#I feel like this scene encapsulates the same idea and I wanted to make something lighter

[carnirat]

Happy FMA day!!

[jayladfanpage]

Saw a post saying that Cassandra Cain would hate Jason Todd and I'm sorry but. Are we talking about the same Cass Cain? Are we?

I understand the sentiment of "Cass would be outraged by Jason's morals" (when we're talking New Earth, at least,) that makes sense. I do think she would hate his ideals. Not Jason himself, though.

Cassandra knows death. Literally the thing that motivates her to be a hero is that, because of her ability to read body language, she experienced death after her first kill. She didn't just watch that man die, she died with him. She knows exactly what Jason felt like when he died, she knows how much it fundamentally changes somebody. I think she wouldn't understand how Jason changed for the worse, but she, out of everyone in the Bats, would actually, genuinely be able to see the boy Jason used to be when looking at Red Hood without separating Hood and Robin in her mind. Your death isn't something you ever forget.

Also, not only does she know the pain Jason went through when he died, she knows the grief Bruce went through, and is still going through when she finds out about Jason's death.

Obviously, everyone loves this scene (Batgirl (2000) #7) because it perfectly encapsulates both Cass' and Bruce's ideas of what makes a vigilante/hero. But there's a second layer to this, which is that Cass, who speaks in body language, feels Bruce's grief. In this scene, Cass isn't just shocked to learn that a Robin died, she's mourning Jason just as much as Bruce is. She can feel all of his regrets, all of his pain, all of his guilt. Cassandra would never be able to look at Red Hood without remembering what Bruce felt, what she felt, when he died.

Lastly, while Cass' morals aren't as much about "second chances" as Bruce's morals are, she is still desperate to save people. And Jason's main thing is that Bruce (and Dick, I'll make a meta post about Brothers in Blood at some point) can't save him. Saving Jason Todd goes directly against Bruce and Cassandra's morals, but another thing that Bruce and Cass have in common is how unwilling they are to give up. Everybody will be saved, or they'll both die trying to make it so. "Everybody" includes Jason, who's always worn his heart on his sleeve, who most likely wouldn't even try to hide his emotions/body language from Cass, because he never bothers to hide his pain, is always begging to be saved, just in a way that Batman can't fix. Jason doesn't just need help, he wants it. So Cass would never hate him, because she sees that Jason wants to be fixed, wants to change the man that he is, but feels like he can't do that until Joker dies, as seen here:

(Urban Legends (2020) #6)

And I think Cass would see that and would do everything she could to save Jason from himself without killing Joker. She could never hate Jason, not when she so fundamentally understands him and his struggle to believe he could ever be a good person. She knows his guilt doesn't absolve him just like her guilt doesn't absolve her, but Bruce gave her a chance to be a hero when he saw that she'd changed, became a better person. And I think she would go her entire life trying to give Jason the chance to change, too.

[a-memory-a-distant-echo]

ok, i'm being so brave and making the rec post that i told anon i would do like three days ago.

the obligatory caveats. this is not comprehensive—i haven't read all the fic in this fandom, and i've barely looked at anything not in english. my reading habits are pretty broad—i'll read almost any pairing, and am generally willing to suspend my disbelief to do so. i am not usually an au person, though this fandom is doing its absolute damndest to prove me wrong on that point.

also i have…more…fics that i felt i should rec somewhere, so probably this is rec post one, but ten felt like enough and also saying things in public where people can hear me is, it turns out, absolutely excruciating. please no one be mean to me about this post, especially if you wrote one of these fics, because if you are i will simply fill my pockets with rocks and take to the sea, ok? ok.

excited to find out what i manage to do that ruins the formatting, links the wrong fics and/or people, or otherwise breaks things in this post. please tell me if i've fucked up, or if your fic is on this list and you would rather i keep your name out of my mouth, or whatever.

first, a very special mention to the mlc reference guide by @yletylyf. this is such an incredibly comprehensive and generous resource. you want a timeline for this show that does an incredibly poor job of maintaining its own timeline? it's here. you want episode summaries? they're here. you want all the people and places? they're here. if you're writing fic, you want this guide, because it's so much easier and faster than scanning episodes or subs files to figure out the name of one specific guy or whatever. it also means that at least occasionally you work on the thing rather than accidentally rewatching the same scene five times, or hypothetically watching two to four episodes without even really thinking about what you're doing. the reference guide is the unsung mvp of fandom.

beyond porch and portal, difanghua, teen, by willowdream. this is the vampire au that i didn't know i wanted? the author posted it and their note was like 'i'm trying to be the change i want to see in the world,' and i was like ok sure, i'm not really convinced that the change i need is vampire aus, but i'll give it a go, and then i did and was like, oh shit, i'm eating fucking glass about this vampire au, i'm chewing on my own fucking fingers, i'm so fucking normal about this, i need another hundred thousand words of this and also seventeen more vampire aus in my inbox by monday morning. i literally finished reading it and scrolled right back to the top to read it again. i have no idea why this fic hits so hard, but it took me out at the knees. the voices are perfect. something about it is just impossibly compelling.

不安的遠離，再无歸期 | restless distance, without return, fang duobing/qiao wanmian, mature and teen, by @difeisheng. this is technically two fics but they're short and you should read both of them because they're such a brutal, perfect encapsulation of grief, and a really beautiful acknowledgement of the ways that fang duobing and qiao wanmian can be read as reflections of each other, separated by a decade, and it just fucking guts me. i dunno. it's about the grief! it's about the yearning! it's about someone who understands parts of you that you wish didn't exist! i think i've reread this like once a week for the last six weeks and i feel like it gets overlooked because it's not A Ship but like. it could be. it should be.

dance the silence down, fanghua and feihua, explicit, by @momosandlemonsoda. this fic. ugh. ok. i'm breaking my own rules. i had two when i started writing this post: no works in progress, and no reccing things that i haven't left a comment on, like a goddamn grownup. this one fic is breaking both of those rules and i feel bad about it and will hopefully spend like, all day tomorrow just commenting on every chapter or something, but i have to do this. this fic is so good. this fic ruins me. this fic is 63k, still a work in progress, and also if i were losing the whole internet tomorrow and i got to keep one fic in all the world and it was the only fic i could have for the rest of time, it might have to be this one, even as a work in progress. i ignored this fic for so long—by which i mean probably two of the four months since i first watched mysterious lotus casebook���because i was like, i don't like aus, and i especially don't like rock star aus. (or sex work aus, and you're never gonna fucking believe what else this author is writing and what else i absolutely cannot get enough of—this is a sneaky bonus rec for all i wanna do is wrong, another fic that i feel so so so normal about!) but then i was like okkkkkkk but. maybe i'll try it. people seem to be nuts for it. and then i read it and i was like OH HOLY SHIT PEOPLE ARE FULLY CORRECT TO BE ABSOLUTELY UNHINGED ABOUT THIS and normally, honestly, i wouldn't bother posting a rec like this because it's like 'oh haha have you read the five most popular fics in this fandom?' and it feels so redundant, but i know for a fact that a friend of mine who finished watching the show yesterday is reading this post, and even if everyone else has read it, she has not! anyhow as a former music person and a former diner cook, this fic like. i don't know. i feel like it broke me but also fixed me? i literally criticise writing professionally and every time i try to talk about this fic i find myself speechless because it's so perfect to me. i am deeply unwell about this fic. every time a new chapter comes out i sit down and read the whole thing again, yes, all sixty-thousand-plus words of it. some nights you go to bed and you're like 'what's the fucking point?' and then you're like 'no wait, there will eventually be more of dance the silence down,' and somehow that makes things suck a tiny bit less. my wife has made me take out like six sentences from this rec because they're too intense and too weird about it but i need you to understand: you have to read this fic.

in this dream, there is a lover to share this life with, fanghua, g, by @lianhuajing. alternative ending for the end of episode 27, in which li lianhua—precious man who has yet to discover a hill he's not willing to die on—apologises to fang duobing the only way he knows how, and it's wildly upsetting for everyone (but it's ok and it doesn't end miserably, no one panic). this is a delightfully angsty treat, and i love how conflicted fang duobing is in it—i feel like it's not something that i've seen explored a lot, but this poor boy really fuckin goes through it—his best friend and his childhood idol are the same person but are lying to him about it, and his dad's not actually his father and has been lying to him about it, and his best friend/childhood idol may have killed his father, and—yeah, is lying to him about it. like? someone give this poor man a hug and a cup of tea and a snack and a blankie. i love that we get to see some of his internal conflict in this.

quintessence of dust, feihua, teen, by justthereforit. this plays with one of my very most favourite tropes in the world, which is the one where the heart is a physical object and a physical form of trust and control and surrender and—like. this is so good. it's set in episode 13, which is, for me, one of the absolute peak angst points, and it absolutely nails it. di feisheng who's upset and vulnerable and frustrated and angry, li lianhua who knows he's going to die and can't bear the thought that he's going to take anyone else down with him, and they're both just so fucked up. chef kiss. i love it when everyone is emotionally wrecked and continually like 'ok no, i can take one more knife in my soul to protect someone else', and this absolutely delivers on that.

under moonlight, we change our futures yet again, feihua, explicit, by @thesilversun. the wedding room! obviously we have to have a wedding room fic, right? i'm not going to lie: i'm willing to suspend a lot of disbelief for wedding room fics, but in this one, it's actually a wonderfully, horrifyingly plausible setup. it walks a really fine line of keeping people in character, and acknowledging the inherent horror and seriousness of the situation, and also providing some desperately hot sex, and also managing to get the emotional beats of it, too. it has a sequel, which imo really has to be read as the conclusion to this fic, and it's just as good. it's possible that some of what i'm saying here is 'i love vulnerable-inside crusty-outside di feisheng' but like. i do. i love it so much.

what's sealed away, feihua, teen, by @bbcphile. AMNESIA FIC yessssss, a-fei my beloved, fics that handle brain damage/memory issues/amnesia well my beloveddddd. i love the a-fei arc, but i also have had a number of brain injuries and some other stuff that means that my own memory is…not so great, so i sometimes really struggle with how often amnesia in fiction is played off either as nothing to worry about or as a funny thing where everyone's in on the joke except the person who has amnesia. this fic is a great and sometimes very visceral exploration of a horrifying experience, and a really fantastic study of a-fei/di feisheng as a character, as well as the relationship that he has with li lianhua. a-fei trying to balance the trust he has in the sense memory of his body with his understanding of his relationship with li lianhua with li lianhua's reaction to—everything, really—is really well done and wonderful/terrible to read.

我只愿面朝大海 | i wish only to face the sea, g, by foreverstudent. ok so you wanna fuck yourself up some more? go read this. this is canon divergence from episode 39, and fang duobing has learned too well the lessons he's been taught, and sees the shape of things before li lianhua ever touches the wangchuan flower—so he sets about making sure that he won't be able to throw it away. this is agonising and gorgeous and maintains the canon relationships while developing the narrative differently. i wept literal tears. i was like 'ok that's it the worst part is over!' and then i remembered that there was another part coming and then i started crying. anyhow, it is—as ever, with me—about the devotion.

我住長江頭, 君住長江尾 -- i live upstream, you live downstream, fanghua, teen, by @rimbaudofficial. ok so this is Not a fic that i should like, because i am a massive academic failure and despite being in my forties have regular nightmares about having to re-engage with academia for like. any reason. HOWEVER. as noted, i read indiscriminately, even when i'm like 'reading this is a terrible idea and will be upsetting for me personally!', so i was like 'well, how bad of an idea can it possibly be?' and then instead! it was. incredibly charming? it was so fucking cute? the fang duobing characterisation in this is somehow just perfect to me—he's simultaneously confident and vulnerable, and also just so deeply committed to the weird clueless guy who he's decided is meant for him. di feisheng and li lianhua have a perfect weird-bros friendship. i would read another ten chapters of this and i would love it.

