘em all) with lyrics that focus on storytelling and evoking strong emotions, through both fictional concepts and her own personal experiences. unlike riya up there, maeve actually spent the time and energy on maxing out that piano skill and it'd be her instrument of choice. i also joked that maeve's power creep is just her gaining artistic/musical skills over the years, so that decision to make her a good singer a few months ago can slide in perfectly here. she's sending her bandmates a new song through a voice memo at like 2am and following it up with “i was particularly inspired so there's a short story to go with it as well” and it's like aight. leave some creativity for the rest of us. the surprise album drop full of sickening love songs after meeting ilya would go crazy bro 😭

H. horror. Would your OC survive in a horror situation? What would their role be? How would they deal with being tossed in a horror scenario?

RIYA — i think it'd depend on the exact horror scenario for her, but i could see her surviving quite a lot. though she wouldn't be happy about it at all, on account of all the grief and trauma that’d probably come with it. she’s the slutty comic relief character that you think is going to be killed first while hooking up with her partner, but she subverts expectations through her courage, quick-thinking, and surprising talent at being able to pick up whatever weapon she can find and going to town with it. plenty of horror scenarios where her sheer force of will would be able to carry her through so much of the violence and terror, it’s the whole “if you can’t beat the fear, do it scared” mentality she has being put to the test. overall we know how she deals with being tossed into horror scenarios because the vigilant campaign/the blight is a horror <3

JORINA — she's definitely making it out alive, jorina's a survivor through and through. she has the natural instincts to keep from freezing or taking the wrong path, the right balance of distrust and insight to keep from going in with the wrong people, and a willingness to pull insane stunts to escape danger. she's also not above killing if it's needed, but she's not thrilled about it. she'd be at her most relatable horror protag in a situation where she's in full-on protective big sister mode, either defending her siblings or rescuing them from some threat. i think the most interesting horror situation for her would be a babadook style supernatural story that's really just a metaphor for the lingering depression and grief and stress that haunts her family home, but also it must be said that her backstory event of being out in the city/alienage when the darkspawn attack denerim is already prime material for a horror story.

MAEVE — i’m going to say yes, on the condition that she has friends/partners with her. she’s capable of talking her way out of a lot of danger, and can manage in a quick fight if certain aspects are in her favor (element of surprise, 1v1, nobody too large/strong, etc etc), but a lot of maeve’s survival comes from being able to team-up with people or simply have them take on most of the action themselves. prime damsel in distress territory in most situations. i think back to zombie apocalypse au maeve who’s able to hold herself together by helping others and keeping everyone’s humanity in check, while needing to rely on them for protection and practical needs before she can adjust to the new world. she's hope and humanity focused, needing them both to survive or else what's the damn point anymore. applies to other scenarios as well, toss her into that until dawn vibe and she's absolutely the one who's causing a pause in the ramping action to initiate a heart-to-heart with the person she's exploring a dark basement with. sorry she's full of love and wants to do a check-in to see if you're ok, you can focus back on the horrors in a minute or two right now we gotta do a check on hope levels.

P. pacific rim au. What is your OC doing in a Pacific Rim AU? Are they drift compatible with anyone? What would their jaeger be called?

ok legally nobody is allowed to be mad at me for forgetting like 98% of the movie because i only watched it one (1) time. it's not my fault!!

RIYA — so according to my research (i read the wiki article on drifting <3), i think riya would be compatible with plenty of people, because she’s so ridiculously open about everything with not a drop of shame in sight, and yeah she’s an emotional bitch but she’s capable of setting the breakdown aside for later until the action’s over. consulted with kite and the list of compatible folk was like (i didn’t write it down at the time so i may have forgotten some): bastian, victor, regulus, lucin, audoire, rasha (depression pals rise up <3), cian, + kite said “minah, for reasons” so i’ll just leave that there and blindly accept it as gospel. basically if you toss riya in there with somebody who won’t fuck it up on their end, it’s a pretty solid bet on things working out. i've ZERO idea how jaeger naming conventions work, so i have nothing there. i know she’d talk to it so affectionately tho, and flow between referring to it as she/her and he/him depending on the vibes of the moment. i guess she’d be a ranger?? not sure if she’d have any other work or if that’s a full-time thing, but like. it’s riya. any other work is being passed off to somebody else anyhow. she’s never once in her life actively performed maintenance on her gear.

JORINA — tragically i don't think jorina's trusting enough to be drift compatible with anybody. she can keep a handle on her emotions when she’s on her own, but i think anybody being in her head would trigger numerous spirals and she’d be absolutely cooked. not a chance. so according to my research (more wiki articles), it sounds like she’d be suited for a mission controller role?? being the eyes and ears for people and providing information sounds about right for her. she wouldn’t have a jaeger to name but i do think she’d spend plenty of time entertaining her younger siblings who come up with far too many doodles and names for their own pretend jaegers.

MAEVE — okay, i consulted the experts (kite and alana) on this one because i had ZERO idea what maeve would be doing here since my knowledge for this setting is next to nothing outside of basic premise, and i was given the great concept of maeve getting into media relations for the jaeger program after ilya saved her life once and it spawned her idolization of the pilots. she'd be doing hard work on their public image and putting faces to the stories and upping morale, blah blah i'm sure it's good and necessary work but i'm a simple woman and i'm just having fun imagining all of the retakes necessary for certain interviews because maeve keeps getting distracted flirting with the hot pilots. she takes her job seriously, of course, but goddamn. have you seen some of these guys?? hachi machi!!! i guess for fun it's worth noting she'd likely be drift compatible with any of her usual partners?? but i don't think that'd come up without silly shenanigans to force it.

R. royalty au. How would your OC handle being royalty? If they're already royalty, how would they deal with being a commoner? What kind of royal would your character be?

