#because I think it connects with more people if you leave art up for interpretation. You decide

[bloobydabloob]

i love your dirk drawings sooo much. the way you mix realism vs stylized in your dirk art goes crazy hard especially. both of your styles are so good so seeing them both used as symbolism to paint the broader picture is awesome as hell

Thank you very much, I do enjoy realistic Dirk & flat Dirk contrast too because to me both styles represent different facets of his character depending on the artwork.

His stylised form is more representative of who he is generalised as + a good representation of his separation from himself whereas a more realistic Dirk (to me) makes me feel more in touch with his character and it feels more emotional and less controlled. Even though it kind of sounds pretentious to put it this way, I view my less cartoonish Dirks as showcasing something more private and I tend to veer towards it the more emotional (positive or negative) the piece is for this reason.

[natalyarose]

𝓥𝓮𝓷𝓾𝓼𝓲𝓪𝓷𝓼 - 𝓐𝓬𝓱𝓲𝓷𝓰 𝓽𝓸 𝓕𝓮𝓮𝓵 𝓟𝓵𝓮𝓪𝓼𝓾𝓻𝓮

Hi, and happy Bharani season to all :) I've been working on this analysis for days not necessarily because it took long to write, but moreso because I could write endlessly on Venus Nakshatras & it took me a lot of time to organize the stream of info I'd written in a more adequate manner. I hope this piece is enjoyed & informative to someone 🩷

In this piece I'm going to be diving into Venus's themes of dancing along the line between pain & pleasure, and the artistry and beauty that is born from the merging of these two extremes.

𝓖𝓵𝓸𝓻𝔂 𝓑𝓸𝔁 𝓫𝔂 𝓟𝓸𝓻𝓽𝓲𝓼𝓱𝓮𝓪𝓭 𝓪𝓷𝓪𝓵𝔂𝓼𝓲𝓼 𝓲𝓷 𝓻𝓮𝓵𝓪𝓽𝓲𝓸𝓷 𝓽𝓸 𝓥𝓮𝓷𝓾𝓼 𝓝𝓪𝓴𝓼𝓱𝓪𝓽𝓻𝓪𝓼

The song 'Glory Box' by Portishead is the song that inspired me to write my first song and take it truly seriously.

It's just such a sensual, classy, sexy, beautiful masterpiece. Though beyond that, the meaning portrayed in the song & music video speaks to my soul so vividly. I always was enchanted by this track, but seeing the music video brought it all together for me and the meaning just 'clicked'.

'I'm so tired, of playing playing with this bow and arrow I'm gonna give my heart away leave it to the other girls to play for I've been a temptress too long just give me a reason to love you give me a reason to be a woman... I just wanna be a woman'

Everything about this song, this video just screams Purvashadha & Venus. Even the line 'playing with this bow & arrow' lol- sidereal Sagittarius much? I wouldn't be surprised if Purvashadha is directly connected to Cupid.

I'm going to go a bit freeform in my interpretation of the song & video, but I think I've got the 'right' grasp of the idea portrayed:

The music video depicts people in a vintage style office setting & old fashioned, very professional 'uptight' attire. It is boring and in a sense drab, but we see life in the subtle expressions & communication. There is flirtation, but it is secretive. There is an an expectation to be professional, to be 'proper'.

There are clips of Old Hollywood-esque people having drinks, enjoying themselves. We get sporadic visuals of the singer (Beth Gibbons, Purvashadha Sun, likely Uttarashadha Moon; Uttarashadha being prominent in music), dressed beautifully & glamorously performing on the tv, looking almost pained in her beauty & artistic display of emotion.

This song speaks to the desperation to be free and sensual as a woman, or just as a soulful human being in a world where there are responsibilities and expectations to keep up an image, 'play the game' in society. The desire to 'be a woman' and express your feminine energy authentically, dress up, be emotional & sensuous, indulge in pleasure and break free from social/circumstantial limitations. However, the pain and friction between two worlds almost makes the longing and lust for the person/life you desire even more intoxicating.