[aliusfrater]

thinking about this scene and ruby's choice of words in the sentence, "your appetite's gotten much bigger," and how it feels like something a mom tracking the growth of her newborn would say and while, yes, there's the immediate double meaning of their relationship and the fact that ruby is grooming sam into the perfect vessel for lucifer, not just physically but she's also grooming his willpower out of him through both addiction and a similar kind of control/relationship dynamic that dean has over sam, but only to an extent that manipulates sam into thinking he still has control over himself and replacing it with a kind of complacency that you would typically find in any relationship that can be described as provider and their ward, there's also the overhanging dynamic of mother and son. the choice of ruby's words mirroring that of a mother's takes the physical substance of her demon blood out of a role that's just physical and mental relief for an addict or just a source of/perpetuation of power and into a role of a substance that is not only nurturing and nutritious but also necessary; there's an indirect comparison between demon blood and breast milk. this is crucial to sam's relationship with demon blood as a substance:

azazel describes his blood as being 'better than mother's milk' when the origin of sam's power, something that is now inherently tied to his motivations and agency as a character, is revealed to have been as a result of the being sam and his family have been hunting all along, the being that killed his mother. there's an intrinsic link between azazel feeding sam his blood and ruby's relationship with sam with how they relate to each other as metaphors for childhood sexual assault. there's another angle added to this when it's revealed that mary is the one that had originally let azazel into their home and that john had known this about sam but chose to keep the information from him. there's also the idea that ruby had originally coerced sam into having sex with her, inherently relating their sexual relationship and demon blood to one another and placing it at the forefront of their seemingly collaborative relationship. there's also more to consider when you relate the idea of azazel possessing samuel's body to bargain with and ultimately kiss mary — an act of almost explicit incest that had transpired through coercion — to the metaphor of childhood sexual assault as well the idea that mary named sam after her father, the same man whose body was used to violate her and, by proxy, violate sam's

this kind of fuels my idea of sam as a nucleus character when it comes to the exploration of the inherent rot of/within the nuclear family; there's an existing atmosphere and set of relationship dynamics that basically ensures that he will be assaulted and violated in some way or another over and over again. in 1.06 skin he tells his college friend, "anyway, what can i do? it’s my family," as a conclusionary sentence to his absence at school and why he takes part in hunting and i think that's a pretty perfect encapsulation of how childhood abuse, particularly sexual abuse, goes unnoticed or without intervention. it's their family so they either don't report or bring attention to it at all either because they don't want to hurt their family or because they think it's normal. it's their family so even if they do report or bring attention to it, it's dismissed because it's their family. it makes this all the more satisfying that he's referring to hunting here, the family business, because hunting is the ultimate metaphor for rot within the nuclear family in supernatural. hunting has provided the ultimate atmosphere for sam's bodily and mental autonomy to be violated over and over again; it's also quite literally his fate to be violated by lucifer and the power azazel violated his body to give him propels him further and further into this fate first under the guise of genuine agency then once again through the same genuine guise of agency but accompanied by a more prevalent force of abuse

[aois-amaterasu-painting]

GiGS vol. 420 (October 2015)

Chapter 1 - RUKI [Vocal]

“DOGMA”, with its intense focus on low frequencies, eliminates external sounds entirely, utilizing only low-A and low-B tunings. As the band’s frontman and primary songwriter, RUKI has always steered the direction of the GazettE. Why, after 13 years since the band’s formation, did they choose to create an album with this kind of sound?

“When the album was finished, I felt it was almost like an exact reflection of myself.”

Interviewer: At the March performance at Nippon Budokan, it was announced that THE BEGINNING OF OMINOUS YEAR, centered around the album DOGMA, would begin. When did the powerful word "DOGMA" first come to mind?

RUKI: Last year, we had a tour titled Redefinition. Among those shows, we had PULSE WRIGGLING TO DIM SCENE, which focused on STACKED RUBBISH (released in 2007) and DIM (released in 2009), so it was around June. However, the word DOGMA itself, including the album cover design, had already existed as early as the beginning of last year. Back then, I hadn’t decided exactly how to use it yet. But as we continued performing live, I began reflecting on the state of our band, our relationship with our fans and the term DOGMA felt very fitting.

When I saw the artwork used for the album cover, it all came together. By that point, the title DOGMA had already been cemented in my mind. For our first song selection meeting, we hadn’t decided on what kind of album it would be yet; we just brought in songs. At that time, I brought in “OMINOUS.” It was during this process that I shared my idea of “DOGMA” with the other members as a direction to aim for in the next selection meeting. From there, everyone started creating songs with “DOGMA” in mind.

There was an early version of BLEMISH, but it had a strong EDM influence, so we set it aside. However, at the final song selection meeting, when we realized we needed one more track, someone suggested bringing that song back and reworking it into a more DOGMA-esque style. By the second song selection meeting, about half of the album was completed.

Interviewer: It’s surprising that you had the artwork’s image in mind so early on. I assume you also thought deeply about the meaning behind “DOGMA.”

RUKI: Yes. First, from the perspective of our public image during live performances, there’s this religious-like aura. At the same time, we’re aware of our somewhat isolated position within the current visual kei scene—we don’t really mix with others. Though, honestly, we don’t want to mix either. Of course, we respect our predecessors in the genre, but we also have a desire to surpass them.

When we considered what kind of band we should be, we realized that there aren’t many bands like us that have maintained this style for 13 years. It’s something natural for us, but if I take a step back and look at it from a bird's-eye view, it feels like our essence keeps becoming denser. In the album, we described this as "unmixable black." For us, delving deeper into that blackness felt like the right path. Our goal was to hand over something absolute to our audience.

The idea of myself as a symbol of divinity, symbol of blackness, resonated deeply with the androgynous figure on the black album jacket. It evokes the image of a cult—one that society might see as misguided, but which worships its own absolutes. That message, that structure, felt perfectly aligned with who we are. From there, the absolute term ‘dogma’ naturally emerged.

Interviewer: In other words, while the word “DOGMA” became the title, it wasn’t about doing something completely different. Instead, it served as a term that encapsulated your journey so far. With that as the theme, did it make the songwriting process easier, or did it feel restrictive? It seems like this could differ for each of you.

RUKI: The word DOGMA itself is pretty abstract, right? So everyone approached it by interpreting what DOGMA meant to them. Songs were rejected for reasons like, “This doesn’t feel like DOGMA,” which is both understandable and a bit vague (laughs). But when everyone agreed on something, that became the “right” answer.

Interviewer: You mentioned earlier that EDM elements were intentionally removed. Why was that? In other words, was it an effort to focus on a more traditional band sound?

RUKI: Yes. From TOXIC (released in 2011) to BEAUTIFUL DEFORMITY (released in 2013), our albums were quite experimental. At the time, there weren’t many bands doing that kind of music. But we questioned whether we wanted to continue pursuing that direction, and the answer was no. While we didn’t have a clear concept for what to do next, through the “Redefinition” tour, we started to see traces of ourselves—what made us who we are.

Then we asked ourselves, “What is the current live experience missing?” And the answer was something much heavier and darker. Whenever we make an album, we usually balance different aspects within ourselves. But this time, we first decided to eliminate the idea of including “at least one clean, melodic song.” We also threw out the approach of trying to balance things like “how many heavy songs, how many medium-paced ones” and so on. Instead of worrying about maintaining a variety, we decided to focus on leaning into extremes.

That’s why the album structure ended up with a sound that felt like a band’s raw essence but also unconventional at the same time. To get into more specifics, we really pushed down-tuning, completely banned major chords (laughs), and insisted on phrases that felt eerie and unsettling. I think these ideas were something that existed within each of the members’ hearts somewhere.

Interviewer: Still, the various experiments you’ve conducted weren’t mistakes. They were ways of shaping darkness and heaviness through different methods of expression at the time, weren’t they?

RUKI: Yeah, there was definitely a calculated aspect to it. But this time, it felt much closer to instinct. That’s what makes the process different from before, and in a way, it also feels like we’ve returned to our original style.

Interviewer: For this album, you’ve used Low A and Low B tunings exclusively. When composing, do those heavy bass tones naturally sound in your head as the foundation?

RUKI: For me, it doesn’t start with a melody but with a riff. So, the tuning of the guitar I use for recording demos often influences the process (laughs). Usually, I’ll begin with the intro, then add the verse, and by that point, I’ve already layered vocals. Then I create the bridge and so on, building one section at a time. That’s why, with a song like DOGMA, the chorus might not even appear until the very end. The tempo keeps changing, and the structure evolves. In that sense, it’s a very spontaneous process.

Interviewer: Despite all these evolving developments, the album is surprisingly cohesive. The flow is seamless. If one considers “darkness” and “heaviness” as themes that suggest evil and chaos, it might have been simpler, in terms of technique, to go for a more convoluted, chaotic arrangement.

RUKI: I wasn’t consciously aware of that, but I think you’re right. There’s not much that feels incomprehensible. Even with bands I admire, I notice that. I’m not a guitarist by trade, but I love riffs that make you want to copy them on a whim, like those from Limp Bizkit or Metallica. I’m from the nu-metal generation, so I also like single-note riffs from bands like YamaArashi. Even with Slayer or Pantera, there’s something great about straightforward classic darkness (laughs).

Interviewer: Speaking of riffs, each track features so many distinct ones that any single riff could serve as the basis for an entirely new song, yet you use them so lavishly.

RUKI: That’s why the dark drawer in my mind keeps getting emptied out bit by bit (laughs). Since I’m not a guitarist, I don’t think in terms of how the riffs fit into chord progressions. Instead, I just play based on how unsettling they sound to me.

Interviewer: The title track, DOGMA, truly captures what the GazettE stands for. However, the lyrics aren’t bound by the term “DOGMA” as a unifying theme. Each song feels distinct, yet they’re all brought together by the world of the GazettE and RUKI.

RUKI: When it comes to this band, there’s no hesitation about the direction we need to take. That resolve is particularly strong in “DOGMA.” But to put it bluntly, it’s not about how things have suddenly come together here. When the album was finished, I felt it was almost like an exact reflection of myself. It’s surprisingly not a fantastical world. Though I use metaphors in my writing, when addressing topics like the struggles of society, I feel that expressing them in clichéd ways would come across as too superficial.

Interviewer: For example, you’ve mentioned that BIZARRE reflects recent social issues.

RUKI: Yeah. While I was writing it, there was a youth crime incident happening. But it’s not so much about the event itself as what comes afterward. I write about it from what feels like an ordinary perspective, but to society, it might be a taboo. It’s like that saying “once it’s out of sight, out of mind”—for about a week after an event, the media covers it, but the important part is what happens afterward, isn’t it? These kinds of things make me think a lot.

Interviewer: On a related note, this time all the track titles are single words. It seems like each word was chosen to be highly symbolic.

RUKI: That’s right. You know the concept of the “seven deadly sins”? They’re just listed as single words, aren’t they? The songs on this album similarly represent just one emotion each, so I felt that single-word titles suited them best.

Interviewer: The influence of the “seven deadly sins” concept is apparent, especially in lyrics like those in “RAGE.” However, while the band delivers its absolute doctrine, it feels like you leave a lot of space for listeners to interpret things in their own way.

RUKI: That’s right. The word “DOGMA” itself is inherently imposing. So it’s about how you interpret things like God, or how you perceive death—those are the themes being explored. Cult religions, for example, often take some form of “DOGMA” and have their followers spread it through their own interpretations, don’t they? Like I mentioned earlier, when I fell in love with certain bands, I absorbed their messages in my own way and took them as absolute (laughs).

But, for example, when songs like LUNA SEA’s “ROSIER” or “TRUE BLUE” were released, for us, they conjured a strong image of the city at night. It’s strange because those words weren’t explicitly referencing that, yet they became a shared language of sorts. I think that’s the essence of the visual kei world—the ability to evoke such collective imagery. Similarly, with DOGMA, listeners might connect it to certain moments in their lives.

Interviewer: It’s fascinating that OMINOUS, the final track on the album, was one of the first songs created.

RUKI: When deciding on the track order, it naturally felt like “this song doesn’t belong in the middle.” The word OMINOUS represents our current state as a band. The song has real, raw lyrics and coincides with our 13th anniversary. It feels like naming it that brought about various events (laughs). Over time, the track has grown stronger. Initially, we didn’t create it with those emotions, but it ended up carrying them.

Interviewer: As you head into the tour, what do you think creating “DOGMA” has revealed about the band?

RUKI: It’s made me think about how music is meant to be used—not as an experiment but as a medium for genuine expression. When it was finished, my feelings weren’t ones of satisfaction or anything like that. Listening to it feels heavy—it’s like a diary zooming in on my thoughts during tough times.

Normally, we’re expected to inspire dreams, but some of what’s conveyed here might not align with that role. But in a way, I feel like the essence of music—how it truly should exist and how it should be conveyed—naturally took form through this process.

Chapter 2 - Uruha [Guitar] & Aoi [Guitar]

The raw and unfiltered band sound, crafted by the clash of all five members’ music, forms the foundation of “DOGMA.” To enrich and deepen the essence of this work, Uruha and Aoi wrote four tracks: “DERACINE,” “WASTELAND,” “GRUDGE,” and “PARALYSIS.” As guitarists, how did the two of them approach this album?

Interviewer: What kind of approach did you take toward the sound of DOGMA?

Uruha: We focused on achieving a tight sound where each phrase could be heard clearly, while also exploring how to incorporate a subtle sense of airiness, more so than ever before. That was something the two of us worked on extensively before heading into recording.

Aoi: While discussing things like that, we would be recording the rhythm parts, and at the same time, we’d crank up the amps and pour the sound into the mix, refining it bit by bit.

Uruha: So it wasn’t just a simple meeting. It felt more like we were experimenting by actually playing and layering the sounds of our two guitars, judging whether it worked or not. Aoi even swapped out vacuum tubes… You can’t really understand the impact just by imagining it. So we’d listen to the changes and judge how well it meshed with my sound.

Aoi: That being said, I replaced three tubes, but in the end, we didn’t use a single one (laughs). When I actually heard the sound, it didn’t quite match the image I had in mind for the tonal balance.

Uruha: Everything ended up sounding very clean and organized.

Aoi: Yeah. Since we’re a band with a fairly strong “bite,” I thought having a bit of grit in the sound would be better for expressing our unique color. But I was always thinking about where to find the right balance for the final result.

Interviewer: So, does that mean you first focused on creating the foundation of the two guitars' sounds?

Uruha: That’s right. When working on an album, we usually start with something like the title track—a song that has a relatively well-balanced sound and can adapt to anything. This time, that song was "DOGMA," so we built the foundation around that. Up until now, the pre-production stage mostly involved plugins, but this time, we actually used the recording equipment during pre-production to get the sound. That was a first for us.