RIYA — deeply obsessed with the idea of queen priscilla by itself, and princess riya comes right along with that. it's only a few small steps above where the family is now tbh, but i imagine that with such a change in standing there'd be less room for riya's clowning. she'd still be sleeping around, just with more discretion and higher standards, and would have given in to her mother's demands for embracing responsibilities more frequently. of course, mama, sure she'll go participate in this charity event and show how much the royal family cares for the subjects, yes yes. because that means priscilla will be so busy riding the high of her daughter successfully charming crowds and contributing to the family that she won't have the focus to stop riya from attending the next “soiree” hosted by lord & lady such-and-such that'll be the source of all kinds of risqué and scandalous rumors for the following months 🥰 there's also just so much fun to be had with vying for the princess’s hand in marriage plots, it'd be s tier content. royal tour that ends early because it got out of hand, assessments at the royal palace with her family scaring suitors off, riya fully running away because her choice was rejected by priscilla but she's just So In Love (50/50 on it ending in annulment later btw) she has to defy the queen's order, etc etc there are no misses it's all golden. (closest thing to commoner riya would be that au of her and bash hiding out in a village or smth until her murder charges are dropped and i don't see her handling it well. the adjustment period would suck for them both, she'd be bitching so much about everything on top of them both handling grief over victor and losing their homes lol)

JORINA — see the thing is that thedas would simply not allow a city elf like jorina to obtain any sort of royal title, but i'm deeply compelled by the scene of her fc in a crown existing so like. i'm going to ignore the details of whatever kind of world she'd need to be in for this to happen and just have fun thinking about how she'd be abysmal at public speaker and politicking, but easily the most effective at making improvements for the common folk and the land itself. that goof post that’s like “lowkey obsessed with retiring to my chambers. bye” or w/e it was, that’s her entire personality here. she’d be on the move a lot, traveling through whatever lands she’s expected to care for and making note of all that can be done to fulfill that duty. maybe it also IS an excuse to avoid the socializing at home but that’s none of your business, at least she’s doing work and not fucking around. she’d lowkey care more about those lands than a lot of the people but let’s not analyze that too hard.

MAEVE — momentarily possessed by the spirit of ilya levin to say first of all maeve's already royalty because she's always been a queen, thank you very much. second of all! king’s court lemmers au queen maeve finally sees the light of day (aka i don’t think i’ve ever truly considered it so uh. time to throw some things at the wall to see if they stick). i imagine she’d be her usual lady rank self, just ramped up by about 300% or so because she now has the power, influence, and reach of a royal, plus it's fucking ilya at her back and he'll support literally anything she wants to do lol. that nurturing and charitable nature of hers is going right to helping others via becoming involved in food distribution, supplying healers, setting up orphanages and shelter homes (primarily for women and children bc y'know. experience.), donating to the arts so they can continue their work, etc etc. she's gonna love being pampered and spoiled by ilya, but i think she'd also want to join in on the royal responsibilities and such with him. loves herself some frivolity, but she also wants to help with the diplomacy, the paperwork, holding court, blah blah you get it. [insert goof about being hands on w both the work and her husband here, i'm too tired to work it out]

#ch: valeriya de clairmont #ch: maeve sommers #these were all answered at various nights like. 30 minutes before i fell asleep each time #so like. i cannot be blamed for any rambling and mistakes it's not my fault really it's the eepy #(and my laziness today to do any editing lol)#anyway maeve song about polyamory when (riya's also poly but she'd sooner do one just about threesomes being hot tbh)#ch: jorina

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hayatheauthor · 2 years ago

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The Writer’s Guide To Creating Animal Companions

Animal companions have played an essential role in countless stories. From loyal dogs to mystical creatures, these furry or feathered friends have added depth to characters and narratives, leaving a lasting impact on readers. As a writer, understanding how to create and utilize animal companions can be a powerful tool in your storytelling arsenal.

So, if you’re looking to create an animal companion for your character, here is my comprehensive guide for everything you need to know when writing animal companions.

Do You Need to Have an Animal Companion?

When deciding whether to include an animal companion in your story, it's essential to consider the narrative and thematic elements at play. The presence of an animal companion can significantly impact the storytelling experience, and it's essential to ensure it aligns with your narrative objectives. Here are some scenarios where having an animal companion can be particularly appropriate:

Enhancing Character Relationships: Animal companions can deepen the connections between characters. For example, in J.K. Rowling's "Harry Potter" series, Harry's snowy owl, Hedwig, serves not only as a beloved companion but also as a means for Harry to communicate with the wizarding world. Hedwig's presence strengthens Harry's character and relationships.

Symbolism and Metaphor: In literature, animal companions are often used symbolically to represent themes, traits, or personal growth. For instance, in George Orwell's "Animal Farm," the animals on the farm symbolize different aspects of society and politics.

Emotional Support: Animal companions can provide emotional support and serve as a source of comfort for characters, particularly in challenging or lonely situations. Think of Samwise Gamgee's unwavering devotion to Frodo in J.R.R. Tolkien's "The Lord of the Rings."

Plot Advancement: Animal companions can become instrumental in advancing the plot, offering unique abilities, perspectives, or assistance that the human characters lack. Consider the role of Toto in L. Frank Baum's "The Wizard of Oz," who often aids Dorothy on her journey.

Thematic Consistency: In some stories, the inclusion of animal companions is necessary for thematic consistency. If your narrative explores themes related to the environment, animal rights, or the bond between humans and nature, animal companions can be integral to reinforcing those themes.

By integrating an animal companion that aligns with your narrative and thematic objectives, you can create a more engaging and immersive reading experience for your audience. Keep these considerations in mind when making your decision.

Choosing the Right Animal

Once you've established the narrative and thematic reasoning for including an animal companion, the next step is to select the right creature to fulfill that role. Here are some factors to consider when choosing your animal companion:

Relevance to the Story: The chosen animal should have a direct or symbolic relevance to the story. Consider how the animal's traits, behaviors, or symbolism align with the narrative purpose. For example, a story centered on the theme of freedom might feature a soaring eagle as an animal companion.

