#Everything just happens so quickly

[incorrect-fnaf-quotes]

Man.

[egophiliac]

I have never been more concerned for a JP update from your art than I am seeing a Cheka knowing the context of Leona’s dream.

My bois ok right?????? My sweet nephews ok right??????

well

uhhhh

I'm sure the real one is fine :)

[bunnieswithknives]

GET HIS ASS FLOWERS! GET HIS ASS!!

Did Flowers target Dale specifically because of him shooting his own son?

Yes! Sort of. But don't mistake anything Flowers does to be out of genuine good will

[jklpopcorn]

crying and sobbing i was supposed to draw doodles of my ocs but instead all there is is Siffrin

they're so shaped i have to draw them

also

100% :)

[sesamestreep]

“requiem for methuselah” crazy ass episode for many reasons. Kirk is being fully insane, like I don’t actually think, even controlling for how quickly and easily and readily he seems to fall in love with anybody at the slightest encouragement, that he’d go that bonkers for that android woman he just met while everyone on the ship was this close to dying, but that’s neither here nor there, because in the background you’ve got an equally but much more subtly insane episode for Spock, who extremely uncharacteristically admits to experiencing an emotion (or nearly experiencing, whatever) and that emotion is ENVY of all things. And then spends the rest of the episode warning Kirk away from this new love interest (something that doesn’t usually happen, even when Kirk has very inadvisable love interests) and is, in the end, the person who accurately identifies that Rayna’s competing love for Kirk and Flint is ultimately what overwhelms and destroys her with the most killer line in maybe history???

And then to wrap it up we get an equally uncharacteristic sort of denouement scene (TOS loooves to cut an episode off right after the actual climax, leaving little time for falling action or character reflection, or to stick a sitcom-y button on the end where the gang all smiles and laughs at their misadventures and everything resets to zero, which is not a criticism, it’s just the style of that era of tv, honestly) where Kirk is literally miserable over Rayna’s death (again, kind of unusual for a lot of his love interests, he tends to be able to move on pretty quickly) and Spock goes to see him and he falls asleep right in front of Spock (also odd) and then when Bones comes in to give the final word on Flint, Spock waves him off from waking the Captain (tender) and Bones gives him that awful speech about how it’s sadder that Spock can’t even imagine the love Kirk felt for this random android woman than it is that Kirk lost her in the first place (debatable but also rude) and how his great tragedy is that he can’t love at all like they can and how all he wishes is that Kirk could forget about all of this and move on. AND THEN, to have Bones leave and Spock go over to Kirk and very gently, tenderly, reluctantly touch him and put his hand to his forehead and tell him to forget and HAVE THAT BE THE END OF THE EPISODE??? What am I supposed to do with that??

[seastoried]

Given that their composition changes so regularly, any team I currently support may be made up of completely different players, coaches, and administrators in five years. In what sense, then, will I be supporting the same team that I support now?

adam kadlac, the ethics of sports fandom

been thinking about this a lot lately, especially in relation to the growing trend of fans (in a variety team sports) supporting individual players as opposed to teams. what compels us to continue supporting a team even after the youngest player at the first match we watched has retired? what identity, independent of the players who make it up, does a team posses? even after players have been traded, coaches have been hired and fired, and ownership has changed hands, there remains some spirit so foundational to the being of the club that allows us to identify it as the same. this, i believe, is it's grounding in and connection to a particular place.

i find it particularly telling that the practice of supporting individuals over teams is perhaps most prevalent in sports where there is a concerted effort made to scrub away a team's sense of place to make way for sponsor based identities, such as formula 1. the sport's international nature and high team turnover rate (tied to sponsors, of course) likely also plays a part. what, then, is driving this change in other sports?

football has always been a sport where teams have been intrinsically tied to a place. while the player over team support trend has yet to become as prevalent in football as it is in some other sports, it does seem to be creeping in. this could be potentially chalked up to a number of factors. perhaps it's the globalization (read: mostly increased american interest, as the rest of the world has been playing football happily for years) of the sports, introducing fans who have no personal connection to the place a club is from, and therefore lack allegiance to the club. maybe it's the steady increase in foreign ownership of teams, to an extent where this erodes away at fan's visions of a club as a physical manifestation of the spirit of their hometown. perhaps stronger personal branding of players is a part of it; they're no longer simply an agent of the team, but an individual in their own right, worthy of being followed no matter where they go (there is something to be said here about the relationship between personal branding, increased sponsor opportunities, and the fact that having ten individual players shill your product is better than the singular entity that is the team). whatever it is, i do find it a little sad - it renders teams somewhat purposeless, empty husks whose only purpose is to house players, otherwise devoid of value.