Aoi: Previously, we’d only think about what kind of sound we wanted on the spot during the session. But that approach could mean spending an entire day just crafting a single sound.

Interviewer: But, the purpose of this new approach wasn’t simply to save time, right?

Uruha: It’s about the mental side of things. At the beginning, there were some discrepancies in everyone’s opinions. If we had to fix those differences later, it would mean re-recording and putting in an enormous amount of effort. Having the right technical setup from the start was a big factor as well.

Aoi: DEUX might have been part of it too, don’t you think? We had recorded that song earlier and thought it was finished. But I just couldn’t stand the sound of it, so we decided to rethink things. Knowing that we might have to re-record it probably pushed us to prepare even more thoroughly.

Uruha: That’s true. The equipment itself hasn’t changed much since then, but just the way you record something can lead to results you can’t take back.

Interviewer: DEUX was performed as an encore during your Nippon Budokan show in March, right? As you mentioned, the way the two guitars blend on this album is particularly striking.

Uruha: That’s something we discussed in detail (laughs).

Aoi: Ruki also joined in on those discussions.

Uruha: It’s about finding the ideal balance between a player’s desire to add their essence and a creator’s absolute vision. It’s not about compromise.

Aoi: It’s been a long time since I’ve had such passionate discussions about sound. It can be frustrating in the moment (laughs), but even after all these years, being able to have such serious conversations is something I really appreciate.

Uruha: It’s important to respect all perspectives and try things out. There are insights you can only gain after trying things. This recording process really emphasized that.

Interviewer: And despite all this effort, the sound seems unified, as if the equipment remained consistent throughout.

Uruha: That’s right.

Aoi: If we were to change something, it feels like it would fundamentally alter what the GazettE’s "DOGMA" is supposed to represent. Recording with a sound that everyone agreed upon also meant that the tonal consistency across the album wouldn’t fluctuate too much.

Uruha: Since the album had such a strong and clear theme throughout, keeping the sound consistent was the best choice.

Interviewer: Did the use of low A and low B tunings contribute to this evolution?

Uruha: We’ve used low A tuning before, so we were aware of its challenges. But this time, I think we managed to elevate the quality to the point where you can’t distinguish much between low A or low B in terms of tonal quality. It came together in a surprisingly solid way.

Aoi: Our "right" answer tends to be a sound that’s bright and taut, yet gives a subtle impression of being lower in range. The typical characteristics of low A or low B tunings don’t really fit the GazettE’s sound, so we didn’t aim to emphasize them either.

Interviewer: It’s remarkable how the songs employ such heavy downtuning yet still deliver low-end sounds with such a light, effortless quality.

Uruha: Yeah. When artists use low-A tunings, they often go for slower-tempo songs. But in the GazettE’s case, the songs are fast, so we needed a tightness that could keep up with that speed. That was something we set as a theme from the start, and I think it contributes to why the sound feels so light and agile.

Interviewer: Now that it’s finished, how do you see the DOGMA album as a whole?

Aoi: Honestly, my first reaction was, “Ah, I can listen to it.” During the demo phase, I didn’t think I’d be able to listen to it all the way through.

Uruha: It was too intense (laughs).

Aoi: Yeah. In the demo stage, the vocals weren’t fully recorded, and I wondered if we had gone too far.

Uruha: Even when fast-paced tracks follow one after another, there are moments that don’t just feel listenable—they actually feel good. That was an unexpected discovery for me. This album proved that it’s not necessarily essential to switch between heavy tracks and more melodic ones to create variety.

Aoi: In the past, we usually aimed for balance by including a variety of songs.

Interviewer: This album seems to emphasize the band’s sound more than ever. How do you feel about that?

Aoi: We’ve talked about wanting to express a “band feel” on previous albums, but I always felt like our sound hadn’t fully caught up to that idea. With this album, though, I feel like the band has finally caught up to that concept. Instead of focusing on highlighting individual parts, we really clarified what it means to exist as a band and what kind of sound we wanted to create as a whole. It’s still a bit abstract, but if someone asked, “What is the GazettE’s sound?” I think this album represents it in the clearest, most GazettE-like way. I also feel like we’ve established something unique that other bands wouldn’t be able to replicate.

Uruha: That said, this isn’t something that can be easily achieved. It's weird for me to say it, but I think we were only able to do this because we’ve grown so much as a band. Each of us had a period in the past where we were focused on doing what we wanted individually. Without struggling through that phase, we wouldn’t have arrived here. It takes time. In a sense, this album is the result of seeking answers as a band.

Aoi: Bands where the individual members’ preferences dominate can’t really pull something like this off, I think. But I think the five of us really enjoy being in the GazettE together. Even as we grow older and maybe more set in our ways, everyone is surprisingly flexible. That’s something I find really interesting.

Interviewer: Speaking of your playing, mastering such a wide variety of riffs must have required a considerable amount of technical skill, right?

Uruha: I think we naturally reflect what we’ve built up over time, even if we’re not always conscious of it. For tracks like “RAGE,” “DAWN,” and especially “PARALYSIS,” I always had this image of trying to emphasize sharpness and clarity in the faster sections. For example, instead of relying on alternate picking, I’d push to use down-picking where possible. But in any case, the riffs are genuinely fun to play. What I regret, though, is... that it’s not in standard tuning (laughs).

Aoi: Makes it harder for people to copy (laughs).

Uruha: Exactly (laughs). Take the intro of “BLEMISH”, for instance—playing it gets me hyped, like, “This is so cool!” It’s that moment when the sound is crisp and precise, and you can really show off (laughs).

Aoi: My favorite is “DERACINE.” I think it has a little bit of everything. There are moments where we play together, times where we each expand the sound in our own way, and opportunities to use effects. Plus, the vertical alignment of the parts is crucial. If you’re sloppy, you can’t pull it off. It’s a challenge for your ears, too, so I think it’s good practice.

Chapter 3 - REITA [Bass] & Kai [Drums]

The album “DOGMA” features an unprecedented low-end heaviness that spans its entirety. For REITA and Kai, who are responsible for anchoring the band’s sound, this required heightened awareness and innovation in both playing and sound production. In this chapter, we explore what the two of them focused on during the album’s creation.

Interviewer: What kind of thoughts went into the production process for DOGMA?

Kai: Once we had the tracks ready, we talked about how to approach them. One key idea was to bring more focus to the low-end frequencies than usual. To achieve that, the kick drum needed to sit lower in the mix, because otherwise, the bass wouldn’t come through clearly. With that in mind, I started by considering the drum setup. Initially, I aimed for toms that would give a more direct, metallic resonance, like what you often hear in metal. RUKI was quite particular, saying, “Can’t you go lower?” (laughs). So, we began with finding a kit that could deliver a low sound while still allowing the shells to resonate properly.

We ultimately settled on an oak-shell kit. When I hit it for the first time, I thought, “Whoa, what is this incredible rebound!?” That was the starting point. The nature of the tracks this time also called for cymbals with more sustain, so it felt like I couldn’t stick to the same approach as before. The drums had to evolve beyond the familiar.

Interviewer: It seems that by the time you started production, you already had a clear vision for the sound the band wanted to create.

Kai: Yes, I feel like we had a clear direction.

Reita: When the tuning is as low as A or B, I knew my job was to provide a solid foundation for the sound. That became my focus. Whenever we finish recording, I always think, “This sounds great,” but I also notice areas to improve. That’s a good thing, of course, but at the same time, I found myself wondering if we couldn’t record more simply. How do we capture the sound with as little interference and loss as possible? That’s what we really honed in on this time.

Interviewer: How did you feel about the finished tracks?

Reita: I thought, “Wow, there are a lot of intense tracks!” But since the tempos are fast and the tuning is low, I realized midway through the pre-production process that intricate phrases wouldn’t be very effective. So, I shifted my approach to make the playing itself simpler. Stripping things down felt more meaningful. After that, I just focused on details like where I placed my picking hand.

Interviewer: Despite the variety in these songs' structures, they don’t sound overly complex. Instead, they feel like they’ve been tied together with a great sense of cohesion.

Reita: That’s true. During pre-production, when we took the demo data home to work on our parts, we’d say, “The structures are pretty complex,” but once we actually added the parts, it all came together surprisingly smoothly (laughs). It felt natural, which was a bit of a mystery even to us.

Kai: I think it’s because we packed in only the essentials. As a result, some of the arrangements became more elaborate, but it’s not like we jumped randomly from point A to point C. The songs follow a clear progression, which made the structures feel logical.

Interviewer: Did the recording process itself go smoothly? Are there any techniques for basic sound production that our readers might be able to replicate?

Reita: For the bass, the first step is to cut the mid-range completely to create a scooped sound. That can feel a bit lacking, so you boost the drive, and it starts to sound right (laughs).

Kai: Drums are acoustic instruments, so the sound changes depending on who’s playing, which makes it a bit tricky. This time, I used a bell brass snare drum. Normally, I play with all the hits catching on the rim, but this time I worked on creating a tone that sounded like it was caught on the rim even when it wasn’t. Instead, I focused on producing a sound that emphasized the core of the drum hit. Since anyone can try playing without using the rim, I’d recommend experimenting with that kind of sound design.

Interviewer: Are there any practice routines you’d recommend that might help with skill improvement?

Kai: For drums, I’d recommend the ghost notes in "DAWN." The notes played in the background go like "nta nta-t." While they’re ghost notes, if you treat them as true "ghosts," the song won’t work. The key is to make those ghost notes resonate clearly. For most drummers, these notes might not even be audible, but to make them distinct, you need to hit those background beats with more force—almost as if emphasizing the notes that aren’t on the primary 2 & 4 beats. Doing this makes the sound feel steady and even. For the GazettE’s songs, this isn’t anything extraordinary, but it’s perfect for practice.

It comes down to intentional focus. While your usual power goes to the 2 & 4 beats, you should apply around 60-80% strength to the offbeats. This has become my personal style now. Drumming often shines through fills, but as the note groupings get denser, volume inconsistencies start creeping in. So, I save my true 100% effort for fast fills, which, when listened back to, helps everything sound natural and balanced, with all the details standing out clearly. This track, in particular, is packed with opportunities to practice that approach. Initially, try playing it at a slower tempo. Once your body adapts, it will naturally work for faster songs too.

Interviewer: Your tom usage is also fascinating.

Kai: In most of the songs, I don’t even use the 12-inch tom. It’s more like a setup of one tom and two floor toms—14-inch, 16-inch, and 18-inch. If I included the smaller tom, the overall sound would get too light and lose its resonance. To avoid that, I tuned the 14-inch tom as low as it could go while still responding clearly. For the 16-inch, I tuned it so it firmly produced a deep "do" sound. This approach created a really good flow.

Because we started this album with the concept of going lower and lower overall, this setup naturally led to the final sound. Part of this was because Reita kept saying he wanted to go even lower…

Reita: No, I didn’t say that! (laughs) But from the bassist’s perspective, Kai switching to a 22-inch kick drum was a huge change. With the previous 26-inch, there was too much range that needed to be tightened, which made it harder to create a good match with the bass.

For basslines, the only part that really moves around is in the chorus of "DAWN." That section is great for practicing left-hand techniques. You could make it easier by playing it on the first and second strings, but you’d lose the low-end presence, so I play it on the third string in the higher positions. This makes the finger movements insanely busy.

Interviewer: There’s also a satisfying sense of how the bass holds its ground between the guitars and drums.

Reita: Yes, DOGMA exemplifies that. I maxed out both tone and attack, especially in the interlude, where I played everything with downstrokes. It’s harder than it sounds because you can’t afford to let the timing slip even a little. There are a lot of moments on this album where I took on the role of bridging the drums and guitars.

Interviewer: The bass sound doesn’t feel buried at all.

Reita: Usually, I’d run my sound through a cabinet and mic it, but that often feels like the sound is coming from a slight distance. I was also using a woofer, but for this album, the woofer’s responsiveness was causing issues. So, I switched to a speaker simulator. That resulted in a line-out setup, which improved the attack and brought the sound forward more prominently. I think that worked really well to make the bass stand out.

Interviewer: One of the defining features of this album is the absence of decorative synth parts, which were used in some of your recent works. This seems to have pushed your focus on the band sound into even finer detail.

Reita: I think the most satisfying thing is to feel content with the sound the five of us create. It feels like we’ve finally returned to that. The more layers you add, the more the individual sounds clash. It’s impossible to get everything to sit perfectly in the mix. This time, I realized again that if we want a good, clean sound, we have to reduce the number of elements. Going forward, we might strip things back even further. I feel like this album challenges listeners to decide whether they truly like the GazettE or not.

Kai: This album is a true representation of the GazettE’s essence. It ties back to why I started playing in a band in the first place—the joy of creating a real band sound. Looking around, I think there’s a tendency these days to chase the new and experimental. But we really dug deep into “What is the GazettE?” with this work. I think "DOGMA" turned out to be an ideal album in that respect.

Chapter 5 - Inside of The Band Magic

The raw and real sound of DOGMA was created through the clashing and blending of the unique personalities of The GazettE's five members. What kind of relationships made this miraculous ensemble possible? In this chapter, we have each member talk about one of the others while also reflecting on their early days. Through this, we aim to unravel their relationships and their starting points.