Character Compatibility: The animal companion should complement or contrast with the character it accompanies. Think about how the animal's personality or abilities can enhance or challenge the character's journey. A timid character might be paired with a bold and protective animal, creating an interesting dynamic.

Unique Qualities: Select an animal with distinctive qualities that set it apart from generic pets. It could be an uncommon species, a creature with magical abilities, or a hybrid of animals. These unique qualities can add depth and intrigue to your story.

Practicality: Think about the practical role the animal companion will play in the story. If your narrative requires the animal to perform specific tasks, ensure that the chosen creature is suited for those roles. For instance, a hunting dog might be essential in a survival adventure.

Symbolic Significance: The animal companion's symbolism can be a driving force in the story. Consider how the animal represents themes, emotions, or concepts important to the narrative. A black cat might symbolize mystery and superstition in a story set in a quaint village.

Emotional Connection: As an author, aim to create an emotional connection between readers and the animal companion. Whether through endearing quirks, heartwarming moments, or shared challenges, the bond between the character and their animal should evoke feelings in the audience.

Research: Invest time in researching the chosen animal, understanding its behaviors, needs, and characteristics. Accurate portrayal of the animal can enhance your story's realism and resonance. Whether it's a fierce predator or a gentle pet, knowing your animal inside out is essential.

Cultural and Mythological Significance: Some animals carry cultural or mythological significance that can add depth to your narrative. Explore how certain animals are perceived in different cultures and mythologies and consider weaving these interpretations into your story.

Choosing the right animal companion is a critical decision that can greatly impact your narrative. By considering these factors, you can ensure that the animal complements your characters and story, enriching the overall experience for both your characters and readers.

Portraying and Developing Your Animal Companion

Once you've selected the ideal animal companion for your story, it's essential to portray and develop them effectively. Your readers should connect with the animal on a personal level and feel invested in their journey. Here are some key aspects to consider:

Character Development: Treat your animal companion as a fully developed character. Just like any human character, the animal should have a backstory, quirks, motivations, and a character arc. Whether it's a loyal friend, a protector, or a guide, their growth and transformation should be evident throughout the narrative.

Show Their Personality: Give your animal companion a distinct personality. Think about their likes, dislikes, fears, and preferences. Are they mischievous, stoic, or curious? The animal's personality traits should shine through their actions and interactions with other characters.

Dialogue and Communication: While animal companions may not speak human languages, they can still communicate. Use non-verbal cues, body language, and noises to convey their thoughts and emotions. An attentive reader will pick up on these cues to understand what the animal is trying to express.

Bond with the Protagonist: Highlight the unique bond between the animal companion and your main character. This connection should be palpable, with mutual trust, loyalty, and emotional support. Readers should feel the strength of this relationship, making them emotionally invested in the animal's welfare.

Purpose and Impact: Ensure that the animal companion has a clear purpose within the story. Their presence should contribute to the plot's development, whether by assisting the protagonist, creating conflict, or acting as a symbolic element. Avoid including the animal just for the sake of it; they should serve a meaningful role.

Growth and Challenges: Like any character, the animal companion should face challenges and obstacles. These experiences can lead to character growth and development. Whether it's overcoming fears, learning new skills, or deepening their connection with the protagonist, their journey should be dynamic.

Readers' Emotional Connection: Use your animal companion to evoke emotions in your readers. Their well-being or safety can become a source of tension and concern for the audience. Whether it's a heartwarming moment, a daring rescue, or a bittersweet farewell, these emotional elements can leave a lasting impact.

Realism and Consistency: Ensure that the portrayal of your animal companion is consistent with their species and behavior. Be mindful of realistic attributes and instincts. It's crucial to balance anthropomorphism (attributing human characteristics to animals) with authenticity.

Symbolism and Themes: Leverage the animal companion to reinforce themes or symbolism in your narrative. Consider how their actions and characteristics align with the broader messages of your story. This adds depth and layers to the storytelling.

By developing your animal companion as a fully fleshed-out character and maintaining consistency in their portrayal, you can create a powerful and engaging narrative. Readers should find themselves emotionally invested in the fate and experiences of your animal companion.

Challenges and Common Pitfalls in Writing Animal Companions

While animal companions can enhance your storytelling, they also come with potential challenges and common mistakes. It's important to be aware of these pitfalls to ensure your animal companion is a valuable addition to your narrative. Here are some common issues to watch out for:

Stereotypes and Clichés: One common pitfall is relying on stereotypes or clichés when developing animal companions. Avoid making them overly predictable, such as portraying all dogs as loyal and all cats as aloof. Instead, give your animal companion unique traits and behaviors that break free from these molds.

Lack of Individuality: Failing to give your animal companion a distinct personality can lead to them feeling one-dimensional. Each animal, even within the same species, should have its own quirks and characteristics. Make them memorable and unique.

Inconsistent Behavior: Maintaining consistency in your animal companion's behavior is crucial. Avoid having them act unpredictably or against their natural instincts. Any sudden changes in behavior should be justified within the story.

Overemphasizing Anthropomorphism: While anthropomorphism can be used to convey the animal's emotions and intentions, overdoing it can make the character seem unrealistic. Strive for a balance between human-like qualities and authentic animal behavior.

Underdeveloped Bond: Failing to establish a strong bond between your protagonist and their animal companion can undermine the emotional impact of their relationship. The connection should be evident through interactions, trust, and mutual understanding.

Neglecting Character Growth: Just like human characters, animal companions should experience growth and development throughout the story. Neglecting their character arc can lead to missed opportunities for emotional depth.

Unexplained Abilities: If your animal companion possesses unique abilities or characteristics beyond their species norm, provide a plausible explanation within the narrative. Readers appreciate when these traits are justified and integrated into the story's world-building.

Neglecting Consequences: Consider the consequences of your animal companion's presence in the story. Their actions should impact the plot and other characters. Failure to address these consequences can lead to plot holes.