Venusian desire & artistry is so intense, in the corporate world Venus ruled individuals often find themselves needing to reign in their passion, and even punishing themselves for it.

I think I first started listening to this song when I heard it in a reel that was again, extremely Venusian! I would credit it, but I think this just was a circulating video & I have no clue who the originator was. The dude (Gene Kelly) has Purvashadha Moon & Purvaphalguni ascendant. Just look at the suave-ness of Venus men lol :

There's so much more I could write about this specific song and the nature of Venus, but ima try to stick with the 'k.i.s.s' (keep it simple, stupid!) principle.

I always thought that this song & message is such a perfect piece of art to demonstrate Venusian nature, but I will note that Beth's Uttarashadha Moon definitely intertwines in terms of the message this song communicates. Uttarashadha being the height of the Sun (a 'masculine' energy) is very on par with the experience of wanting to be feminine in masculine dominated fields/with traditionally masculine expectations upon you. We could see this as almost like a conflict of interest between Beth Gibbon's Purvashadha (Venusian, feminine, romantic, beautiful) Sun and her Uttarashadha (ambitious, masculine, stoic) Moon.

𝓥𝓮𝓷𝓾𝓼𝓲𝓪𝓷 '𝓑𝓸𝓻𝓮𝓭𝓸𝓶' & 𝓛𝓸𝓷𝓰𝓲𝓷𝓰

You can often tell when a Venusian is behind a song or art piece because the vocal tone, writing style and or colour choice emanates this distinct attitude: sexy, raunchy, articulate... & often kinda bored or reflecting an unhappiness with the way the modern/current state of the world is. Especially in Purvashadha Nakshatra, there is often an intense idealisation of the past and 'old times', reflecting Venus Nakshatra patterns of longing for things they can't yet have and shaping their world view around that desire. This definitely speaks to the way Tropical Earth signs (especially Capricorn) are seen being drawn to old, vintage & prestigious relics of the past. This is in part due to Ketuvian Nakshatras residing within Tropical Earth signs, but it is also Venus Nakshatras' placement. Venusian elitism is possibly best observed in idealisation of the past- something so exclusive that nobody can actually go back to it & mainstream society often disregards it.

Venusians can exist in this state of boredom and embody this energy, this aura that almost reads 'impress me, peasant' lol. Feed me grapes & fine wine while I lay adorned in jewellery on a velvet chair- then we'll talk.

This is where Venusian Nakshatras classic pickiness, elitism & in some cases classism (and all the other isms lmao) comes in.

I once read that men can be attracted to women who look bored, disinterested or detached, because they take it as a challenge to be the one to impress her and light her up- very Venusian. It kinda explains (some) men's misguided efforts to impress women who are very clearly not interested. We see this in nature too- peacocks (and other birds), for example lol; the male peacock flamboyantly attempting to impress the female, and more often than not she is disinterested- female peacocks are a tough crowd man.

You can always spot Venusians by their expression & overall demeanour- they leave you feeling like 'I admire you, but I'm kinda scared of you and feel like you're judging me at the same time' lol. The irony lies in the fact that while yes, Venusians can be extremely critical of others, their 'judgy' expression often has more to do with the fact that they're always judging themselves. Harshly critiquing themselves like a piece of art. Venusians can find it veryy hard to feel they are 'good enough', the same way an artist never feels the painting is truly done.

Sophia Loren, Purvashadha Asc | Blake Lively, Purvaphalguni Moon | Donna Summer, Purvashadha Sun & Purvaphalguni Asc

daddy Ted Danson, Purvashadha Sun | Audrey Hepburn, Bharani Sun | Johnny Depp, Purvashadha Moon

admittedly, Audrey & Johnny boi come across a little softer to me due to their other placements, but they still definitely have the look/energy. My Bharani mama was a master of this look, & I always thought she looked a little like Donna Summer.

While Venus women embody this choosiness & unapproachability, Venus men can take on that role of wanting to be the ones to impress the woman they've set their sights on, 'wow' her.