RUKI on Uruha

“Our relationship goes back a long way, but if I had to sum him up in one word, he’s stubborn (laughs). When it comes to in-depth discussions about music, Uruha is usually the one I talk to. I think our musical inclinations and goals are similar, but he’s probably the complete opposite of me in many ways.

Especially with his phrasing—Uruha’s ideas are often experimental, while I tend to be more rough and ready. So, from the moment we met, his songs were always very distinctive. A lot of them were also… difficult (laughs). For example, suddenly throwing in a really challenging B melody, or having the guitar surge forward so much that the vocals barely have room to fit in. And then he expects me to make it work somehow (laughs). That’s something that hasn’t changed since back then.

Even when I’m singing in a low register, he’ll have me shift to both lower and higher tones. In moments like that, I really feel, ‘This guy is such a guitarist...’”

To my beginner self (Ruki):

“I used to be pretty laid-back, so I’d tell my younger self, ‘Start taking things seriously sooner’ (laughs). Back then, I was more focused on increasing our audience or boosting sales, so I often made music with that in mind. Now, what matters most is how far we can go with what we want to do.

As a result, I feel like I’m more dedicated to music now than ever before. At the same time, I’m glad I’ve always stayed interested in creating something. I’m the kind of person who likes to get deep into the details of a song. Even though I never formally practiced guitar, I often tried to figure things out by watching others or experimenting on my own. Those experiences taught me a lot, and I’m glad I kept exploring all the different elements of sound.”

Uruha on Aoi

“He’s… very emotional (laughs). I think he’s someone who plays guitar with his feelings. I honestly envy his ability to express so much emotion, especially during live performances. Watching him, I feel he’s better at expressing himself than I am, and that’s something I admire.

But that wasn’t my impression when we first met. Back then, he seemed more like someone who was still figuring out what he wanted to do. Unlike me, who had this strong, ‘This is it!’ moment from my LUNA SEA roots and obsession with Sugizo, Aoi didn’t seem to have one defining influence.

Because of that, he’s not bound by any particular rules or conventions, which might make him more ‘rock’ in a way. Among the band members, he has the strongest rock spirit. Overall, he’s an incredibly emotional and passionate player.”

To my beginner self (Uruha):

“If I could meet my younger self, I’d say, ‘Practice your arpeggios more!’ (laughs). Early on, I loved cutting-style guitar playing and practiced that nonstop. But looking at my parts in The GazettE now, there are so many arpeggios (laughs). That’s always been a challenging area for me, and I wish I’d worked on it more back then.

On the other hand, I’ve always had a strong curiosity about gear, and I’m glad that hasn’t changed. My love and passion for equipment have only grown stronger over time. I’ve also started simplifying things—I’ve even switched to a Mesa Boogie amp (laughs).”

Aoi on Reita

"REITA gives a sense of reassurance; he’s someone you can rely on. In that sense, he’s similar to Kai. As a person and as a player, he gives the impression of someone with a strong core. He’s consistent in what he says, and I always feel secure knowing my performance is supported by him. Of course, I trust all the members, but REITA is the one who gives me the most peace of mind... Well, I haven’t really thought about it much (laughs).

At the same time, while he’s steadfast, he’s also very skilled. If I request a specific phrase, he always brings it to life. Sometimes I just give a vague idea, and he still manages to shape it into something tangible. That skill has been a constant since the early days.”

To my beginner self (Aoi):

“Oh man, I’d definitely tell myself, 'You should take music more seriously’ (laughs). I’ve always felt like I was a step behind the other members. I’d watch them, figure out where I was lacking, and work on improving those areas. If I could meet my younger self, I’d tell him to be more serious from the start.

Looking back, meeting the other members was such a pivotal moment. If it weren’t for them, I don’t think I’d even be doing music. I originally started music as a hobby and thought I might turn it into a career someday, but I didn’t understand it as deeply as I do now. The inspiration and stimulation I’ve gotten from them have shown me the joy of being in a band and the depth of music.”

REITA on Kai

"When I first met Kai, I thought, 'He seems like an interesting guy.’ He was barefoot (laughs) and held his drumsticks the opposite way, saying, 'This feels heavier, so it’s better!’ I’ve always liked quirky people, so I thought we might get along. But as time went by, he became increasingly serious.

Drums are the foundation of everything, aren’t they? Whether you can fully trust someone to handle that responsibility is crucial, and I now place absolute trust in him. Kai’s also the most meticulous and detail-oriented among us. When he decided to take on the role of leader, he really took responsibility and started guiding everyone. Since I’m not the type to lead, I’m super grateful for that."

To my beginner self (REITA):

"I’d tell myself, 'Start with fingerpicking.’ Coming from a pick-playing background, switching to fingerpicking felt like learning a completely different instrument. If I’d been doing both from the start, I think my range as a player would’ve been broader.

That said, at the core, I feel glad I stuck with playing bass. I’ve never been someone who sticks to things for long, and bass is the only thing I’ve kept doing. It feels like picking up the bass shaped my personality and even my identity. It’s more than just an instrument; it’s part of who I am. And honestly, I only want to play bass as part of The GazettE. Outside of that, I don’t feel any desire to play."

Kai on RUKI

"RUKI doesn’t compromise on anything. There’s no ‘This is good enough’ for him; He always has a clear vision of what he wants, and when he records vocals, he knows exactly what he’s aiming for. He keeps challenging himself to reach that level, which is really impressive.

There are times when I think, ‘What was wrong with that take?’ but RUKI always has a reason—he’s striving for something even better. His ability to envision his art is truly remarkable. When we first met, I just thought he had a wide vocal range and a great voice. But as we worked together, I saw him grow rapidly as an artist, constantly raising the bar for himself."

To my beginner self (Kai):

"There’s so much I’d want to tell my younger self (laughs). First and foremost, I’d say, ‘Be more disciplined!’ Honestly, I didn’t think about much back then. I’d tell myself to focus more on what matters and to clarify my goals.

That said, one thing I’ve always enjoyed—then and now—is interacting with people. Meeting others and learning from them has been a constant in my life. That’s how I’ve grown—absorbing what I can from those around me. That hasn’t changed. Even now, on tours, I enjoy chatting with staff and getting to know them. While it’s not directly related to playing an instrument, building relationships and learning from others has been a consistent part of who I am."

Chapter 6 - The Resurgence and Frenzy Beginning Again with DOGMA

So far, we’ve thoroughly analyzed the chemical reactions and sounds condensed into the latest album, “DOGMA,” from various perspectives. But what will the tour accompanying this work look like? In this in-depth feature, we explore their thoughts on live performances in a long interview, aiming to uncover their sentiments toward the upcoming nationwide tour, the full scope of which is still unknown.

"At some point, we started focusing on expressing a cohesive world view." - Ruki

"It’s not so much about whether it’s perfect, but whether it meets the standard." - Uruha

"We’ve been active for a long time, so the amount of things we need to check has grown to an immense level over time. As a result, it’s become more intricate." - Aoi

"The feeling that we had to succeed on our own really hit when we started performing at larger venues." - Reita

"As the essence of what the GazettE is, we aim to present something truly convincing and powerful." - Kai

Interviewer: Everyone’s first time performing in front of an audience was likely during your middle or high school days. What kind of memories do you have of that experience?

RUKI: It was during a graduation camp in my third year of middle school. That was the first time I played drums. Yes, drums! (laughs) Quite a surprise, right? (laughs). I played HURT by LUNA SEA, LOVE LOVE SHOW by THE YELLOW MONKEY, and Bodies by the SEX PISTOLS. It was such a bizarre setlist (laughs).

Aoi: That era had a lot of wild setlists like that (laughs). For me, I was invited by an upperclassman to perform in the school gym. I think I was in my third year of middle school too. We weren’t exactly of the generation, but we played two ZIGGY songs.

Kai: I think my first time was at a piano recital my parents organized every two years. My mother played piano while I accompanied on drums. Normally, my teacher would play the drums, but they suggested, “Why not do it as a parent-child duo?”

RUKI: That’s giving major prodigy vibes (laughs).

Kai: No, no, nothing like that (laughs). It was just a very simple 8-beat pattern, but I was totally stiff from nerves (laughs). I think I was in my second year of middle school.

REITA: My first performance was with a band I was in with Uruha. We rented out a live house and did a two-band show. We played about eight songs, mostly LUNA SEA covers. I thought I was moving my head a lot during the performance, but when I watched the video later, I was barely moving (laughs). Despite that, my neck hurt like crazy the next day, and I came down with a 39°C fever (laughs). It was October 28th of my second year of high school.

Uruha: You remember the exact date? (laughs).

REITA: It’s also the band leader’s birthday (laughs).

Interviewer: It sounds like that day was memorable in many ways (laughs). Was that also Uruha’s first stage?

Uruha: No, my first was during my middle school culture festival. A teacher played the drums, and we performed LUNA SEA’s “ROSIER” and Mr.Children’s “innocent world” in the gym.

REITA: When he was preparing to play guitar for the cultural festival, I lent him my amp. And then he ended up holding onto it for ages… At that time, I had just started playing too, and you know, electric guitar without an amp isn't very fun. So because of him, I quit playing guitar (laughs).

Aoi: But if Uruha hadn’t stolen that amp back then, there would be no GazettE (laughs).

Interviewer: It’s remarkable how all of you came together in the GazettE (laughs). When did you establish your current approach to live performances?

Uruha: I think it was after Kai joined that we solidified what made the GazettE's shows fun.

REITA: Yeah, once we began doing proper tours, we started reflecting on the previous shows and learning from them. Things like, “That setlist didn’t work,” or “This part could’ve been better.”

RUKI: Before that, we wouldn’t even finalize the setlist until the day of the show (laughs). But even from the beginning, I think we always managed to enjoy the performances ourselves.

Uruha: Even though live shows were fun, there were days when we only had six people in the audience.

Aoi: Yeah, but we had dreams. When we went on tours, we’d share hotel rooms, right? We’d lie on our backs staring at the ceiling, talking about what kind of music we wanted to create (laughs).

REITA: Do you want to go back to sharing rooms? (laughs)

Aoi: Nah, I’m good (laughs). Maybe those days were just all part of our youth.

RUKI: But even now, if we all slept in the same room, we’d probably end up talking all night, about the same kind of stuff (laughs).

Interviewer: Reflecting on each show and applying that to the next one is important, but there must have been specific turning points that helped you all improve further along the way.

Aoi: Especially in the beginning, since we didn’t have solo gigs yet, we’d participate in events with this mindset of, “Let’s win over the audience.”

RUKI: There were times when we’d watch the band before us and decide on the spot to make our setlist more intense. I think that happened the first time we played a show with Nightmare. I remember thinking, “Wow, these guys have so much energy.” Did we win over the crowd that time? Maybe not (laughs). But we weren’t about to lose in terms of intensity!

Uruha: Back then, anything went.

REITA: We even had CO2 effects (stage pyrotechnics) because we just wanted to stand out.

RUKI: We’d start diving into the audience during the intro SE (laughs).

REITA: Into a crowd of 30 people (laughs).

Uruha: When it came to rehearsals, I’d often feel disheartened, thinking, “Wow, everyone else plays so well.” So at that point, the only thing we could do was focus on not losing in terms of energy and excitement (laughs). There was no point in competing in areas where we couldn’t win.

Aoi: That just means you’ve got to practice more on a daily basis.

Interviewer: Still, having that mindset of wanting to do something different from everyone else is important, isn’t it?

Aoi: Definitely. That’s something that’s still true for us, and it hasn’t changed since back then.

RUKI: I think our approach to live performances changed once we started doing one-man shows.

Uruha: When we joined our agency, they told us we needed to finalize the setlist in advance.

REITA: Right, there was this one time before a two-band show when the manager emailed us, asking for the setlist. I replied, “Don’t worry, we’ll decide it on the day,” and immediately got a phone call. The manager was like, “What are you even thinking?!” (laughs). When we finally started deciding the setlist ahead of time and then rehearsed it, we were like, “Ohhh, this makes sense” (everyone laughs). It took us about a year to figure that out (laughs).

Interviewer: Deciding on the day isn’t entirely unheard of, but looking back, were there any particularly memorable performances in recent years?

Uruha: I feel like turning points come to us periodically. Recently, it would have to be our show at Budokan.

RUKI: I wonder when we started to feel a sense of responsibility. Maybe after the first Budokan show? Not that we didn’t have any before that (laughs).

REITA: The realization that we had to succeed through our own abilities really came when we started playing in larger venues.

Aoi: Before that, our shows were often at venues where senior bands from our agency had performed, so we had a pretty good idea of how things worked. But when we first played Budokan, a venue that holds around 10,000 people, it was uncharted territory even for our agency. We had to collaborate and think things through carefully. In a way, up until then, we could simply show up to a pre-prepared venue, play our set, and the show would come together. But that dynamic changed. In a way, we’d been able to just show up, play, and the live would work. But that was no longer the case.

Interviewer: In terms of your recent approach to creating live shows, what would you say is unique to the GazettE’s style?

RUKI: At some point, we started focusing on expressing a cohesive world view. Since then, everything has become insanely detailed.

Aoi: Yeah, it’s super detailed. Even on the day of the show, we’ll weigh in on things like lighting adjustments. Of course, we also use simulations on computers beforehand. But now, we think of the entire stage as a unified production. Since we don’t have a director for staging, we have to handle everything ourselves.