Ineffective Use: Don't introduce an animal companion if they serve no significant purpose in the story. Every character, including animals, should contribute to the narrative's development.

Sacrificial Companions: While dramatic and emotional, the trope of the sacrificial animal companion should be used sparingly and meaningfully. Overusing it can become predictable and lose its impact.

Avoiding these common pitfalls and challenges ensures that your animal companion remains a compelling and integral part of your narrative. By giving them depth, individuality, and a meaningful role, you can create a character that resonates with your readers.

I hope this blog on The Writer’s Guide To Creating Animal Companions will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.

Looking For More Writing Tips And Tricks?

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey!

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noaaaaahsstuff · 4 months ago

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El Divo de Juárez

the stage is not just a platform. it's a confession.

Imagine mariachi suits as more than costumes—they're manifestos. Each sequin, each carefully crafted embroidery reimagining what masculinity could sound like. Juan Gabriel didn't just wear these outfits — he transformed them into pure art, a visual poem of emotional freedom.

On stage, he becomes something more than a singer. A storyteller. A mythmaker. Reinventing the image of the masculine performer, turning vulnerability into the most powerful instrument.

His presence? Electric. His suits? Revolutionary.

Photos: Pinterest

#juan gabriel #el divo de juarez #fashion #music #mariachi #suit and tie #iconic #queer #mexican #oufits #traditional art #vocalist #singer #history #icon #clothes #mexican artist

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hldailyupdate · 1 year ago

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#louis tomlinson #louis update #louis tomlinson live #euphoria #article #april 2024

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thebandcampdiaries · 3 months ago

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Steve Hillier – Walking in New Orleans EP Review

A dynamic EP with a varied range of styles and influences. Steve Hillier has recently released a new EP titled Walking in New Orleans. This is a melodic pop-rock release that stands out as a celebration of this beautiful city, its colors, its people, and its legendary connection to the American music culture in general. Musically, the EP showcases Steve's ability to tell a story through sound, not only using his vivid lyrics and relatable storytelling, but also allowing sound to be a vital component of his ability to connect with the audience and share something deeper through combining instruments and words in a very impactful way.

The first song, the title track, is an instrumental, and a perfect mood-setter. One of the first things you'll notice is the beautiful sound of the electric guitars. Overdriven, yet melodic and well-defined, where every note has its space. There's also room for some blistering guitar leads, showcasing Steve's ability to let the guitar speak. At the same time, the guitars never overpower the rest of the music. Instead, they enhance the song and serve it completely, allowing all instruments to stand out equally. Fans of artists as diverse as Keith Urban, Tom Petty, Fleetwood Mac, or Wilco should definitely check this out.

In addition to the title track, this EP features five other songs, making for a total of six excellent tracks, each showcasing a different side to Steve's artistry and storytelling.

The second track, Every Night, is just as compelling, offering a melodic take on the sound of this EP and showcasing the broad variety of influences and creativity, making the sound extremely exciting and dynamic.

The song Love for the Individual Passerby is colorful and vibrant, and it is a perfect rendition of what it feels like to walk around New Orleans, people-watching, and marveling at the incredibly eclectic variety of people that simply enjoy themselves and live their lives in this city. It is a beautiful and iconic town, and song by song, this EP serves as an amazing tribute to it and its lifestyle.

The following track, Things On My Mind (Ocean), is a stunning and emotional piano ballad. This song has a laid-back tempo and it enables Steve to showcase his full vocal range. He has a very honest and organic vocal style, which really highlights and enhances the emotion behind his delivery and makes the song feel all the more easy to relate to for an audience. While this song does a great job at retaining the artist's personality, it will definitely appeal to fans of rock ballad masters like Billy Joel, Elton John, or Bryan Adams, among others.

The next song, Everybody Knows (I Love You), is a mid-tempo rocker with some jazz influences, especially when it comes to the beautiful saxophone leads implemented perfectly in the arrangement and serving as yet another nod to the beautiful city of New Orleans and its musical heritage. This song almost feels like a nod to some of David Bowie's best works, and it has a classic 70s vibe while still retaining a crisp contemporary production aesthetic, with a lot of clarity.

Last but not least, there's room for a Revisited version of the title track, which means the EP ends where it began — a full circle that reinforces its strong connection to New Orleans, making the track really stand out and adding more weight to the overall concept that makes this EP so special. This instrumental differs from the first version especially because of the amazingly expeessive Hammond organ (played by Abel Boquera).

In conclusion, you really can't go wrong here. Each instrument is well-balanced in the mix, allowing the arrangements to breathe naturally. The production avoids unnecessary polish, favoring authenticity and warmth, which enhances the storytelling and highlights the raw talent behind the music. This EP is sonically as well as emotionally quite powerful. It stands out as a well-produced, and extremely dynamic collection of songs, which shows that you can achieve a modern tone without necessarily having to overproduce and overpolish everything. It’s becoming increasingly harder to find records that sound contemporary, but sport an “old soul” for lack of a better definition - However, this definitely seems to be the case here! On the EP, there’s a strong focus on highlighting the natural talent of the musicians involved, as well as giving the audience a more real, more authentic and overall emotional experience of the music itself and the concepts behind it. Find out more and connect with the artist:

https://linktr.ee/stevehillier

We also had the chance to interview Steve: keep reading to learn more!

Walking in New Orleans opens and closes with instrumental tracks that paint a picture of the city without a single lyric. How did you approach “telling the story” of New Orleans purely through guitars, Hammond organ, and groove, and what scene were you envisioning while tracking those parts?