[epickiya722]

Okay, reread the last few chapters and...

One, there is a difference between being dumb and not being told about a few things.

Two, with that said... Yuji isn't dumb, but the others did leave some things out, two being that Todo can use his technique (which Sukuna does know how it works) and that Yuta would possess Gojo's body.

That, again, doesn't mean Yuji is dumb. He was aware of some things of the overall plan to defeat Sukuna, just not all the bits.

In chapter 261, he is indeed not present when they discuss what to do with Gojo's body if he loses.

The characters present are Toge, Maki, Panda, Shoko, Atsuya, Kinji, Kirara, Mei Mei, Ui Ui and Yuta. Yuji is no where in sight at this time.

In fact, neither are Choso, Noritoshi, Rin, Hana and Takaba. This is probably one of those times when Yuji is training how to use Blood Manipulation with Choso and Noritoshi.

Also, when you go back to other chapters when they have discussions, sometimes Yuji isn't present. But Mei Mei sometimes is. Chapter 240 is an example. He isn't there, but she is.

She was the one Todo told not to tell Yuji anything because his soul may still resonate with Sukuna.

If that is the case, that means Sukuna would be aware of are their plans. So, and this is just a guess, Todo and her had this discussion long before some of the battle and she relayed Todo's concern about the resonance between Yuji and Sukuna to the others. So when they had to discuss certain plan details, Yuji had to be absent.

Events can happen simultaneously. Times Yuji was absent, he may have been elsewhere. What if the meeting in 240 also took place during this time in 261? Or this part took place during the time Gojo and the second-years were heading to the Higher-Ups?

So again, once more, Yuji was not aware about some plans. He was not aware of some parts of the overall, collective plan. But he was aware of what he needed to be aware of. As in his own training. As in what he needed to do.

That doesn't mean he's dumb.

In fact, knowing Yuji, they probably didn't need to tell him anything because Yuji adapts to well to how others fight and how quick he can pick up on things. That's just how excellent he is.

This, Todo is aware of! So it would make sense that Todo would be the one to be like "eh, don't tell Yuji about this" because one, keeping things away from Sukuna (and extension, Kenjaku) but also he knows that once they get into battle, Yuji will be quick on his feet.

Yuji doesn't have to know everything to be caught up because he's so good at doing it anyways.

[press-f1-to-grieve]

Liam telling stories about him and Yuki on the Red Flags Podcast

Source: Red Flags Podcast - WE INTERVIEWED F1'S LIAM LAWSON!!! (edited down and transcribed by @press-f1-to-grieve)

to @2bluetwo85: i read your tags from that yuki and liam post. thank you for letting me know this exists (and for reading my long tags). i hope i got the right podcast you were talking about.

---

full transcription underneath beware, it's long. and i'm not familiar with the podcast (my newbie is showing) so i'm not sure which voice belongs to who. please excuse me if i got them mixed up. i listened to the episode on a podcast app and only found out they have a youtube channel later, after i had already finished everything bar hit the "post" button. the visual would have helped greatly with knowing who's speaking but alas...

---

Matt: Ye so, I wanna talk about another teammate of yours, Yuki Tsunoda. So we've read that you and Yuki go back. He lived with your parents in New Zealand?

Brian: (laughs) No! He didn't live- He didn't live with- Liam: He came to- So this is a series called the "Toyota Racing Series" in New Zealand, used to be like, really really big, especially before Covid. And basically we were both competing in it as teammates, and so he came to New Zealand. And we've been teammates a year before that in F3 and Euro Formula, so I've spent a lot of time with him already. So when he came to New Zealand, he basically just hung out with us. A lot. Like, I basically just drive around with him. Matt: So like step-brothers a little bit? Liam: Honestly, ye. (laughs)

Matt: What was your favorite thing to do with him, growing up?

Liam: It was always away from the track. Cause away from the track, he's a really funny, genuine dude. So, obviously, it's harder. When you are competing, with Yuki, (...) competing for the same seat. So, it's like, at the track, it's real intense. And then, away from that, it's real cool.