RUKI: Even after the tour starts, we watch footage from the previous night, head to the venue early the next morning, and make adjustments to anything that caught our attention before rehearsals begin. We test those changes during rehearsal, tweak them again before the show, and work right up until just before the doors open. It’s a process of constantly refining things—trying them out, then repeating the same process the next day. Little by little, it gets closer to what we want.

Uruha: Even after the tour starts, as long as there’s room for improvement, there’s a massive amount of things to check, which inevitably makes everything more detailed. We keep making changes all the way up to the final show.

RUKI: We’re particular even with individual songs. For example, from the opening SE, the intro, and into the verse, we create a mood, layer by layer. If we had about a month to prepare, I think we could do everything perfectly, but that’s not usually the case. Of course, we delegate where we can, but when it comes to elements critical to the overall atmosphere, there’s no room for compromise. Recently, there’s the matter of those post-show announcement videos, right? We even get involved in things like the timing of the blackout before those play (laughs). It’s all about whether it gives us goosebumps or not—that’s the deciding factor.

Interviewer: You’re also very particular about details like the number of seconds between songs during a performance, right?

RUKI: Right. So for example, there’s a blue blackout where the members can still see their equipment, but even for the moment when it shifts to complete darkness, we’ll have the crew cue it precisely.

Uruha: We’re very particular about the timing of those cues.

Kai: We have so many discussions with both the band members and the staff that when something doesn’t go as planned during a show, everyone notices.

RUKI: Like if the timing for creating a silhouette is off or the shadow doesn’t appear properly (laughs). But we’re lucky to have a staff that keeps up with all this… Whether they enjoy it or not, I can’t say (laughs).

Kai: They’ve said it’s rewarding, even though it’s not easy. We’re really grateful to have such dedicated staff.

Interviewer: That level of detail could be described as perfectionism, wouldn’t you say?

RUKI: It’s less about what the audience thinks and more about whether it feels right to us.

Uruha: It’s less about being perfect and more about meeting our standards.

RUKI: A live show is like a live-action version of what’s on a CD. Everyone has an image of the colors and scenery they imagine when they listen to the music. If it’s supposed to feel like a night sky, but you have red lights, that doesn’t make sense. It’s that kind of abstract balance we’re always working with.

Interviewer: As a vocalist, what’s your approach to these live performances?

RUKI: It’s about whether I can immerse myself in it. Whether the transition from the previous song to the next flows naturally, whether I can switch seamlessly, whether I can fully embody and perform the song, and whether I can sing it completely. That’s all it comes down to for me, whether the live went well or not.

Interviewer: How about the instrumental members?

Aoi: I need to stay calm; otherwise, things get completely chaotic for me. It’s about how much everyone helps me stay focused during the live performance (laughs). It’s not about the members—it’s more about technical issues, like equipment power not being on. Those things really affect me, so I check those details pretty rigorously. The moment I arrive at the venue in the morning, I head straight to my gear to make sure everything’s in order.

Interviewer: So thorough preparation is key.

Aoi: Definitely. But I also want to keep things mentally light, so I try not to change too much from my usual routine.

Uruha: I’m somewhat similar to RUKI in that my focus is whether I can fully immerse myself in the music. When I’m fully in it, it’s not about whether I’m having fun or not—it’s more that my feelings are on a completely different level. My concentration is higher, and I feel like I’m truly experiencing the zone. Those are the moments when I feel a real sense of fulfillment. During a tour, it’s about discovering an environment that allows for that kind of immersion. It’s not something I can always control myself, but right now, that’s what I value most.

REITA: For me, the ultimate goal is to walk away feeling refreshed, but to get there, I want to avoid any stress during the performance. Physical discomfort tends to have the biggest impact—things like not being able to plant my feet properly can throw me off. To address that, I started warming up about 30 minutes before the show—stretching and light muscle training. It’s made a big difference. Once the performance starts, it’s all about how much I can sweat. If I don’t get drenched and completely messy early on, I can’t fully immerse myself. Being in that state keeps me from overexerting myself unnecessarily.

Kai: Like everyone else, I want to fully focus on the performance and channel my emotions into it. But at the same time, I want things to go as planned. For instance, if there’s a venue where certain lighting isn’t available, I need to know that everyone—both the staff and the band members��understands this limitation. If someone doesn’t know or forgets, the moment something unexpected happens, it’s like, “Whoa, what just happened!?” That moment of confusion becomes visible. If everyone’s on the same page, I can focus entirely on the performance.

REITA: You sound like a stage manager (laughs).

Kai: No, no, it’s not like that (laughs). But when the flow of the show is clearly recognized by everyone—staff and band alike—that’s when I can feel the least stressed and the most focused. That’s why I speak up about anything I notice (laughs).

Interviewer: But unexpected things still happen, don’t they?

Kai: Sure, they do. But things like equipment trouble, you can’t really help that. It’s not something to blame anyone for. The important part is how we respond when it happens. We also have to make sure that any accidents are communicated clearly to everyone. Even when something unexpected happens, we want things to proceed as smoothly as planned.

Interviewer: I see... The GazettE’s live shows feel like intricately crafted spectacles. But it sounds like they’re even more detailed than we might imagine.

Kai: To us, this level of detail feels normal, so we don’t really think about it. But maybe it seems that way to others.

Aoi: We’ve been active for a long time, so the amount of things we need to check has grown to an immense level over time. As a result, it’s become more intricate. But every band has its own way of doing things.

Interviewer: This tour sounds like it’s going to be something truly special, even from this perspective.

RUKI: The worldview of DOGMA will only fully come together during the live performances. With us, the fans, and the lighting all coming together, that’s when the true essence of DOGMA emerges. I think we’ll start to feel what DOGMA really is little by little from the first day. I’m excited about it, and we’re very determined to bring this absolute of DOGMA to completion.

Uruha: This time, we had nearly two years of preparation since the last album, the longest planning period in The GazettE’s history. It’s a meticulously constructed work that we’re bringing on tour. The fans who’ve been waiting for us have high expectations, and I’m confident that the tour will be rich and fulfilling enough to meet those expectations. I want them to enjoy it without any worries.

REITA: The album itself is complete, but the entity of DOGMA has just been born. How it grows will depend on the tour. This album was created under intense circumstances, with so many things happening during its production. We don’t know how it will evolve, but we feel a strong obligation to make it a success.

Aoi: It’s such a well-constructed work that I think our abilities as a band will be put to the test in how we translate it into a live performance. We’re determined to present something that everyone will be satisfied with.

Kai: While our approach hasn’t fundamentally changed, I feel that what each of us brings—our ideas, skills, and overall potential—is at its highest level ever. As the essence of what the GazettE is, we aim to present something truly convincing and powerful. I want everyone to look forward to that.

Scans cr: Kyoselflove Translation: ChatGPT

[writingquestionsanswered]

So whilst I know you're not a therapist or psychologist, but you're a damn good writer with great advice; what can I do to tackle this? Could I know your own process? When you develop a plot and get to a part that needs something new - what do you actually do? How do you brainstorm effectively and... trust your decisions? I think my issue is a combo of autism (like going down a research rabbit hole just for shopping new things...) but also feeling distrustful because of past bad choices... 2/2

My Plotting Process

I think part one got eaten by the Tumblr goblins, because I couldn't find it anywhere. Unless I already answered part one and it isn't obviously related to this one, but I'll do my best here. :)

Just as there are people who can hop into the car with no map and no planning, and just drive across the country to some destination, there are writers who can sit down without an outline or plan, and write a story that somehow manages to hit all the requisite plot points. I'm not that person, in either case. I used Google Maps today to get to a place less than two miles from my house that I've been to twenty times, because I wasn't 100% sure exactly where it was or where I needed to turn for it. I'm the same way with writing. It doesn't matter how many novels I write, I still need the damn map. That's why I always outline and use various story structures as reference, according to feels right for the story I want to tell.

For people who are ND like you and me, and for other people prone to falling down rabbit holes, outlines have the added benefit of keeping you on track. If you're following a road map that tells you to stay on this road for two miles and turn left at the intersection, you're much less likely to turn down random roads and end up inadvertently exploring hidden neighborhoods and back country lanes. Outlines work the same way. If you know exactly what scene you're writing, what's going to happen in that scene and why, and what major plot point it fulfills or helps build toward, you're not going to get lost along the way.

So, when I get a story idea, the first thing I do is write out an exhaustive beginning to end summary with everything I know. Then, I look at Save the Cat! and start plotting out the story according to the plot points. Quite often, when I get to a plot hole, I can fill it out based on the previous or upcoming plot point. If not, I'll start looking at other story structures to see if that jogs something loose. Sometimes I'll realize that structure just works better for the story I'm trying to tell, and I'll replot the whole thing according to that structure. I might plot my story using three or four different structures or a combination of a few before I settle on one that works for the story. Once I have the structure hammered out, I start making a list of necessary scenes to encapsulate, build-up to, or ramp down from the various plot points. Once I have my scene list, I write out a beginning to end scene summary for each scene so I know what has to happen. I think about things like conflict of the scene, how it begins, what happens in the middle, and how it ends. I think about the character's goal in the scene, and how the scene builds upon the scene before it and leads up to the scene after it. And, with my scene list in hand, I'm usually good to start writing. If I hit things that don't quite work out or need more fleshing out, I might refer to other story structures, or I might even write out my scenes on scene cards and see if moving things around makes a difference. The important rule is I never let myself feel limited by the structure I'm using or have created. I know it's just there as a guide, and it's okay to stray from it if need be. I always follow my gut, and knowing when to trust my gut is just something I've learned over many, many years of writing. You'll get there, too, but you have to take calculated risks before you can build up that sort of trust with yourself.

I hope that answers your question well enough! ♥

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

♦ Questions that violate my ask policies will be deleted! ♦ Please see my master list of top posts before asking ♦ Learn more about WQA here

[merakiui]

Been waiting to do thisss

⭐️ for tmdg!!! Plssss!!!!

Omg I've been wanting to ramble about tmdg!!! Thank you for asking!! <3 there are many details to discuss, but I listed a few below!

(ask game)

✧ many moray eel facts and behaviors are scattered throughout the story. Like the gaping mouths to signal a want to mate or their toxic blood or how most morays aren't monogamous or how they're a territorial species. Additionally, since Jade and Floyd are canonically bioluminescent, I thought it would be interesting if they were able to glow brightly when they're attracted to someone. >:D

✧ "body language" is mentioned often. this is an allusion to The Little Mermaid (specifically Ursula's line of "and don't underestimate the importance of body language!"), but also a nod to how moray eels interact in courtship. A lot of the gestures are based on body language, and I love the concept of the trio using body language as a means of flirting or conveying certain feelings without having to verbalize them.

✧ the scene in which reader becomes a grouper mer,,,, moray eels and groupers are actually hunting partners. they have a mutualistic bond in which they work together to hunt for meals. it's initiated by the grouper approaching the eel's living space and signaling to them through body language that they'd like to engage in a joint hunt. this is meant to mirror the mutualism Jade and reader have as well as show just how good of a match they are. Even as mers, they are perfect for each other. <3

✧ the title "The Most Dangerous Game" refers to the short story of the same name, in which a hunter is stranded on an island and meets a general who loves to hunt the most dangerous game of all (human beings). For you and Jade, the most dangerous game involves navigating your situationship while trying not to fall for him and his charms. There's a point in the story where you may be able to catch Reader's shifting feelings. >:)

✧ you can tell Jade really does love you when he gives you the entire tray of mushroom brownies. Jade is a foodie with a big appetite and he loves to eat, so for him to bake an entire tray of something and then not keep a single leftover for himself,,,, oh, he's so in love. orz he wants to provide for you, not just by cooking meals for you, but in many other ways as well, such as when he comforts you during the times in which you get upset and cry. :D I like to imagine one of the biggest love languages for merfolk is giving gifts (whether that's actual materialistic items or something intangible like quality time). it's a guarantee you'll be well-fed with Jade because he loves cooking for you!!!!

✧ heliotrope symbolism (eternal love).

✧ the moon and star comparisons. you liken Floyd to a star: something that shines brightly but can also be popular if not read as the astronomical definition. Jade likens you to the moon because, unlike the stars, there is only one moon (Earth's moon) and thus there is only one of you. but there's also something so romantic in Jade pining for the moon because the sky and sea are so separate from one another. truly a bittersweet reflection of Jade's feelings. they're as deep as the sea, but can't be encapsulated in the solar system because there is no room for him there (not when you're so in love with Floyd and have made him your entire world). orz

✧ the recurring mention of scent. I like the idea of merfolk being able to scent their partners so that it's easier to find them, but also so that they can make it known to others that that person is taken. >:) Jade claims he's been scenting you for fun, but the truth is that he fully intended to let everyone know that you are his. <3 Jade takes advantage of your limited knowledge on mer customs and culture hehe.