Well, the title came after the music. The original version of the song was called CJam, (on SoundCloud). That’s how I write, I don’t notate the music on paper, just record a rough piano recording. And at first I didn’t know how to arrange the song, with a guitar or sax, etc. so first I tried Steve Giddings who I had used before on my songs Musician’s Blues and Wintertime. He put such a cool guitar part on top of my piano lead, but it gave the tune a whole different direction, a little southern rock or country in contrast to my original jazz-rock idea. Listening to it reminded me of a family trip to New Orleans and how cool it was to just walk down the streets hearing the music from the bars and clubs we passed by. So that became the new version, with a new title. The Hammond Organ wasn’t introduced until I did a revision/re-mix of this recording which is the last track of the EP featuring Abel Boquera on Hammond Organ and still using one of the original guitar solos from Steve Giddings. But I did a revision, so I could actualize my original vision of the song, more of a jazz and blues thing. I think both have their own merits and I thought they might appeal to people with different tastes in music.

Throughout the EP you jump from pop‑rock to piano ballad to jazz‑tinged sax breaks, yet the record still feels cohesive. Can you walk us through the creative decisions that helped these very different styles live together under one conceptual roof?

Well, really I record music as it comes to mind and then with each recording I start to conceptualize the collection of songs. Every Night and Love For The Individual Passerby were left over from earlier recordings that I did with Mike Noegraf, before he got a record deal. So on those official releases (Spotify, etc.) you will see Mike N. so as not to violate his contract. I hadn’t written a song from scratch for quite some time, and as I have gotten older, I wanted to write something that might have some meaning for people who are older or who can relate to that stage in life. So next, in January 2024, I wrote and recorded Things On My Mind (Ocean). Then, I came across this old recording on a cassette as I was looking for material. It was a song that still needed some work with writing and arranging, but it was from a time when I lost recordings of a bunch of original material, and finding it really inspired me to finish it. As it was jazz-rock, I could see where the ballad could work as a segue between the pop-rock songs and this jazz-rock song, so then I just ended with my jazz-rock instrumental and opened the EP with the more southern-rock-blues version, which works well transitioning into Every Night.

“Love for the Individual Passerby” feels like people‑watching set to music. Do you remember a specific real‑life moment or person you saw on the streets of New Orleans that sparked that song’s first lyrical image?

That is a cool idea and I guess it could happen in New Orleans, but the lyrics don’t necessarily reflect New Orleans per se, but rather society and social attitudes in general, as written by a 1960’s teenager. Hence, the simplicity, but I think there is still some truth in the lyrics.

The production has a warm, “old‑soul” character even while sounding crisp and contemporary. What were some of the key recording or mixing choices (gear, techniques, room ambience) you relied on to keep that balance between authenticity and modern polish?

I think that comes from my old tastes in music, great session musicians, relentless track preparation. and Zamm Kenoby’s mixing wizardry. I try to keep the recording process simple. I play a song until I can nail the correct click track tempo and then when I record a part, I strive to play in tempo. All of my keyboards and vocals are recorded at home using a MacBook Pro and a Focusrite Scarlett audio interface. I use minimal plugins when recording. Sometimes I play piano on two keyboards in order to have the left and right hands on separate tracks, with minimal, if any, reverb, giving the audio engineer more control during the mixing process. I do use midi to layer keyboards and soft sounds occasionally but generally I find one patch that will work better and sound more authentic. I record vocals as cleanly as possible, with no plugins. When I ask for help from session musicians, I ask for the tracks back without compression if possible. Before I send my tracks for the final mix, I strive to get strong melodic content from solos and backing tracks. I record several piano and keyboard tracks and edit in the best parts. I pretty much do that with everything unless I find that a track is solid all the way through. I ask for two versions/takes from every session musician, and then work with those to get one track, and if I can’t get one solid track, I ask for a revision of a section that still needs work. I listen to someone’s solo, and if I am losing interest or I feel it lacks direction, then it needs work. I use a Korg Kronos for piano, organ, and strings, but also rely heavily on my old Korg T3 for vintage solo and pad patches. I use my old Yamaha S90 (the original model), for some left hand piano, bass and electric piano. Zamm Kenoby plays an acoustic drum set and knows how to mix acoustic drums to give them a true analog sound. I hire session musicians who have some vintage flavor but also modern chops and equipment. Zamm has top-notch mixing and mastering equipment, and so do the other audio engineers that I use for occasional noise removal.

“Things On My Mind (Ocean)” showcases a vulnerable vocal style reminiscent of classic rock balladeers. How do you get into that emotional headspace in the studio, and did performing a stripped‑down piano track change the way you delivered the lyric? I never thought I could sing ballads, as I didn’t have a smooth melodic voice. I sang blues and rock in cover bands for over 30 years. However, this song was truly inspired as I hadn’t written anything in years, so it all came rushing out, so to speak. I wanted to convey the vastness and opportunity of life (Ocean) and the river we travel along. At first I thought I should hire someone to sing it, but that didn’t feel right. So I rehearsed it for a few hours, finalizing the lyrics, and then recorded it. By that time, my voice was a bit ragged, but I was determined to get it recorded, so I guess that led to the emotion. Yes, I wanted the piano to make it more personal and less of a production.

New Orleans’ musical DNA (blues, jazz, street brass…)seems woven into every song, but at the same time, you still maintain your own sound and direction. After releasing the EP, has the city itself reacted to your tribute in any memorable way, and how has the place continued to influence what you’re writing now?

It’s funny, although I have only been to New Orleans once, several people have said they hear a New Orleans sound in my piano playing. I guess I have a very unorthodox style. One keyboard player I knew said I played piano like a guitar. I never really learned how to play the “right” way. I tend to play simple bass or left-hand parts, and I made up many of my right-hand riffs over the years, slurring off notes with one finger vs. the correct way of using two fingers. I guess I am trying to say that maybe that seeps through into my writing. As far as New Orleans reacting to the recording, that’s funny. Nice dream…..