However, that being said, Venusian men are also often very picky themselves. Venusian men and women alike are seldom impressed by aesthetic beauty alone and place a lot of importance on internal value. They often crave exoticism & uniqueness in women. Venus in our charts represents what we value & find beautiful. In a way there is more value in something or someone who is rare.

When Venusian men do find a girl they really like, they can be extremely persistent and there are a lot of cases where Venusian men will successfully initiate a relationship with a woman who wasn't initially interested by genuinely winning her over with his dedication, adoration & direct pursuit of her.

In terms of aesthetic appearance, Venusians (again, men & women) tend to have a preference for natural beauty in some way too. Femininity often refers to an energy of being flowing & receptive rather than performative or immensely exuberant. It's not uncommon to see Venus women forgoing 'performative' femininity and embracing raw female beauty. No makeup, allowing body hair to grow, messy hair, not being afraid to look 'beautifully dishevelled'- yet never necessarily unkempt. Imperfectly perfect, like a piece of art.

This is why Mars Nakshatras tend to be the women most prominent in the world of makeup and glamour. The curation and forceful manipulation of the body to look a certain way is 'masculine' in a sense. Like the way mankind manipulates & curates nature. Although there are two sides to this coin, as Venus Nakshatras can also grapple with the 'beauty is pain' idea and go to great, sometimes sadistic, masochistic lengths to achieve their ideal.

Venusians, but Bharani natives especially have a reputation for rarely smiling fully, always holding a mildly restrained expression (one of Bharani's translations literally being 'the Star of Restraint'. The Mona Lisa famously depicts this Bharani-esque expression; painted of course by Bharani Sun, Leonardo Da Vinci. It is often remarked that the painting itself isn't particularly outstanding in terms of beauty, but what makes it so charming is the mysterious aura emanated through means of the 'drab' yet earthy, sensual colour pallet & demure, vaguely amused expression. Others have remarked that the drab colour scheme brought special attention to the Mona Lisa's face, inviting us to engage with her.

Off the topic of Venusians; but Leonardo Da Vinci is also Shatabisha Moon conjunct Jupiter - Shatabisha natives, in true sidereal Aquarian fashion often receive praise for being 'ahead of their time' as Leo was indeed.

𝓥𝓮𝓷𝓾𝓼, 𝓟𝓪𝓲𝓷 & 𝓟𝓵𝓮𝓪𝓼𝓾𝓻𝓮, 𝓕𝓸𝓻𝓫𝓲𝓭𝓭𝓮𝓷 𝓛𝓸𝓿𝓮

Purvashadha is said to embody a state of wishing to return to the 'Garden of Eden', where we are one, we are divinely connected in pure bliss, beauty and pleasure. This further explains the Venusian life of oscillating between/existing with the realms of pain & pleasure.

Bharani experiences these themes through its association with 'delayed gratification' & later rewards. Bharani will work hard and go through a lot of pain to reap pleasures later on. Bharani being ruled by Lord Yama, the Vedic God of Death draws a connection between Bharani & facing your karma in your next incarnation.

Purvaphalguni experiences the conflict between pain & pleasure through the realisation that nothing can be 'perfect' and the frustration of knowing that some things are just out of their control. Purvaphalguni experiences the 'royal' quality of the Sun combined with the the sensuality of Venus- these people often take their happiness into their own hands, but run into struggles when they realise they can control themselves but they can't control other people's mistakes & external circumstances that may put a wrench in their ideals.

Purvashadha experiences the pain/pleasure theme through pining for something, shooting for the stars with some usually highly ambitious goal, and then realising all of the obstacles in the way of attaining that goal. However, Purvashadha translating to 'the invincible one' and also having the elephant tusk as a symbol (strong, unbreakable) shows how when Venusians persist in pursuit of their desires, they ultimately are successful and attain that Venusian dream life.

In my mind desire, is a result of the friction created between pain and pleasure. This is why forbidden love is so beautiful yet hurts so badly. Almost every Venusian I've ever met has some intense story of forbidden love- falling madly in love with a cartoon character that doesn't technically exist, falling in love with teachers, falling in love with someone who's dead, falling in love with someone who's an inappropriate choice due to their age, status, culture, professional role, etc.