✧ all of the times in which Floyd (the real Floyd) is being sweet to you (buying you perfume or kissing you on the cheek)... those are just his ways of being much too friendly towards you. he never had any romantic attraction towards you to begin with, which is why it drove Jade so crazy because you were looking at and loving the wrong eel!!!! T_T

✧ the times in which phony Floyd is talking about Jade are actually Jade's true feelings and actions. he really did stay up late to learn new recipes for you. and he truly isn't very physical with others. jade just loves you too much and likes being near you, touching you, kissing you, etc. orz he had to say those things as floyd, otherwise he would have just said them outright and he's trying to have some tact. ;;;;

✧ the dinner date scene was Jade's attempt at having a genuine date with you, but because you're so Floyd-brained you mistook his gesture as being part of your arrangement. ^^;;;; in fact, most of the times in which Jade tries to be authentic, you either don't believe him or interrupt him to ramble about Floyd LOL. but the dinner date was the one time in which he was hoping to do something with you that wasn't part of your deal and instead just something between you and jade. >_< he's trying his best...

✧ the waltz you share with Jade is 100% courtship. reader refers to it as a "competition, not courtship," but she forgets Octavinelle is underwater and thus, as Jade noted, both of those things are indeed the same under the sea.

✧ when you ask Jade what the both of you will be after your tryst in the Coral Sea, he leaves the specifics up to you for your decision. he does this a lot in the fic (such as asking if you'd like the dinner date to qualify as such) because, though he appears mostly confident in his actions and words, he's too cowardly to clearly illustrate what the two of you are and doesn't want to do so when he knows you may not reciprocate. he also just wants to hear the words from your mouth because he hopes that, after all of these questions, you'll eventually say the thing he wants to be with you: lovers. :D

✧ alongside Jade and reader having a few similarities (one of which being the obsessive degrees they're willing to go to for their crush), there's significance in their feelings and how they handle them. reader's chasing someone who will never turn around to look at and love her. Jade's chasing someone who only looks at him when he's Floyd. though reader loves to extremes, she's scared of that love being reciprocated, which is partially why she doesn't let Jade say "I love you," whereas Jade just doesn't want to love in silence. they're both not the best at navigating love, and the ways they do it are,,,, questionable. orz but they both understand each other on that level because they're so obsessed. it's crazy to crazy communication. to quote Azul: "a match made in madness."

[ninkaku]

“we listen and we don’t judge” dazai edition is just recognising that people who haven’t read the light novels or the manga don’t know how empathetic he is and how capable of emotional vulnerability he is. the animation does a good job with various scenes but people who haven’t seen dazai in stormbringer, dark era and even the day i picked up dazai sides a and b have no real idea of how he is in the face of emotion. he may not experience it the same way but he doesn’t shame others for their ability to feel. something i always come back to is the conversation he has with atsushi regarding the death of the orphanage director that abused him. atsushi is upset and crying and can’t understand why, after all he was put through, he is sad that the man wanted to see him and tell him he was proud of what he became. “people often cry when their fathers die” is a reason to feel that he feels and the admission that whatever connection atsushi feels is okay to have. fathers are not always good people. fathers do not always raise you well and fathers do not always keep you safe. and for whatever people like to say regarding mori, it’s my core belief that he is the closest thing to a parental figure dazai has and its recognisable in the way atsushi feels towards the director. he gives other characters choices that he would deem impossible to make, himself. dead apple dazai, particularly the scenes encapsulating the executive race with chuuya, also show us that dazai is capable of feeling emotion though not always knowing what to do with it or why he feels it after something has happened. stormbringer, dazai gives chuuya the choice between knowing who he is and saving yokohama. dazai gives him the peace to make that choice alone, knowing the weight it must carry. dazai is capable of emotion in ways many people don’t understand and think that he simply just “doesn’t feel” the answer is truly that he feels too much and yet is completely numb in his experience of the world. anyway

[petty-crush]

“The Substance”

-Alive, teeming with ideas, odd behavior, and astounding visuals. My type of motion picture

-Demi Moore plays Elizabeth Sparkle, who wants youth; and there in lies the conflict, between a woman’s goals and a woman’s body

-a decision I like to is eliminate everything that doesn’t matter; where does this drug come from, how does she pay for it, what exactly does the younger Sue (Margaret Qualley) get out of this…none of that shit is important

-instead the film is filled with good (repulsive) stuff; a series of dread as time is battled between two version of the same woman, a fast cut of streets becoming broken down, and a truly over the top soaked ending

-before the finale, I dare say the most disgusting scene in the film is a close up of the sexist manager eating shrimp. Oh boy

-his introduction, a fish eyed lense kept at one point (not unlike “the shining”) as he both literally and figuratively pisses over anything, is also startling

-I wonder who gets more screen time, Qualley or her ass

+it is a perfect encapsulation of how Elizabeth throws away her life and gained joy to be ogled by nobodies

-as I left the theater, I heard someone complain it was “unrealistic” to have Elizabeth be left on the floor with an open wound for long stretches of time

-As if this film is trying to be a stickler for a copy of the non cinema world, and not a ripping metaphor

+, also, and this is me, Sue neglecting Elizabeth for days at a time on the cold bathroom tiles is a perfect example of how she treats her in all other aspects

-plus, how exactly does a body “realistically” pull a chicken wing out of a belly button

-some people are just slaves to the reality they construct in their head, the accountant of banality

-this film has a whole other section at the end where I haven’t seeing this much gushing blood since “Dead Alive”

-what makes this scene so intensely satisfying is that the people covered in goop are the uncaring, faceless overlords who tortured Elizabeth (and to a certain extent, all of us below their economic station) and have it shoved right in their face (and hair and shirt and seat and so forth)

-I had a big smile on my face afterwards as i realized a whole group of people who have never seen body transformation scenes will be dropped down in a (visual) warzone

+this will be a gateway motion picture for kids to discover many other films that share dna & ideas with it

-and yet, I don’t recall another film with this much body transformation getting so much mileage out of a woman utterly unhappy with how she looks in a mirror as she tries to go out to dinner

-Everyone not happy with their body because of societal pressures will feel this scene in their bones

-director Coralie Fargeat has pulled something deep from her subconscious, and also let everyone know she is an artist worth watching, someone who deserves at least six films to fuck around and try new things, she has earned our trust that strongly with this picture. Now that is a triumphant

[theromanticscrooge]

Top 10 Favorite O.K. K.O. Episodes

Like any top 10 list, this is very subjective. These are ranked by how much I personally enjoyed a certain episode over anything else. For some context, I'm the kind of Star Trek fan that enjoys more dialogue and philosophy heavy episodes or really goofy love letter romps over big spaceship battles or anything particularly action-heavy. The same applies here even with a goofy, over-the-top cartoon. That's a huge part of why I picked some of these.

10.) "Presenting Joe Cuppa"

Joe Cuppa is a middle-aged flop of a comedian with a routine full of bad dad jokes and coffee puns. Joe is absolutely convinced that because his time in the limelight is over that there's nowhere else he can go; he's all washed up. Rad and K.O. are determined to lift his spirits and help him rediscover his confidence as well as a new lease on life. The eventual coffee-themed fight with Shannon is a hilarious cap-off to Joe's short but satisfying brush with a mid-life crisis.

I love that this is a goofy story about an older man that is just starting on an exciting new chapter of his life. There's too many older people that get stuck in the rut of "my life is my job" and become empty husks of their former selves after they retire and don't know what to do with themselves or their time without their former day job. Joe is a friendly reminder that an old dog can always learn new tricks in the form of using his coffee in clever, creative ways he hadn't tried before.

Out of O.K. K.O.'s long list of weird, wacky side characters, Joe is one of my personal favorites. I wanted more of him after this episode premiered and I still want a Joe-centric series of webisodes or comics now (even if I have to make them myself and nobody reads them, hahah).

9.) "Your World is an Illusion"

I'm a sucker for thoughtful and clever takes on fourth wall breaks. This one gets extra points for setting up a parallel between K.O.'s fourth wall break and someone getting a hit of existential dread from thoughts like "Am I just someone's Sim?" and the extra layer of "Can or do I exist after death?" In K.O.'s case, he decides to offset further nihilistic feelings and spirals by reaffirming how tangible and real his relationship with his mom and friends are.

As long as he values these people and his lived experiences with them, that's more than enough to give his life and reality value in turn. Its an especially insightful take, given how big the themes of friendship and found family are to this show as a whole. These are ideas I think about daily, to be honest. So, anything that tackles something close to Holo-Jane pulling the proverbial rug out from under K.O.'s feet is going to be a story that grabs my attention.

8.) "Bittersweet Rivals"

After the build-up of Enid's history with Elodie, this is the turning point and beginning of repairing their broken friendship. The best scene, hands-down, is Elodie swooping in to rescue Enid; a dramatic sunset scene that encapsulates a chain of Elodie choosing Enid over her need to win at everything. Elodie herself is a fantastic portrait of someone struggling between personal morals and societal pressures to appear as the prettiest, strongest, most popular, etc. no matter what the cost. She knows how intimate and strong her connection with Enid was but she was also convinced that there was only one spot in the limelight. If she shared that spot, it would lessen the prestige of her position. Its artificial scarcity. Elodie was cornered by the capitalistic vision of competition where others have to be pushed aside and stepped on and there's only one clear-cut path or mold for the "perfect" hero.

"Bittersweet Rivals" explores Elodie's side of her strained relationship with Enid. It also shows what kind of impact Enid has on her overall worldview and that Elodie can and will choose her friend and the personal changes needed to include Enid in her life. This is one of several examples of why its worth giving someone room to change if she shows the initiative and active desire to do so.

7.) "Back in Red Action"

Red Action was my favorite character when I first kept tabs on O.K. K.O. back in 2017-19. Enid's crush on Red was obvious from Red's on-screen introduction. This episode reveals that the feelings are definitely mutual; Red is just as much of a wannabe cool kid and closeted dork as Enid is. When Enid learns about Red's Hue Trooper past, it levels the proverbial playing field. These two can and should be more open and vulnerable around the other. They're cooler together and are absolutely a power couple on the hero side of the Plaza to rival Mr. Gar and Carol.

Besides fantastic character building for Red, the entire episode is full of corny poses and fun references to the ridiculous transforming vehicles that litter Power Rangers and its super sentai source material. Granted, the Hue Troop is definitely more of an homage to super sentai. The eight-year-old me that always wanted a girl as the Red Power Ranger loves Red Action. She's the obnoxious, but charming punk Ranger I didn't know I needed until I checked out O.K. K.O.

6.) "Lad & Logic"

As someone that's written a character analysis on Lord Boxman, I think this episode is core to any discussion about him as a character. I'm still fascinated by how much more open-minded, warm, and considerate Box Lad is when compared to present-day stern, manipulative, and cruel Boxman can be until a combination of his closer relationship with Professor Venomous and his redemption arc (with his kids, not in regards to his overall alignment).

At the very least, Boxman is an example of how a bright-eyed and hopeful person can lose themselves to an all-encompassing goal or obsession. Anyone could become a Boxman if they surrender to paranoia and get lost in their own head to the point they refuse to listen to anyone else.

Mr. Logic's story is roughly comparable to someone leaving an abusive relationship. Part of Boxman's deterioration is how someone can start a relationship with a kind, well-meaning person and that image of how they used to be eclipses what problems pop up later after that person removes their mask or in Boxman's case, something happens that leads to them becoming a horrible partner. Mr. Logic was "made" for a specific purpose but starts to discover who he wants to be after talking with Mr. Gar at the work-in-progress Plaza. Who Mr. Logic wants to be conflicts with what Boxman demands he should be.

This is what leads to Boxman creating his kids with the sole intention of them conforming to the exact vision of who and what he wants them to be. Thankfully, he pulls back on this motivation and starts work on becoming a better parent later. When Mr. Logic stands up for himself and leaves Boxmore, its the start of his own self-determination. He needed space and autonomy to become his true self.

5.) "Boxman Crashes"

I almost put "Villains' Night Out" in my top 10, but this episode has the penultimate Voxman scenes in it. Or more specifically, it has my favorite Voxman scene where it looks like Venomous has a big, world-shattering epiphany about how to work through his ennui after he and Boxman attack the Plaza. He's been so bored for so long and now this weird cyborg man gave him the metaphorical missing puzzle piece to get his life that much closer to complete.

"Villains' Night Out" has the magic carpet ride and the Venomous "proposal" scene but "Boxman Crashes" shows the Professor's side of the story. Viewers finally have insight as to what his personal life was like and most importantly, what he thinks of Lord Boxman. Look, the Voxy Bunch found family dynamic is one of my favorite parts of this cartoon. I love that this episode gives me both perspectives of the relationship for my favorite gay mad scientists. I need both POVs for my bad fanfic-writing needs!

4.) "The So-Bad-ical"

Setting up a villain plot of "ruin kids' education by teaching them nothing but blindly memorizing facts" is a stroke of genius. Its alarmingly accurate commentary on where American education is and how the end result can be made-to-order zombies (corporate drones that don't fight back or ask questions). Besides Boxmore shenanigans, Ms. Quantum paints a really sympathetic picture of teachers that honestly love their job and want to challenge students but are restricted by school boards, funding, and whatever else.

I'm tempted to put a pin in further discussion on this one considering how much stronger the commentary is now vs pre-pandemic conditions. In a nutshell, I love the social commentary here.

3.) "Second First Date"

There are so few cartoons that let the male and female lead stay just friends. Rad and Enid are that much more interesting because they started out as a failed romance. Enid's first impression of Rad was that he is an insensitive macho meathead and not much has changed. At surface level, Rad doubled down on the toxic machismo and his more feminine interests or sensitive side are open secrets he refuses to acknowledge. This establishes that Rad will apologize and can have frank, honest conversations with people that are important to him. It also sets the stage for how Rad and Enid's friendship becomes more than coworkers and surface level from here.