#steve hillier #new orleans #rock #pop #jazz #Spotify

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rachthepoet · 1 year ago

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Matilda Analysis

A poignant narrative delving into themes of self-liberation, healing from past traumas, and a journey toward healthy love for the sake of oneself and nobody else. It's a testament to the resilience of the human spirit, delivered in an intimate and comforting atmosphere soundtracked by gentle instrumentation. This eloquent reminder to whoever needs to hear that it's never too late to seek the love you deserve and cultivate a life filled with joy and acceptance. Even if one must do so independently and abundantly.

The listener may not know the character of Matilda personally, but they know of her intuitively, anybody who can spare a few minutes to listen is invited in miraculously, as the song's configuration allows. And, what waits inside for those who venture? Harry sitting with his guitar, a concerned friend right as you need someone to be.

Here's a deep dive into Harry Styles' Matilda, from a poet.

Roald Dahl's 'Matilda' + Harry's Take

Roald Dahl (1916-1990) was a British novelist, short-story writer, poet, and screenwriter. He has composed many children's books, and has been bestowed the title of "one of the greatest storytellers for children of the 20th century". His knack was for writing children's books interlaced with rather dark, adult themes — like 'Matilda'.

If you didn't grow up with the book and/or haven't had the chance to read it, here is a summary for a bit more familiarity, which will lead to a more engaged discussion here! But, also, if you're familiar with the 1996 film, as many are, you should be just fine! As mentioned before, much of Dahl's works covered much darker themes. The children's book 'Matilda' speaks clearly of the following: emotional and physical abuse, tyranny, misogyny, scamming, attachment theory, and, the most obvious, child abuse and neglect.

In short, attachment theory believes that every child needs to form a relationship with at least one primary caregiver to develop, healthily, emotionally and socially. In 'Matilda', our main character lacks that primary caregiver until she meets Miss Honey. The impact of Miss Honey's warmth, care, and understanding on Matilda is so grand that trust is built (she reveals her telekinesis power to Miss Honey) and leads to a happy ending, as Matilda's attachment to Miss Honey wins over the weaker attachment of her parents — and Matilda moves in with Miss Honey, finding a loving and caring home/family at last.

Now it's time to circle it back to Harry's Matilda. I believe that Harry has taken on the role of Miss Honey as a complementary to the subject to whom he's disguised as quote-en-quote "Matilda" — a stylistic choice I have no doubt was heavily influenced by Dahl's tale. Not only is Harry a friend giving advice and refuge, but also a welcoming sense of care and a second home, which further ties into the third album's theme as a whole — debates of a house versus a home, and what home means to a person.

In the song Matilda, Harry alludes to similar situations, with direct connections to attachment theory and child abuse/neglect. As the audience solely, we don't know the specifics of the problem, but these are the main issues I grasp from the lyrics alone. Roald Dahl's Matilda, as told in the book, has much intellectual prowess — she's too smart, almost an adult in a child's body, most likely an effect of her circumstances' cause. Yet, set aside the knowledge of her adventurous nature and wits, there's no clear yes or no to answer if Matilda needs comfort. For she never cries, adamantly refusing to do so, and never seems to show weakness. She's too smart for that, after all. The single time she outright exhibits sadness about not feeling the love from her parents is when she's four and confiding in the librarian. I'm going somewhere, by the way, I promise you.

With Harry's Matilda in Matilda, lots of the same traits resurface. An adventurous spirit and a bright mind, but also the tendency to keep sucking it up and not letting one fall to tenderness, because it's been perceived in the brain as a weakness. None of what happened seemed wrong to her until a certain point. This is, apparently, no big deal, or so she says. Harry's Matilda speaks of her experiences like it's nothing at all, but it's everything. She's mighty like her fictional character namesake, so bright and lively that she can light up even the darkest days.

Upon a delicate, sadly playful melody of strings, Harry takes on the role of a friend but also a caregiver to show love to his character of Matilda. The Miss Honey, as alluded to before. In Matilda, Harry makes it a point to show Matilda the love she never received from those who should've given it freely. He expresses that, while none of this is his business, he's been thinking about it in concern. He tells her that she can start a family that will love her, will care for her, and there's nothing to be sorry for. With a wide, bright smile and a sharp mind, Matilda, you can let it go, and you don't have to be sorry for doing so. Let us show you what healthy love feels like.

Lyric Pull Apart

[VERSE 1] You were riding your bike to the sound of "It's No Big Deal" And you're trying to lift off the ground on those old two wheels Nothing 'bout the way you were treated ever seemed especially alarming till now So you tie up your hair and you smile like it's no big deal

You were riding your bike to the sound of "It's No Big Deal" / And you're trying to lift off the ground on those old two wheels: Here a little scene is set, and provides the listener with so much context and information. It's an idyllic childhood moment to picture, riding a bike, but there are cracks already. Cracks in a carefree childhood, cracks in what should've been. The line to the sound of "It's No Big Deal" had people frantically searching for a song to connect, but, from the language used, I never thought of it that way. Rather, it's the soundtrack of dismissiveness, instigated by those Matilda is surrounded with. There isn't a soundtrack of laughter or encouragement, but rather a shrug. It's in the frame of something heard, not something spoken, or, extending, something felt. To the details, the image of the bike is given as those old two wheels — tired, worn, maybe even inadequate. Strong symbolism there.

Then, trying to lift off the ground gives many implications and layered feelings. There's the literal, with a kid trying to play about and do cool tricks, alone on their old bike, maybe dangerous tricks, leaning into the absent parental presence, and maybe seeking attention. There's the symbolic, the imaginative, the evoking of childhood nostalgia and yearning. There's the metaphorical, to fly, rising above where they are stuck, an ache to escape.

Nothing 'bout the way you were treated ever seemed especially alarming till now / So you tie up your hair and you smile like it's no big deal: Those who've experienced trauma may feel or are told that their mistreatment is normal, and/or they shouldn't be the ones to complain because others have it worse. Therefore, they won't speak out because their minds have been conditioned that their issues are nothing to speak of. An internalization. But, as distance and time are gained away from the situation, realization becomes stronger than internalization.