Perhaps the most infamous story of forbidden love, is Romeo & Juliet. I had to check, & William Shakespeare is most likely (almost definitely considering the range of birth times proposed) a Bharani Sun native. (Side note that he looks kinda like Leonardo, lol)

Amidst these intense themes of romance, tragedy and longing, Venusians are very good at playing a role in their life and showing up to that role, often very ambitiously. However within them is always this gnawing desire to just- be wild and free with their passions without the pretence, without the pressure. This can sometimes express through random outbursts of frustration.

The elitism of Venus can even be somewhat of a defense mechanism. in Venus Nakshatras there is such a deep desire to experience true intimacy and bliss with another human being; that to protect this very human vulnerability they will often design some sort of system to decide who is worthy & who isn't- eg. 'I will only befriend/associate with people who enjoy this type of music'. That way there is always guaranteed common ground & allyship between them and those whom they let in, somewhat protecting their heartspace. In this way, Venusians are 'warriors of the heart' in a sense.

This longing and desperation to be united and feel that oneness, but knowing it may not be possible is often the drive for the art of Venusians in some way or another. The pure angst, the passion.

A lot of Venusians I've observed can develop an almost nihilistic worldview, or can even seem very 'boring' or overly structured on the surface- but ironically, the reason they have this view & demeanour is because they are at their core so idealistic and full of passion that it hurts. It feels easier to just close off the heart-space all together and in some cases express their passion in a strange, or abstract (or in darker cases, violent) manner because society isn't built around beauty & pleasure as much as Venusians tend wish.

This aching to feel alive & dance between pain vs pleasure can be seen in Venusian Nakshatras' tendency to self harm or self sabotage. Venusians can do wild and even dangerous things just to feel ALIVE. To Venusians, pain is worth it if it means there could be a pleasurable outcome.

More on Venusian boredom: one of Purvashadha's symbols is a hand held fan, often a symbol of gracefulness and high society, sometimes used to convey boredom (think of the classic imagery of the beautiful women with unenthused expressions on their faces watching a riveting piano recital).

𝓥𝓮𝓷𝓾𝓼 𝓶𝓮𝓷 𝓵𝓸𝓸𝓴𝓲𝓷𝓰 ~𝓹𝓪𝓲𝓷𝓮𝓭~

(Refer to image below)

Venusians often look PAINED lol, the women too but especially the men. Venus men have this distinct look. A lot of the time they can be womanizers or at least pleasure seeking, but also kinda sad and troubled (more of Venus' pain/pleasure themes. In a lot of stories of Venus men, they may be womanisers in lifestyle yet always have 'that one woman' who they really can't get past and regard as their 'soulmate'.

Johnny Galecki , Bharani Sun & Purvashadha Moon - particularly in his famous role as Leonard Hofstadter in the Big Bang Theory. He pines after his love interest, Penny for yearsss, getting shot down but always persisting- eventually he 'won her over' and even got married. (Bharani's delayed gratification & Purvashadha's romantic ambition).

Johnny Depp (what's with these J names?? There's this meme that boys with 'J names' are trouble, I wonder if there's any cosmic connection with Venus Nakshatras lol) Purvashadha Moon - famous for his intense relationships with women (and substances), somewhat of a womaniser as well

Jim Morrison, Bharani Moon - stunning artist & musician of course, also a womanizer who often slept with women on the road, indulging in substances.

Charlie Sheen, Purvaphalguni Sun - in real life & in the show 'Two and a Half Men' where he quite literally plays himself, he is an infamous womaniser with a penchant for substances, partying and destructive forms of pleasure.

My partner was originally in this collage lmao because I kid you not his Purvashadha lookin self fits this collage perfectly (he's got the Jim Morrison beard and the whole shabang), but he wouldn't enjoy being on tumblr so eh.

It's worth noting that a lot of Sun men who are considered attractive to women often have Venus ruled Nakshatras through their chart also. Sun influence without Venus can make men seem very dry and not very understanding of female emotions or psychology, therefore somewhat unpleasant for women to be around.