Matt: How're you able to maintain a friendship when it's just like, you know, blood sport out there for these few seats?

Liam: At points, over the year, (stammers) you know, it's not a friendship. And then he- Like, obviously, his journey was pushed a lot earlier than mine. He went to F1 quite early so, then I was- I wasn't really in competition with him anymore so- Matt: Right. Does that help your friendship? Liam: Then we are like, pretty chill again. And then we are put in competition again.

---

Brian: I think in one of the earlier seasons of Drive to Survive, you were in his room, and his room was like, all messy, and he was annoyed that they put it in.

Matt: Did you catch him on a bad day or is that just is? Brian: Is his room just a mess always? Liam: That's literally- I don't know now. Oh actually, I went to his house recently and it was a lot better. Both Hosts: (relieved) Okay! Liam: He has improved. (stammers) I remember, well, it wasn't really- (vocally winces) It was fierce because you shouldn't live like that anyway. BUT!- Both Hosts: (crying laughing emojis in audio form) Liam: But I remember, he had just moved into this apartment at the start of, I think it was the start of that year, and I- Oh no, it was the year before! But same thing, Covid, here, basically. I went to New Zealand because I was about to be locked out of the country. There was no racing. And Yuki stayed, in Milton Keynes for months. Just on (his own), he didn't go back to Japan. Like he just stayed in this apartment. Brian: Like Cast Away Liam: But I had to move into this brand new apartment and it was sick! And I went to New Zealand and I came back 3 months later. Matt: He has got a beard. Liam: And I walked into this place and it was just like DUUDE. It was bad, like it was real bad. Brian: (hums of understanding) Like takeouts and- (all three make noises of agreement) Liam: It was just food everywhere. Like, the laundry basket was just like, overflowing. Matt: Yuki was basically all of us during Covid. Brian: (enthusiastic YE's)

---

Matt: So, what are you most competitive with Yuki off the track? Like what do you guys like to-

Liam: Awe, dude, everything. Both Hosts: Ye? Liam: No, like, everything. We're like- At the moment, we've been playing table tennis. Just little disc. Matt: Oh you'll just make- Liam: M-make one! Ye, just make it. (...) not a proper one. Matt: Who is up? Liam: He plays a lot more, to be fair, but- Matt: So he crushes you. Liam: (cute babbles) No no- Both Hosts: (laugh) Liam: So, we played in Japan. I think I had him in Japan. And then we played last week and he beat me. Matt: You don't keep a serious tally? Are you better on certain surfaces? Like if it's a dinner table, you got him. Liam: On a smaller table, I have him. But on a slightly bigger table- Like depends on what table we get during race weekend.

---

Liam: But one thing with Yuki that was real funny that we did back when we were in New Zealand.

Liam: I don't know how this is a thing but you can rent a boat, at like 15 or 16 years old. And just take it out, to Lake Taupo. And so me and Yuki were like- I was probably 17 or 18 and he was like 19 or 20, and we just rented this boat, and got like, you know, biscuit, or tube? What do you call them? (...) And we just took it out and basically- It started off like real fun. Like we were just towing each other around. But then it just got like, who could throw the other person off like, the biggest. We just like, tried to kill each other on this little tube, in the middle of this lake. Matt: Just the two of you? Liam: Just the two of us. Just out there in the middle of a lake. Brian: Just the two of you tried to kill each other. Matt: It's like a fucking thriller. Liam: Honestly! I've got videos of like, him and me, like, in the air. Like, meters in the air. Matt: Who won or lost that game? Brian: "We both lost that game." Liam: Actually, I lost pretty hard on that one, to be fair. Matt: He threw you- Liam: I went off like, big time, ye. Brian: It seems like, that's the common experience of tubing, is that. It's like, it's fun and then you're like, am I gonna die? (...)

Matt: So Yuki was a master at flinging you?

Liam: Well, he would like- Sometimes I feel like it's on accident. He would like, get a lot of slack and it will just build up real fast- Both Hosts: Sure, he said it was on accident.

---

Liam: We're drivers. Everything turns into a competition.