Then, So you tie up your hair and you smile like it's no big deal curates a heartbreaking image of Matilda, self-sufficient and positive because she had to be, tying up her hair with a smile because she never saw the way she was treated as anything but status quo. It's a tragic echoing of the first line of the verse and also parallels Dahl's Matilda with the ribbon in her hair. It relates to the idea of putting on a mask, covering something up by pretending like everything is fine. Matilda, maybe, doesn't want to burden him with her problems and repeats rehearsed mantras in place of it. But, he sees straight through this, and the speaker assures Matilda that she doesn't have to hide, for he's there to listen and care.

And then we get another heartbreaking image, of Matilda as self-sufficient and positive, tying up her hair with a smile because she never saw the way she was treated as anything but normal, and a tragic echo of the first line, where she smiles “like it’s no big deal” - because it’s all she’s heard, the sound of her parents saying it’s no big deal, and she believes them.

[CHORUS] You can let it go You can throw a party full of everyone you know And not invite your family 'cause they never showed you love You don't have to be sorry for leavin' and growin' up, mmm

But the chorus is telling Matilda directly: you can let it go. It's so comforting and beautiful. He is reassuring the character of Matilda that she can drop the smile and acknowledge the inevitable pain caused (see verse 2), and then let it go and let herself grow. It's a gentle, validating way of saying that she didn't deserve the pain back then and doesn't deserve to hold onto it now. The speaker suggests that Matilda, and by extension the listener, has the power to create a new life for herself — one filled with people who have genuine care for her and those who provide the love that has been missing. Attachment theory.

You can throw a party full of everyone you know and not invite your family 'cause they never showed you symbolizes a break from the past and the forging of a new path defined by one's autonomy. Her family, the site of all of this complication and guilt and hurt, whom she now acknowledges caused her pain and never showed her the love she deserved. But now she can go out and seek that love. A reminder to Matilda that she can seek happiness elsewhere and build a chosen family based on love and respect.

Then, the ending line, You don't have to be sorry for leavin' and growin' up, is so important. When trying to extract oneself from an abusive environment, the blame will be twisted and put on the victim. They might try and make Matilda a stranger as a repercussion for her spreading her wings and thriving in the absence of their negative influence. And, here, the speaker is reassuring Matilda that you don't have to feel sorry for leaving and growing up. And, the language choice is interesting, for saying growing up akins it automatically to something natural, something that's bound to happen. Something you shouldn't feel guilty over. He says to Matilda that she should never feel apologetic for her growth.

[VERSE 2] Matilda, you talk of the pain like it's all alright But I know that you feel like a piece of you's dead inside You showed me a power that is strong enough to bring sun to the darkest days It's none of my business, but it's just been on my mind

Matilda, you talk of the pain like it's all alright / But I know you feel like a piece of you's dead inside: This is the only time within the song that there's a direct address to Matilda, although there's an underlying assumption that the song is being spoken to her throughout. This direct address serves a purpose though, as I believe it amplifies the words that follow it, you talk of the pain like it's all alright. While verse 1 framed Matilda as a child, this verse (verse 2) frames Matilda as an adult. She is doing the same thing, the same coping mechanisms, that were instilled in her when she was a child — "it's no big deal" and "it's all alright".

Closely followed by but I know that you feel like a piece of you's dead inside is where the speaker, in one of the few lines in the song to reference an "I", acknowledges Matilda's pain for her. He makes it known that he can see the pain that she's in, even as she tries to dismiss it. It also acknowledges a major recognition of the loss of self due to this past trauma and pain.

You showed me a power that is strong enough to bring sun to the darkest days: This line is just so gorgeous. I have such love in my heart for it. And I feel like many overlook the intention with the word choice, which lends to its touching nature. Choosing the words you showed me a power versus you are the sunshine in the darkest days (or something along those lines) changes the meaning, and makes more of a splash. The meaning shifts from you are sunshine, you are goodness, you deserve to be loved — which is not without its own lovely connotation, of course — to being around you, you radiate this energy and you can teach other people how to love.

In companionship to what's been told about Matilda, to imply that she has this power to bring the sun to the darkest days, to teach someone how to find the sun in their darkest days when she has experienced dark days... it's beautiful. And it's so important to notice that detailed difference and reiterates the notion that as sad of a song as Matilda is, it's also incredibly empowering.

It's none of my business, but it's just been on my mind: And then, the speaker takes a step back. It's not about his experience, and he acknowledges that separation, but does not withdraw his care or concern. It's none of my business is a delicate way to respect Matilda's boundaries regarding her past and the choice of what her relationships look like. He doesn't want to tell Matilda what to do and deny her agency, for then he would become just another one of the people who mistreat her. But it's just been on my mind illustrates the care of the speaker once more, a complement to what precedes it and to the song entirely.

"It's a weird one, because with something like this, it's like, 'I want to give you something, I want to support you in some way, but it's not necessarily my place to make it about me because it's not my experience.' Sometimes it's just about listening. I hope that's what I did here. If nothing else, it just says, 'I was listening to you'." — Harry Styles

[CHORUS ADD ON VARIATION 1] You can let it go You can throw a party full of everyone you know And not invite your family 'cause they never showed you love You don't have to be sorry for leavin' and growin' up You can see the world, following the seasons Anywhere you go, you don't need a reason 'Cause they never showed you love You don't have to be sorry for doin' it on your own

This is the first variation on and second iteration of the chorus, and it hits on the same themes as the first iteration. The first new line is You can see the world, following the seasons. Matilda can leave, not just her family but where she's from, and she still doesn't owe her family justification or reasons. The latter comes from the following anywhere you go, you don't need a reason. The sentiment is continued by the line you don't have to be sorry for doin' it on your own which is the repeated parallel to the previous you don't have to be sorry for leavin' and growin' up. It's so good. In one sense, it applies to the lines immediately preceding it — you don't have to be sorry for traveling and seeing the world on your own. Yet, because of the repetition, there's this parallel created that also refers to growing up. Matilda doesn't have to be sorry for growing up on her own. A grand acknowledgment that Matilda raised herself, and that comes with both sorrow and pride. The sorrow that she had to raise herself alone, but the pride that she is who she is as an adult because of herself.