Bottom line is Venusians, love women! Venus men love women, Venus women love women.

Anyway, as always this was toooo long and like I earlier mentioned, this is the tip of the iceberg on what I could yap about in regards to Venus Nakshatras and their influence on their natives and our world in a general sense.

Thankyou for reading :) 🩷

ps. I'm very wary of talking about planets and the whole feminine/masculine thing because I really don't want to give the impression that there is a certain polarity that is more or less ideal for a gender. It's not as though if you're a woman with Mars or Sun Nakshatras you simply are not feminine, neither does it mean a woman necessarily should be traditionally feminine. be yourself lovely people ✌️

[flickering-nightfall]

Hey, I was just wondering, how would the iterators' puppets leave their cans if they discovered a way? I'm asking because I wanted to maybe have the iterators' puppet leave their can sometimes.

Love your art.

Thank you!

I think that depends on how you interpret the iterators. Some people see them as mostly or totally contained within their puppet, while others see them as the entire superstructure. Rain World has a lot of inconsistencies and a lot is open to interpretation. So either way could work.

If you see the iterators as their puppets, there's a lot of options. A couple of them are:

You can straight up sever their umbilical (wires and arm). But then you have to make sure they don't die in the same cycle. How physically suited are your puppets to walking? How dangerous are their surroundings? Do they need to eat and drink, and if they do, how do they do it? How dependent on their neurons are they, if they need them at all? What are the short term and long term consequences of the severance? Is the severance permanent?

You can make the puppet detachable. Pop 'em right off like a lego piece. The rest of the superstructure could run passively while they're gone. That'd probably work better for you if you just wanted to them to leave the can sometimes.

I see iterators as their entire superstructures, which makes the puppet problem a bit harder. You could:

Make a mobile or detachable puppet with a wireless connection (this could also apply to "iterator-is-puppet" but in the opposite direction). The range is up to you. Could be limited to short range or made longer range through... communication arrays, I guess? Could be pretty funny if the signal gets cut too. Five Pebbles loses connection and ragdolls mid-conversation.

Somehow stuff a being that is several cubic miles large into its finger puppet (what I did, but it comes with several drawbacks, and most of them didn't have a choice)

That last one might be more or less believable depending how much you say the iterator's consciousness is dependent on its superstructure. Can they be contained within the puppet? Human brains are three pounds of flesh. Can you cram a whole superstructure's worth of processing in there? No, but if our personalities can be contained within that, an iterator's probably could too.

So what are the costs? An iterator in a puppet is still a walking calculator person, but it isn't a god anymore, you know? What kind of sacrifices do they have to make? Imperfect and limited memory, vulnerable body, nutrient requirements, slower processing, loss of their powers, dissonance of moving between vastly different bodies… lots of stuff to play with!

[inventedfangirling]

My friends i watched love for love's sake and I swear i don't have a fckin clue where even to start.

I know a lot has been said about the show already and i know a LOT more would be said about in the future, but i just can't help adding my own two cents to one of the most thought-provoking, moving and brilliantly executed pieces of art i have ever seen.

I'm not gonna go on about just how much I loved Tae Myungha's character and how he is one of the most interesting people I've seen on screen in a long time. I'm not gonna talk about how unbelievably squishable Yeowoon is and how his duality totally ruined me that I need him to get into my pocket and NEVER leave. And oh I need him to put Myungha in his pocket while at it. I'm also not gonna talk about precious 'of course i'm gay, i've always liked girls, you don't know how to be loved' Sangwon is to me, cos if i start I can promise you I will most certainly never stop.

So for the sake of the rest of this post, I'm moving on. (NOT REALLY THO)

I just LOVE LOVE LOVE all the interpretations that people are coming up with, LOVE LOVE LOVE the show for filling in the gaps but LOVE it more for still leaving room for pretty thought-flowers to bloom around.