Liam: We had a rental car, again in New Zealand with Yuki, that we like, basically would like, make a little track and just set time trials off the side of the road. Matt: Like with a Camry or something? Liam: No, Yuki had this little Mitsubishi ASX. I don't know if you know what it is, it's like a boxed car. And we, with like a couple of drivers, basically made like, a little track, and, basically goes until somebody- until Yuki crashed it. (...) The funniest thing, it wasn't even in the- He had finished his lap. It was afterward, he tried to be cool and do like a flick spin, and just totally sent it into a bank. We had to go to a store to get one of those plungers to try and plunge out the dent in the front of the- Because we had to get the car back. Brian: Right, of course. Matt: Renters insurance, man. If I see you or Yuki walk into an enterprise or something, I'll just like, go somewhere else.

[hellofastudysession]

am i rlly going to write a death note literary analysis when i could be doing other things

about the discourse going on in the tag abt "death note is acab and thats why the characters couldnt better the world with the note (/written in somewhat jokey matter)" vs "death note is trying to say we all have potential for evil, especially if you get a chance to insta-hurt ppl without repercussions, and it doesnt matter if youre a cop or not", i personally feel like it ignores the things that i like abt death note, which is "both of these things are true", and simultaneously "both of these things do not matter". the first part of this is dedicated to the first point, the latter to the last.

first point. i think its an important part of the message and themes (unintentional or not, and i lean on the former because... come on, can you really say the author intended you to not think of the cops as good people, at least compared to light and l) that light is a cops son, and that almost everyone who gets the death note is cop adjacent/thinks like a cop and is already corrupt/powerful when they get it (mello raised to think hed be just like l, yotsuba group is self explanatory; you cannot look me in the eyes and tell me teru "churchill" mikami, who was hand selected by light out of a bunch of rabid kira supporters, is a normal citizen). i appreciated the cop post bc its rlly important to not gloss over that aspect.

all of this would be an argument for "only someone like them would do something like this, and i am not like them, so im above them and immune to thinking about what id do with it", but... misa is the MOST important outlier in all of this bc her murders are solely selfish in nature and shes not doing any of this for "the greater good"!!! her nature of being an exception and still a very very bad person is really really important...

or it would be if death note gave a shit about her character at all!!! im not talking about her tragic side, im talking about exploring the ramifications of her killing people the way lights murders are (somewhat) explored. that would strengthen the message greatly! but shes dismissed and that weakens it overall. firstly, she's dismissed by the characters when l only sees her as a way to get to kira and basically shelves her the rest of the time. secondly, shes dismissed by the narrative when her character is gradually ground down to a stump and (not to sound perilously close to the bad takes ppl meme about) she never faces repercussions for her actions. every other character using the death note is treated relatively seriously, but misa just dies bc her love is dead. im not saying this isnt a... fitting punishment or that it isnt in character, but it doesnt fit snugly into the theme other people are talking about of "you reap what you sow" at all.

we do have something of an equivalent to misa's grayscale motives. surprise surprise, its light yagami. first is light's characterization in the musical (i will also note that misa never kills anyone in the musical). light's thinking is coplike, yes — he literally starts his first song by talking about "throw[ing] away the key" — but also, oddly enough, could be read as progressive and therefore sympathetic to tumblr ("let the corporations make the regulations / and hold no one accountable when everything gets wrong / let the rich and famous get away with murder / every time a high-priced mouthpiece starts to talk, his client gets to walk"). compare to the anime and manga, where his bigotry and pride and disgust come from a place of lukewarm dissatisfaction and boredom. the musical has much less time to play around with lights character, so it gives the audience something to immediately hook on. more on how that actually plays out later.

in the animanga, none of this is justified from the start. animanga light could say he was just killing people to make humanity way, way worse, and that wouldnt matter, because at the root of it, it was always his boredom that made him pick up the note. of course he actually believes in justice and believes hes doing the right thing (no, he believes he's doing the wrong thing, for the sake of the world... the right thing, because he is god...), but it was boredom at the start. all animanga light says about justice and righteousness and the law is a front in the end, bc he is exactly like l and misa — amoral. selfish. searching for entertainment. hedonistic. we know this. he kills naomi misora*. he kills lind l. turner. everything hes saying deserves to be dismissed from the beginning.