Manly Cupid is also a delight. He's an 80s brand of big, boxy, and rippling muscles in a bright pink toga. He's gruff but he also embodies the importance of open communication and vulnerability between romantic partners. He's very forceful in his approach but there's a promising note that he's open to learning from his own mistakes and admitting when he's wrong. He's a fantastic early example of positive masculinity in this series.

2.) "Special Delivery"

The meat of this episode is addressing the sharper edges of how often Enid quips at Rad or makes fun of his 'softer' interests. Rad still struggles with owning the more 'feminine' side of his personality and interests but he's reached a point with Enid where he feels like he should be comfortable enough to be his full, uncensored self. Where "Second First Date" focused more on Rad's defenses, "Special Delivery" is a companion episode where Rad calls out Enid using sarcasm and blurring the line between playful teasing with outright bullying as her own set of defense mechanisms.

They're able to work things out with Enid addressing Rad's criticisms and promising to be more thoughtful and conscientious when Rad expresses genuine interest in something 'cringe.' While Enid has a shared arc of "being emotionally vulnerable is cool" with Red, Rad's more sensitive side complements and touches on what kind of self-awareness Enid would need otherwise. There's also K.O., but he manages to knock down her walls in an easy, affable way unique to him as an adoptive younger brother. Rad is a harder nut to crack. Empathizing with him means looking past his more awkward exterior and takes a little more effort on Enid's part than with Red or K.O.

1.) "The Power is Yours"

This is my all-time favorite episode as well as crossover event, hands-down. It single-handedly drummed up what interest I have in Captain Planet now and led to me going out of my way to watch more of the original series. If O.K. K.O. comes up, I mention this episode at least once every time and I was hellbent on showing at least this one to my partner or anyone else that expresses even an iota of interest. It lives in my head rent-free!

This is a love letter to how campy, goofy, but heartbreakingly earnest Captain Planet was as a warning about pollution, climate change, and other social issues. Dr. Blight is as over-the-top as she is in the original cartoon. Overall, its a fun, ridiculous romp that showcases the strengths of O.K. K.O.'s deceptively simplistic art style combined with surreal, goofy imagery only possible in an abstract cartoon world. The ending bit with Kwame and Captain Planet warning K.O. that climate change is an immediate and ongoing issue has the right amount of seriousness and gravity that message needs. There's so many episodes that I could similarly describe this way but this one managed to grab my attention in a way that I can't fully articulate.

This is my current list as of late 2024! These may change as time goes on and I write enough essays to flesh out a short novella. For now, this was a means to get my creative juices flowing again in a lower stress way than a full blown character analysis or whatever else. The more focused stuff is returning soon!

[sunderingstars]

For your playlists, how about some/any that you feel fits Sampo the most? I'd love to hear your thoughts behind any of them!

ʚ 💌 ɞ hihi! thank you for giving me an excuse to yap :3

in terms of songs that i feel encapsulate sampo as a whole, my top three would have to be:

le monde (from talk to me) by richard carter

⟢ (vague spoilers for talk to me)

⟢ the scene this song is used in is genuinely one i can’t get out of my head when thinking about how elation works in hsr — the characters know what they’re doing is impulsive and eventually dangerous, but there’s this thick layer of adrenaline separating them from actually being able to make rational decisions; instead, no matter how terrified they are (and perhaps because of how terrified they are), they can’t seem to stop themselves from coming back for more and interacting with an object that is most definitely cursed because of the high it gives them.

⟢ the music reflects this, going round and round and round, unable to stop spinning until it abruptly cuts off, just like how the group’s “high” abruptly turns to “horror” once the dead get too violent and too real for them to ignore.

⟢ i very much feel like this could be sampo’s experience of elation, especially in his early days of being around the masked fools. he would be surrounded by a constant “high” of others spinning round and round and round in this cycle of adrenaline, until something so violent and so disturbing happens that he’s forced to pull himself out of whatever trance he’d been trapped in. i actually see him as potentially being like mia from talk to me, starting out cautious as a voice of reason but slowly being pulled into the “cycle” of elation until he’s too lost to truly understand the impact of what he’s doing. i also think there may have been a startling & disturbing “incident,” much like what happens to mia’s little brother, that snapped him out of it and caused him to second guess what he was really doing with the masked fools, causing disillusionment to set in.

⟢ even now in belobog, he likely still has to grapple with that incessant soundtrack of repeating elation, if not within his own mind then in the interactions he has with other masked fools like in the tv screen scene.

joke’s on you by charlotte lawrence

⟢ i connect this one with sampo’s feelings of hate and betrayal towards aha / the masked fools / the elation as a whole (and perhaps even himself) — the song is very focused on finding a way to break free of this sugary, toxic relationship that seems to infect the main character, focusing on an almost “fuck you” mentality of being so completely done with being used for another’s ulterior motives.

⟢ in this context, “joke’s on you” would have a double meaning, not only conveying the original message of the song but also being a direct, ironic twist on the elation’s hedonistic fixation on jokes.

⟢ additionally, the blending of emotions like sadness and crying and fear being associated with laughter adds to the idea that “elation” may warp sampo’s experience of emotion, as well as how he can convey it.

⟢ “and now i’m laughin’ through my tears / i’m cryin’ through my fears / but baby, if i had to choose / the joke’s on you.” — joke’s on you

in the dark & let me go by shaker, cobra

⟢ the perfect duology to capture sampo’s two sides: lighthearted and fun versus serious and just, this yawning cavern of wanting more for himself.

⟢ in the dark is a more upbeat song, talking about not needing love and being rich and leading people on (with hints of deeper emotion), while let me go uses the same beat from in the dark but slowed down and reworked to explore the feelings of emptiness, pain, and insecurity that lie beyond the more cheerful tone of the previous song.

⟢ let me go, as the title suggests, also implies wanting to get away from something or someone specific that is linked to these dark feelings.

⟢ for sampo, in the dark would illustrate how he appears to others — carefree and loose with his movements and words and actions (as well as a little bit of a playboy) — while let me go would illustrate the way he actually feels — trapped and lonely and tied to this painful thing that sucks away at his soul.

⟢ basically, both songs are two sides of the same coin, and i very much see the coin as being sampo!

⟢ these songs go hard thinking about emanator!sampo or a sampo otherwise “created” by aha / the elation (especially doll!sampo).

⟢ “i don’t, i don’t need love / i’m getting married to all these hundred mills / all of my exes can’t even pay their bills.” — in the dark

⟢ “now my only way out’s to die, on my own / let me go / need to go / don’t you know? / i’ve been lacking a soul on the floor.” — let me go

🪐 .𖥔 ݁ ˖ asks are still open for anyone who wants to request songs :))

[scurvgirl]

I was tagged by @energievie and @callivich to answer some fun Gallavich questions!

What’s a fic you’ve read more than once?

There's A Class for This by @sam-loves-seb. It is just so soft and normal and intimate and it just...it hits all the things for me. I love it so much.

What’s a gifset you always have to reblog?

A few scenes - the club kiss and the van kiss are definitely ones I will always want to reblog because they are just so so good. I also love the "you're so sensitive" deleted scene kiss.

What’s a headcanon you can’t stop thinking about?

Mickey exploring his wardrobe options and fashion sense. He clearly has an eye and a feel for it and I think it is something he would enjoy exploring years down the road when he's more comfortable in his identity.

What’s a fanart you love looking at?

All of them, but in particular I really really enjoyed seeing all of the AUgust dress-ups by @suzy-queued, those were so fun, I love them.

What’s an idea you’d love to create if you had the time/inspiration?

I want to write that fashion designer! Mickey AU so bad. I have lots of thoughts that are very scattered and disorganized.

What’s something you’ve discovered since entering this fandom? A new trope you love? A different analysis of the show? Something else?

My opinion on Debbie definitely changed following some analyses here on tumblr. I think I related to Fiona a lot and saw Debbie through Fiona's perspective and that really negatively colored my perspective. I will say that my ire has turned towards the writers, and writers for shows like this in general tbh, for honestly doing a shit job of portraying a sister relationship, even one as parentified as this.

What’s an underrated trope or concept you’d like to see more of?

I'm not sure!

What’s your favourite season? And has this changed after multiple rewatches of the show?

It switches between season 3 and 4...though I do like season 2.

What’s a plot hole you wish had been answered or resolved?

The cartel???? They after Mickey or not???

What scene or moment do you feel isn’t discussed enough?

In the show or in fandom because those are two separate answers. In the show? We all know that one. In fandom...hm. I've seen so many good analyses, let's see. Oh, this is going to ruffle some feathers but Ian going to Trevor after losing a patient on the ambulance and how that paralleled him running to see Mickey, and how different it was at the same time. Mickey immediately softened his demeanor, immediately put himself in a potentially unsafe situation for himself to comfort Ian. Trevor was thinking of himself in that moment, not about Ian, and I think it really encapsulates the differences between the two relationships. (NOTE: I don't think Trevor was a good romantic fit for Ian, I think it would have worked better as a friendship!)

What line/dialogue/description from something else (a poem, a book, a tv show, a movie, or something else) do you feel describes Ian and Mickey’s relationship?

This song - particularly "I wanted more than you could give me, so certain for a 15-year-old, something 'bout you feels like caffeine, pure gold."

I also like this song for Mickey specifically - particularly "I was far to scared to hit him, but I would hit him in a heartbeat now, that's the thing with anger it begs to stick around // It makes you hurt the ones who love you, you hurt them like they're nothing."

What do you think is next for Ian and Mickey post-finale?

Directly post finale I want them to adopt a dog, I think it'd be good for both of them. It can go running with Ian. Snuggle with Mickey. Be in their Christmas cards that Ian INSISTS they get now. For kids...I go back and forth on this, honestly. I think it would depend if Mickey was serious about putting the work into his anger and identity issues. I don't think they should or would rush into parenthood at all, I mean, they're still really young in the finale - 25 and 27. All things going well, I could see them pursuing parenthood in their late 30s tbh.

Thank you for the tag! I am very tired and feeling kinda shy since I haven't been as active as previous - but if you want to do this, feel tagged by me!

[darkrpfinders]

A Game of Cat and Mouse 🌹

... Okay so who's willing to play a classic with a little spin?

Protagonist/Antagonist dynamics are the best. You love it, I love it, and so do a LOT of people on here, but I can't help but think that the concept is often played in a way that is a bit... dull.

Of course, I love the tension between the two, the heart-wrenching drama, the thrill of who will have their way in the end, the banter, the heated feelings and duels that can quickly devolve into something more...

... But those should be the apex of the story, not the whole thing. If not, the story risks to become what it is in 90% of cases, that being a plain explicit stuff with a small premise to get to it 😂

I want to ask, what if instead there was a real plot? A complete, encompassing story where the people we'll play will be *characters* in the literal sense of the word with their own personalities, motives, flaws and changes of heart? An opportunity to gush over fictional people and die to know what will happen next, along with all of those tropes we love so much~?

In short, I'm looking for someone to be a huge nerd with 😅

A brave revolutionary will have to make his way through the plans of a corrupt empress to seek justice for his land?

Or maybe a man has seen everything taken away from him, and now all he lives for is the vengeance towards the one who ruined him?

Be it that, or something as simple as a prisoner wanting to become more than just his captor's plaything, or even escape the enthralling grasp of an enchantress, as long as it'll make for an entertaining story, everything is on the table ❤️

My name is Derrick, a relatively new roleplayer whose passion for fiction and D&D made so that now I'm looking for writers that share with me the same passion for storytelling, fantasy, character dynamics and of course, that sweet, sweet mix of hate and love only two nemesis can have~

I love love LOVE detailed, novella-like writing and a quality comparable to what could be a story in an of itself, so if I become invested expect some pretty frequent responses - a sort of DIY fantasy book, if you will!

And that might sound a little odd, but I've never been too big of a fan of explicit stuff in roleplays, so if you too are one of those who prefers hints and teasing and suggestive scenes instead of straight-up porn, then you're in the right place ^^

The basic idea I have is simple: your character will be the "Villain" of the story, which in this case means the figure who is placed higher in the social pyramid, the one to set the status quo, or simply the character whose power seemingly *vastly* exceeds the other.

I'm but a man, and as such I have my preferences. I've heard somewhere that every relationship is based on the exchange of power, and I just so happen to prefer when the other one has the most... so a figure that encapsulates the concepts of control and elegance, whose beauty is only comparable to the cruelty she's capable of, will be very, VERY appreciated. Do with thst information what you will 🤭

Think of it as the archetype of the Femme Fatale, and obviously all about it can be settled by your own preferences. Be it a human, a witch, or some supernatural entity like a spirit, a kitsune, a demon or anything else, I'm sure your imagination will be more than enough to create something memorable

As for mine... All the characters I'm available to play have their own info sheet with personality, backstory and whatnot, along with image references and a various range of personalities that go from the most modest, meek underdog to the most reckless, annoying little bastard you can imagine, so all you'll need to do is ask and you'll have the whole selection at your disposal to find the right boy to seek your teeth into~

⚠️ Last thing to know is that, when it comes to the inevitable explicit/sexually charged scene, I'm a HUGE SUB, even though by now you probably already got that 😅

So, what else is there to say? If you too want a story to remember, and want to venture in a world of narrative, intrigue and a tiny bit of degeneracy, don't hesitate to hit me up~!✨

(20M looking for 20+ writers, contact me on discord: derrick4444)

derrick4444

[noliaert]

NOLIAERT'S IWTV WIPS

Okay so I thought to show off some of my WIPs for IWTV (amc), especially since I've not managed to finish off most of my WIPS regardless of how excited I have been for them :/ IWTV in 2022 was like a muse to me! I had so many wips! But little or nothing to show for it (cause extensive projects got overwhelming) 😔 I have however finished off 2 loumand pieces since S2 started off, 1 that had too been a wip from 2022 (I'll edit in a link once I post it, I've done so on twitter, but I feel the need to fix on some things... majorly is the issue one of the louis-es as it was a 3, initially 4,-in-1 piece :/ was rushing cause of the looming loumand divorce and doom, otherwise known as S2 "trial" finality, was approaching... and I was feeling 😅 about the reception of softer loumand kisses at the time. Like- timing!)!