[BRIDGE] You're just in time, make your tea and your toast You framed all your posters and dyed your clothes, ooh You don't have to go You don't have to go home Oh, there's a long way to go I don't believe time will change your mind In other words, I know they won't hurt you anymore As long as you can let them go

This whole ballad is truly a tour de force, but the bridge is the one to knock me off my feet every time. Much like Harry has done for the listeners with 'Harry's House', the speaker invites Matilda into his home. In the song's case, both literally and metaphorically.

You're just in time, make your tea and your toast: Tea and toast is such a cozy and homey image, and indicates this welcoming, specificity in welcoming into routines, like a fresh pot of tea and a nice piece of toast in the middle of the afternoon. There's no push or rush, as indicated with the you're just in time, as it was and will always be based upon Matilda's timeline. It's a sense of found family and a safe place to land after she's previously seen the world, followed the seasons, and all that. Welcome home, welcome to the party, welcome to the place where you can be you without begging for the allowance to do so.

You framed all your posters and dyed your clothes: I think this is a beautiful way to signify that somebody grew, focusing on the smaller details. But, additionally, there's a full circle moment, calling back to childhood — experiencing the small joys she never had the chance to, as her childhood was spent in a survival state. You framed all your posters and made this new house a home with favorite things from your childhood, now with an added sense of sophistication that was missing previously. You dyed your clothes, changing them to better fit a new stage of life. Parts of Matilda's childhood can be brought into adulthood with her, and reinvented to be rid of the negative connotations that may still be attached. You can let it go.

You don't have to go / You don't have to go home: The speaker reintroduces himself in the song to speak and bring more reassurance to Matilda, with nurturing and welcoming at the forefront. You don't have to go away from where we've invited you, Matilda, with your favorite teas and the way you like your toast, you don't have to go away from this place of people who love you for you. You don't have to go home reminds Matilda that she doesn't have to go back to the people and place she cut ties with, and that's okay. the use of the word home has intrigued me for quite a while, but I think it indicates that Matilda is still presently on the journey to let go of her past.

Oh, there's a long way to go / I don't believe time will change your mind / In other words, I know they won't hurt you anymore / As long as you can let them go: These last lines of the bridge importantly acknowledge the journey — not just of life, and not just the growing up and traveling and exploring — of healing. It's a bittersweet moment here, gently saying there's a long way to go. It isn't solved, it isn't over — for nothing ever is packaged up that neatly in reality. I don't believe time will change your mind, to me, is him saying that it won't be as simple as letting time fall between her and what happened. A lot of blood and tears is going to have to be shed to truly get to the point where it's not a constant background ache. Leading into, I know they won't hurt you anymore as long as you can let them go. Matilda, you need to give yourself permission to let this all go, both the situation and the facade you've been putting on. Let yourself feel, then let it go.

[CHORUS ADD ON VARIATION 2] You can let it go You can throw a party full of everyone you know You can start a family who will always show you love You don't have to be sorry for doin' it on your own You can let it go You can throw a party full of everyone you know You can start a family who will always show you love You don't have to be sorry, no

The shift in the final chorus can be undetectable if the listener isn't paying attention. But, once it's caught, it's impossible to miss again. This is a second variation of the chorus, on its third iteration. In the earlier verse of the chorus, the third line was And not invite your family 'cause they never showed you love. But, after Matilda has worked to let them go, it evolves to You can start a family who will always show you love — highlighting the beauty of found family, a family of choice. And with this evolution in the chorus, the meaning of doin' it on your own has changed, because rather than a reference to growing up or leaving and traveling, but starting a family, one who will love you, and Matilda has done it with her own autonomy. It's the next step on the road to healing, and there's always this reassurance that Matilda can do this on her own. He gives the power back to her and puts it in her palms, for she is strong and she is resilient.

Therefore, the whole message, the thesis statement of the song, lies in the final line: you don't have to be sorry. The song of Matilda is a conversation between her and the speaker, and in response to her unspoken guilt. In the various forms and layers, the repeated lyrics and parallels, context stacked on context, the listener — us, the spectators — is enveloped in the depth of Matilda and her journey. But, in that final line, all specificities and complexities are stripped, to simply conclude it all: you don't have to be sorry, let go of the guilt, and you can be happy.

Matilda left me reeling in a puddle of tears on the first listen, and my emotions are instigated with each listen after. Pieces that send me into a wave of emotions set off a green light, they'll always be my favorite. In a way, Harry has become our Ms. Honey in times we've felt like Matilda, gifted us a chosen family with those who bond over his music. Much like this song, beautiful and evocative it is.

A grand indicator of a great writer is the ability to write so deeply about experiences not necessarily connected to them and their own experience. The times where Harry is the 'outside looking in, narrator of other people's experiences' songwriter has always been something I admire, and the songs I find the most intriguing to study. There's a full narrative, and we are brought into the same emotions Matilda was experiencing at the moment, therefore fully enveloping us in the story. I don't know, you just feel it. And I love that you just feel it.

And he takes such care and consideration with this delicate story. He doesn't have to name them specifically or be overbearing with identifying details, but cleverly uses well-known themes of the Dahl children's book to explore feelings and show understanding. It's a warm song full of strength and bursting with love. A seldom promise to always be there and understanding to a friend who's felt alone and misunderstood in a time when they should've been heard. Making sure they know their power and the power of care and nurturing. And Harry, in Harry's House, will always show you love.

dedicated to this anon <3

Thank you for reading, you’re absolutely incredible! If there are any songs you’d like me to make an analysis of, please send your request to my inbox! along with any questions or insights you might have yourself!

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