"but doesnt that mean you agree with the discourse post you wrote this post to argue against?" like i said, i agree with both of them! but i... still think its not right to reduce death note to the message of "the power to kill people is bad". because that is not exactly what the story is saying, even though that's literally its whole plot and therefore reaching that conclusion is self explanatory (lmao). let's look at the concept of mu. nothingness. "there's no heaven or hell". The Real Slay The Princess (Death Note Essay) Starts Here.

in light's final moments in the death note manga, while screaming about not wanting to die, he remembers that the first day they met, ryuk told light that "there's no heaven or hell. no matter what they do in life, all people go to the same place. all humans are equal in death". it is retroactively revealed that light knew this the whole time, operated under this knowledge for all the years we watched him — the knowledge that nothing he does is actually bad, that nothing any human does is actually bad, that shinigami are not "evil", that the universe does not care. that no one cares except humans. this oblivion absolutely terrifies him more than anything anyone could ever do to him. its what he thinks of before anything else as he flails there, screaming, dying. one could say everything he does after that day is him trying to escape that fact, or wrest control over it. but it doesnt work.

here are the lyrics of requiem, the musical's final song, sung over the bodies of l and musical light, a light who was at least somewhat good-intentioned at first: "sleep now, here among your choices / then fade away / hear how the world rejoices / shades of gray / gone who was right or wrong / who was weak or strong / nothing left to learn". this is the final message the death note musical and the manga chose to leave us with. there is no judgement. even after all that acknowledged hurt, after all the damage done, there is no judgement.

in the manga and anime alike, the world is just as fucked when light picks up the death note as when he dies. sure, we as readers can guess otherwise logically (and be optimistic, believing the world was never fucked regardless), but that's not what death note wants you to think. it ends with matsuda and another member of the task force noting how the world is worse again even though they killed kira (matsuda is clearly much worse for wear, but still determined), we see the shitty motorcycle band again, it ends with misa and a whole kira cult on a mountain even though kira died a long time ago...

its extremely important that light is never killed by any human or any aspect of the law. he is always killed by ryuk: a chaotic force completely detached from human sensibilities, one that does not care about good and evil. same with l; in the anime, manga, and musical, he is always killed by rems senseless, morally gray love (and you could argue in the kdrama that hes killed by love there too lol). justice is just a set dressing.

this is not just because death note is a tragedy, because good and evil can still matter in a tragedy. the theme of "nothingness" and "good and evil doesnt matter here" is also shown in a situation relatively unrelated to light winning or losing, or being good or bad. and its in fucking lawlight of all things. we all know ls not a good person. we know lights not a good person. this is tip of the iceberg death note knowledge. but the moment they start to interact, none of that starts to matter. textually, their relationship becomes more important than the people theyve killed and hurt. and the thing is? the thing is? THAT WORKS STORY-WISE. THAT'S ENTERTAINING. AND IT'S NEVER TEXTUALLY CALLED OUT IN A LASTING WAY. l and lights relationship, no matter how much i meme it, is genuinely important to the themes and "mu" because it makes it clear that despite all the pretensions, despite everything, this was never about good and evil. and it still works in the story. this is why death note is simultaneously a comedy — isn't the battle of good and evil supposed to matter more? well, fine, i'll keep watching this anyway. that suspension of disbelief comes crashing down the moment l dies, though, and a relationship built on nothingness (the "mu" sort, meaninglessness, not "character development" nothingness, theres plenty of character development) gives way to just nothingness (again, "mu", not light's post-l depression nothingness), forever.

(an aside: there is no one to root for in death note, and the only things to root for are either interesting character relationships, convoluted plots, or complete and total destruction: for everything to end so no more damage is done.)

not to say that death note does not encourage its readers to consider what damage they might do with the death note (obviously.), or that its characters never do. look at matsuda, a much easier heroic figure to latch on to than soichiro because of his unique place in the cast dynamic and because he's willing to consider both sides of the situation and kill light instantly for all he's done. its just that the story's own stance on the subject is... complicated by the existence of shinigami worldviews and by its own insistence that the world cannot change for the better.

also, this is not to say that this is executed well by the death note manga at all. it is a very strong tool, artistically, to establish and then violently remove any emotional connections between characters and make your story only about the exceedingly convoluted lengths characters go to to survive and catch each other so the reader can realize how ultimately pointless all of this is, but like... is that a good story choice if that's all you do? i would say not really. add in a good dollop of misogyny that destroys the second-to-last character who might actually be an interesting contrast to the rest of the cast's dull one-track focus on winning and justice, and youve got yourself a shitty story that... honestly still achieves what it went out to do, just not in a way id ever want to replicate.