1. Batnight: I worked out this timeglass composition to symbolise Louis' transformation into vampirism after he entered that church one fateful night. The trifecta of the vampfam, the time encapsulated by death and by blood, something which Louis seemingly has a different relationship to than most living vampires as the "tortured vampire". All focusing on the drop of blood, but with different expressions. Idk if i should do anything with the background of the bottom half of the timeglass though 🤔I'm meant to sketch out Louis' family and community from the wedding on the top half, as the sun sets (or rise...) behind the family home (sorry), a life now closed off to him. Vampires and bats- uncontested. The church? It is one from New Orleans S1 and I remember asking for the ref, but I am uncertain that it is the correct church when thinking back on it. Which is 🧍 Also as I started on this late 2022, I had only Bailey!Claudia to go off of, which I'll probably stick to for this one. Would be cool with both! But idk if I can extend that energy. I do need to figure out which of her hairstyles to do though 🤔 and I've been learning more about how to draw black hair so that's fun too

CLAUDIA WIPS! (Both from late 2022)

2: For the first one? Something about the tragedy of claudia, for S1, leaning towards the middle, Claudia the child, the eternal teenager, but a breaking into maturity and adulthood, on... the child witnessing the troubles of their parents, and of the child failed by their parents. Claudia standing in ashes alone (oh not the born from ashes turned to ashes 😭 at least she wasn't entirely alone by the end but had someone choose to face the same fate with her over her own living ♡), looked down upon from our pov to showcase her continued positions of disadvantage. Not the most thought out composition or anything, just wanted to draw Claudia, but these were the things I was thinking about while doing so. Also just really want to try make more dynamic compositions. Try that is.

3: The second one is me wanting to either do a 3-piece with smaller edits, or a 3(+?)-in-1, showing off a little vaguely different stages in Claudia's life back in S1. Or maybe a combined 1 if I figure it out. Combining the cutesy and the horror ✌️ Since these were majorly just sketches, I should be able to try draw Delainey!Claudia! And though S2 makes for SO MUCH inspo too, I'm scared to start on more new things. An irony. But I'd like to finish some more ideas.

4 & 5: Lestat wips! First one is really just a sketch trying to capture his face, buuut the second one? My attempts at a gorier more horrific looking corpsestat since I was feeling robbed by the S1 finale? Oh certainly 🙏 gotta figure out how best to pose Claudia and Louis though, to make sure I make the right impression I wanted 🤔 may have to flip him over too... idk just... extensive work, but I've been especially excited about this one as well as batnight (and the soon-to-be-posted loumands)!! Both from late 2022.

6: St. Paul! Ah the brothers! 🙏 the impact his family, and specifically Paul, has on Louis cannot be understated (S2E8 final dubai scene 😊). Kinda get so emotional when I've been rewatching S1E1 too ;-; another wip from 2022! I so rarely have seen pieces of Louis' family, or human family, which is a shame. I really wanted to do one for Louis and Paul though, and so I ended up with this wip meant to symbolically (far from vague though hah) capture some of that "confessional relationship" (can't escape the catholism) they had, but in a more playful youthful setting. Lowkey pointing towards an elevated sainthood of the future dead too. Paul being Louis' closest confidante, and someone who wanted to be a priest. Many thoughts on Paul really. Paul practicing I suppose, during their teenage years, Louis happily entertaining him and then glancing over his shoulder at- I am thinking Grace, their sister. I found the angle of Louis' head challenging though (been feeling intimately on my limitations), and as it is, I need some refs of Jacob to actually capture HIM too, and not just the angle.

Now unfinished iwtv wips from 2024...

Armand wips! But yea, I already had ideas, but I've felt prompted during S2 to draw more Armand due to the whole Assad Zaman fanbook thing that I thought could be nice to join in on. I've struggled to draw though, even if I have finished the 3-in-1 loumand thing and the spontaneous loumand cig-kiss piece, so I was really damn rushing 😅

7: It's possible I'm mixing ideas... different intents. So I'll have to review it again. I wanted one more bitey one, I was thinking of the "easeful death" scene of E5, but with a different angle. Was initially thinking active feeding I think, with half-lidded eyes or direct eye contact... to put emphasis on the darkening of his eyes in those moments. It's funky and I really wanted to draw it, though I guess this is getting too distant to really see it much. Something something generally about vampirism, a general victim, putting emphasis on the blood that they provide. First by extended blood dripping down the throat, now by the body being the blood fully visually. Something classy, yet... I want to reposition the arms and have the head burrowed further into the neck to actively feed as first intended. I also think I am certainly thinking about an intimate art piece for the whole gentlemanly death feel, so maybe i should try actually find the piece for reference. Also, it's not exactly in this sketch, but I too want to have him in that E2 or E3 coven suit, with vague coven/cult figures in the background. We never really see him feed (properly, of a human), but I've been thinking about the... parent providing food for his children thing (motorbike scene E2), or the "let me teach you" of E3... So a "lead by example" sort of thing, like pre of the picture of the mountain lion and her cub feeding of a carcass sort of thing XD leant too much into the whole typical romantic imagery as I kept going and finally got some of that posture right (and so I tought). But these are the ideas ✨️

8: Armand too got ahold of a switch btw <3 Armand and electronics huh, or... not necessarily only electronics and technology. There's a general almost manic curiosity, which is especially found in that one DM chapter that I kind of adore (smh to private island and blabla tho). A mood, though I'm not making ratshakes 🫢 Assad was talking about it too in an interview though, relating to that fascination, so I kinda wanted to make a piece leaning in on that. Had a few vague compositions, some with more of that almost cold intensity of E5, but here he's more just chilling (doesnt mean it doesnt get intense) ^^ I also wanted to display an evolution of technologies, at least within a certain timeframe, so physically stacking a room with different stuff? Like that works XD because I was rushing for the deadline, I fear I only got to send in the wip (one in an even earlier stage than this one)... which is a real shame 😔 I am excited to finish it though!

Anyway 👍

[teadrop-12]

dying to know any and all of your preferred wild kratts ships please (including qprs) (ESPECIALLY qprs actually)

AIEE I’m so happy u asked this!!!!!

Well, i really love a lot of ships, and i have a whole bunch of hcs!! like i hc most of the characters as aro/ace-spec like Aviva and Chris being aroace, and zach and Martin being ace-spec. I really REALLY love qprs. I want to gush about them 4 a bit Like my favorite would be Chrisviva, they're super sweet. like they have such a special connection 2 each other in the show also these screenshots

they're both pretty inventive and technical, (except chris is kinda more spur of the moment creative like when he used blades of grass to fix the little worm mobile) n i think like chris is like her cheerleader when she makes inventions lolz

the runner up 4 them is chriszach as a qpr. the way you described them as a qpr is like.. PERFECT. it encapsulated everything that i was feeling about them like if u remember my snow episode idea with bby tooth that was like the start of it like when he calls them wild ratts he separates chris from it and eventually stops saying "Wild Ratts" altogether and like slowly but surely stops using animals for his robots (like almost half of them dont even use the animals) bc he keeps having adventures with Chris and the others and sees that some things/people r worth changing for or something (i have a theory that he would turn good and Paisley is supposed to be his replacement but i'll write abt that later.). I like to think that if/when zach starts to help them out with their missions n stuff him n chris form sum kind of connection thats not romantic but like they care for each other and for each other's safety differently than they do for others n i think thats rlly sweet. I guess the best way I can explain their relationship is like "platonically down bad". As well as some scenes that (may) show that Zach does actually care 4 chris n the wk team. Super sorry if this is confusing I'll work on them a bit more!! other than that I dont rlly ship zach with anyone else

I saw a ship name “daisy” 4 Donita n paisley n I thought they were super cute wk sapphics 4 the win!!!

Also like kokiviva is SO cute I don’t think they’re trying 2 hide it cause they’ve called each other pet names like “honey” and “girlfriend”

I don’t rlly think I ship Martin w/anyone rlly, but I do hc him as bi/ace. I've seen ppl ship him with donita, which i guess makes sense cause they have a BUNCH of scenes together that can be read as romantic. Same thing with Jimmy ig

thats all i have 4 now I'll work on them more soon!!!

[wildflowerteas]

Hiiii!! I am just one of the many people absolutely enamoured if not downright obsessed with your work!Just the authenticity of the storyline in 'when I awake', and how it completely altered my perspective on so many thematic concepts.and to also discover you were someone in the same age range really really made me admire you soooo much.I wish you luck in your life and whatever you do in general cuz you're a real gem 😊

I'll be honest, I don't make it a habit to interact with others online, preferring to just be a bystander, but I thought I'll just take the risk.If it's not too much of a bother I wanted to ask you: How do you find yourself able to write with consistency? To further elaborate my point, how do you write so much and keep that flow of words to continue on until the end?I wish to start writing as well, fanfic,personal writings etc., and I just can't seem to make progress after writing only one page,I feel like even with extensive planning and carefully organised notes I never seem to be able to produce a large body of work that encapsulates all my ideas.It's always just...one paragraph and then the initial meaning just loses itself.

Oh goodness,I wrote too much! I'll stop here I just thought maybe I can ask someone with first hand experience instead of just figuring out somehow.Hope you have great day and thank you so much once again!!!❤❤❤❤

Hii!!! Oh my gosh thank you so so much! I'm so glad to hear that my writing resonated with you, and that it was able to make your life a little bit brighter ( hopefully ) as a result. Thank you so much <3 This really made my day. First of all: This is absolutely not a bother, and I'm really really excited that you reached out! I love talking/interacting with people hehe and I'm more than happy to help!

This is a super good question. I don't really notice it in the moment ( when I'm writing ), but getting chapters out every week--with most being well into the 8-10k range--IS actually kind of insane. Not to mention WIA was 23 chapters, which is nearly six months of just writing and writing. I think a lot of that consistency had to do with my unhealthy obsession with the pairing, but also the fact that the writing became sort of . . . routine? I was always happy to do it, and very excited to sit down at my desk, crack my knuckles, and get started. It never really felt like I was slogging through it ( even though I would spend the better half of my Fridays-through-Sundays doing nothing but writing ). I think writing something you love will just be like that--exciting, and energizing--even if the writer's block hitting and editing can be very painful. That sounds a bit masochistic, but I really did enjoy the struggle at times. And ultimately, I came out of it a better writer than I was before. But something that really helped me write consistently was my desire to read the work when it was finished. Writing something you want to read means the only one you can blame when you have no ending is, well, yourself. And especially when it comes to fiction ( fanfic and personal works ), these stories are to be shared but ultimately they're for us. To satisfy a desire to tell, or to capture some part of our imagination, or to reason our way through feelings or thoughts. Now onto the next part of your question. Truthfully, when it comes to planning, notes, outlines--I'm one of the worst people to ask. However, I do have one thing that might be useful to you: I always, always, write with the ending in mind. I think even with little scenes, I'm looking ahead and asking myself "How does this get me to the place I want to go?" or "How does this shape the character into the kind of person I want them to be when the story is over?" That's not to say I don't write filler ( which I do--I love writing slow, nothing-really-happens scenes ), but when it comes to writing something full-length, the idea of having a set destination really makes the struggle of the journey ( in WIA's case, a journey of 230 thousand words ) feel a lot easier.

I also struggle with getting past the first page and even find outlines a little claustrophobic. Sometimes inspiration strikes randomly while I'm writing, and I'll betray my notes, go with the flow, and suddenly things like character relationships and even major plot-related scenes will be uprooted ( a lot of the well-loved and interesting scenes in WIA were 100% improv). I think falling into a committed relationship with your outline/notes can be a bit suffocating for creativity ( maybe for people like you and me ), while for others, it's a scaffold that helps them tell the story they want without wandering too far. It's about finding what works for you, rather than subscribing to a formula. It might be helpful to dip your toes into just writing and letting the story flow from your imagination first, and then when you have more than one page, creating an outline that is guided by the trajectory of what you've already written, rather than vice versa. Phew. You were apologizing for writing too much ( which you shouldn't, btw ) but I might be the one who has to say sorry! This was a lot, and I hope that at the very least, a tiny bit of it was helpful. Again, thank you so much for enjoying my writing, and for having the courage to reach out and ask. It sounds like you stepped a bit out of your comfort zone, and I really applaud you for that <3 I hope you're having a lovely day.

niko <3