You know those artworks or puzzles that have something obvious hidden in a maze of confusion and haze until somebody points out the pattern, you zoom out and realize wow it was this clear all along?? That's a LOT of what watching the show felt like to me. The pattern being how inexplicably inter-connected Myungha and Yeowoon are. Not because they are each other's blorbos, but because why they are eo's blorbos. Why they don't care for each other from a sense of sympathy, but from empathy, despite not knowing the depth of their connections explicitly.

Eventhough we do see glimpses of it from the start, it only gets more clear later how Myungha and Yeowoon really are mirror versions of eo. How the first time Myungha sees Yeowoon he's stopping him from killing himself, and then we later find out that Myungha ends up killing himself. How both of it was triggered by a series of disappointments in life, starting with a troubling family and ending with a grandmother who passes away. Of how both of them seem to really have no one else to call their own in the world. Of leading very lonely depressing lives, that seem to never have a glimpse of hope. How both of them seem closed off, but inside they really are so fragile it hurts to perceive the depth of their feelings. It all comes and hits you once you've taken the whole show in and have gotten a few 1000 seconds to think about it.

We start off with myungha's character wanting to make his blorbo's character happy, and he's in it cos he cares about him, he doesn't have to think about himself. A 'pathetic' character experiencing a lot of pain, what's not to love, Myungha thinks, not realizing that it's his own mirror self that he is feeling so much for. Myungha sees Yeowoon's problems as someone from outside and is therefore able to objectively look at it, and approach it proactively, taking so many steps to help him, my favourite (and arguably most important) of which is the effort he puts in to help form yeowoon a friend circle. Something that he couldn't do for himself cos he never even considered a possibility of that. Why would anybody want to be around him? He ruins everything right?

And then to go on despite believing that, to falling in love, to deciding to choose to save both his grandma and yeowoon, finally FINALLY taking control into his hands even if for a bit to say what he wants, to spending the last few days together, to breaking up cos he just thinks the worst of himself, cos he doesn't know better. And then to the eternal darkness, where moments before leaving, just like in his real life, he realizes he wants in, he wants to live, he wants to love, but more importantly this time, he wants to try being loved. Even if it's difficult, he wants to try.

I love how eventhough the show is heavily Myungha focused, we get meaningful dynamics with multiple characters. Round eyed gasp inducing moments dont just belong to the two mains but also to sangwon whose line to myungha post the stalker incident just ruined me and really set the tone for whatever the show was later revealed to be all about.

I love how complicated the narrative got while still telling a more or less coherent story, how in hindsight, a lot of it makes even more sense now. How as Myungha gets closer to yeowoon his self-hating tendencies manifest in the form of debuffs and errors, because of his own brain's inability to perceive himself as somebody deserving love. His childhood trauma and the numerous rejections life has given him, because of the kind of person he turned out to be because of those rejections, all appear to stand in his way of happiness, as if he can't help being a bundle of sadness and a harbinger of problems. Even as he says he doesn't believe in destiny or fate. Or as we initially are made to believe in the game as, yeowoon's happiness, when in reality this was never about yeowoon at all. Yeowoon never existed in the first place and in "real" life, he never does.

I was blown away by how Myungha is in fact no longer in the mortal world but that fact doesn't hurt as much as that he would have to leave a world where he could finally feel happiness, feel loved, feel cared for, even if he consciously tried avoiding them. They still came to him, they still cared for him, they still fiercely wanted to protect him, (Cos he is just a tiny meow meow, who has been hurt a lot in his life, who wouldn't wanna caress and nurse him back to health HUH) just as much as he wanted to protect them.

And coming to the question of what's the game, where is it happening and who orchestrated it? It's definitely set in the afterlife or the limbo between life and the life after. It could be the author friend doing it, or the author friend has given myungha's brain the power to control the game OR of course the possibility that this has all been happening in myungha's head the whole time.