anyway, back to the parts death note's actually trying to say. no matter what any human does in their life, no matter how they try to hurt or help the world, they all die in the end. hey, light, they all die in the end. once dead, they can never come back to life. and the seasons turn. and the world rejoices. and you say "goodbye"...

that's all.

no analysis of death notes overarching theme would be complete without nears final monologue, the definitive roast of light, the "you're just a murderer" speech: "what is right from wrong? what is good from evil? nobody can truly distinguish between them. even if there is a god." if we take this as talking about the actual god in the room (ryuk) as well as light, then near admits that humans will never be able to withstand these overwhelming forces and that, using justice and happiness and selfishness, they are just scrabbling to find meaning in things they ultimately have no control over.

but of course, near does not stop there. "[...] even then i'd stop and think for myself. i'd decide for myself whether his teachings are right and wrong." nears alright with not having control over everything, because near can still control nears own actions. these forces can and do exist, but they have no sway over nears own humanity — unlike light, who caved.

one of the creators of death note said they believe its message is "life is short, so everyone should do their best". the first time i learned this, i was like, thats... nice and optimistic, but an awful reading of the story! "life is short, so everyone should be desperate and striving like light yagami", who literally cut off other ppls lives for his own life? what character in death note are we supposed to strive towards when we "do our best"? they all do awful things with their lives! honestly, maybe they shouldnt have tried their best, if this is what their best is!

but with the view of "mu"... it makes a bit more sense. just a little. maybe.

there is no good and evil. there is only what humans think, and no matter what we do, we all die in the end. it is easy to be crushed and terrified by this in the same way light is, but what is more important than justice and righteousness and finding meaning is... doing your best. not being a person that hurts others too much. not letting yourself get swallowed up by an ideal. not going too far. and simultaneously, trusting yourself.

it leaves a few questions, though... was the currently dead l even a little bit right about his blatantly amoral approach, then? was there a point to this pain, and me slogging through this dumbass manga, and all the people that have lost their lives to a selfish teenage cop's son and the whims of everyone chasing after him? was there a point to any of this...?

the manga** never answers this. it stays clinically impartial until the very end. the musical is anything but clinically impartial (and i love it so much for that), and its ryuk that has the last word.

"there's no point at all."

of course theres no point. none of this was ever supposed to happen. that is what matters more than all the hurt and the crimes and the pain.

and that's... actually okay, because it's over now.

yes, death note has many really important themes present in its story, but its viewpoint is nihilism first and foremost. thats why its so fun and easy to play around with all the other messages, because no matter what fun or torment or awful things or righteous justice or absolute nothingness or sentimentality happens in between, there is always an end.

there is always the end.

[heshemejoshi]

it’s so cute to me how when i evolved my partner and hero, the sprites became big enough to look like they’re touching each other’s noses (snouts??? idk the word..) right after they wake up LOL

[spending-life-pretending]

Have we talked yet about how amc Interview With the Vampire is singlehandedly saving the tv slowburn

[bondagebimbo]

…

[avernusreject]

So if my timeline is correct about the crowning of the brain and durge's betrayal. Does that mean that its only been like a month and a half/ two months since Gortash last saw durge? Then they just come waltzing in with their new lover. God that has to be a gut punch to Gortash. They leave his side for five minutes and he immediately gets replaced

[wayfinderships]

The Snow yearning is so strong tonight

[demonsfate]

like the whole point of jin's creation was that he's supposed to be a foil to kazuya, not the same. like kazuya was supposed to look at jin and see everything he could've been. jin was NOT supposed to look at kazuya and see himself because they've both hurt people. no, that ruins the entire point. that ruins the point that jin was raised with love, that jin knew what compassion was and kazuya didn't, that jin is what kazuya could've been had kazuya been given the same nurturing as a child.

the fact that tk8 had the whole jin looking at kazuya and sees himself, remembering the war, actually does ruin his character and everything he was supposed to be, and it's always mind boggling to me that a lotta ppl can't see that or some ppl legit believe that tk6 "improved" jin's character.

love him or hate him in the earlier tekken games, but it's objective that tk6 ruined everything jin was. what was once something original and different was made into something repetitive and frustratingly inconsistent.

[coconut530]

SERIOUSLY!? RIGHT IN FRONT OF MY PUMPKIN BREAD TRIFLE PT. 2