Whatever it is, the whole point has been to take Myungha from a person not wanting to live his life, feeling so devoid of love and happiness, to a journey of love and friendship, of the importance of fostering connections, of making efforts, of helping others, but equally of letting others help you, of putting your hand out and asking for that help. And in my head I love it most when I think of it as entirely Myungha orchestrated. Of it being a desperate cry of pain to himself, from himself, to save himself. Yeowoon and the game and the missions and all of it was for him to see himself in ways he never allowed himself to be seen as, to take care of himself in ways he never has, to love himself like he has never known to. To finally run towards himself, even if pathetic and sad, the Cha Yeowoon of the game, the person waiting at the end of the finishing line was the Tae Myungha in him all along.

You know that tumblr quote 'do it for her' but its about your future self, right? Myungha rooting for Yeowoon is sort of like that? When he's protecing him, he's protecting himself? When he's cheering for him, he's actually cheering and rooting for himself? When he's loving him, he makes space and place to love himself?

I just love the idea of a (self) love story.

Eitherway Yeowoon x Myungha supremacy.

Extreme(ly accurate?) Interpretations apart, Love for Love's Sake is truly one of the, if not THE finest (self) love story I might have ever seen.

As a person who avoids fics/books with mcd or shows with tragic endings, it felt absolutely revolutionary to me that my biggest joy and relief came from the fact that the main character is dead (the thought of myungha having to leave the game was too much to handle) and he gets to live in this game where he has a cute boyfriend, a supportive, caring friend group and his grandma back. it wasn't the game that was temporary or non-existent, it was actually his life outside. And that's not bad? Cos this is a story and Myungha isn't real, but as real as he is, he got his happy ending.

The show taught us to love, to see love, to be loved and to share that love. It told us that maybe the afterlife is a videogame simulation where we all get to live in friendship and love forever, with our blorbo and our friends. There are a lot worse lives to live. And I'm glad he found it in himself, enough love, courage and hope to write himself a better one :')

[nohoperadio]

I want there to be a website similar to Genius, for annotating song lyrics (and poems and public domain texts and whatever else you want to do with that tech), but instead of each song having one page that just shows the "consensus" annotations, each user would have their own personal page for each song they annotate. So I would have my page with my annotations about Source Decay by the Mountain Goats and you would have your page for yours, and there'd be no such thing as the page for Source Decay by the Mountain Goats that just houses the top-voted contributions (or however it works on Genius, I think it's slightly more complicated but w/e). (Actually there would be a version of "the page" for each song but it wouldn't work like Genius, more on this in a sec.)

Genius is often very good at providing the kind of basic factual information that can't possibly be controversial (the song mentions a town, the annotation mentions that the songwriter lived in that town briefly during 2008, whatever), and it's often very good as a place to collect quotes from interviews of what the band has to say about each song, but on the whole Genius is not as fun to browse as it should be, and I think that's largely because the wiki-like structure prevents it from channeling more than a small portion of the passion and interpretive creativity of, say, songmeanings.com, a once-active site that Genius largely killed and replaced, but it still exists and if you check out old comment sections you can find a lot more rambling and theorycrafting (and crucially, a lot more bad ideas, which are vitally important to any kind of interesting conversation about art).

You will find some of that more speculative stuff on Genius, it's not just for factual background, but the fact that space is inherently limited and everyone's annotation is in competition with everyone else's does not make this impulse thrive. The least weird contributions tend to win out. If you want to add your idea about a particular line, but someone else has already annotated it, your options are: a) "propose an edit" to their annotation that incorporates your own ideas (awkward!), b) try to write your own annotation and have it displace theirs entirely as the thing that comes up when you click the line (you'll feel like a dick even if you're successful at this), or c) leave your thoughts as a "comment" on their annotation (Genius hides the comments by default and doesn't make the button to open them at all conspicuous, but even if that weren't the case your "comment" would still be lower in the hierarchy than their "annotation", and implicitly framed as a reply to the latter).

In my vision nobody's annotation would compete with anyone else's, the annotations are (what they mostly are when made in physical books remember!) more for the writer's benefit than for any other reader, and unconstrained by the responsibility implied in the wiki-ish project of contributing to a public resource you would be free to pursue whatever interpretive rabbit holes strike your fancy, fill each page dissecting evidence for how this record that definitely wasn't intended as a concept album is actually a concept album, fill them with entirely personal connections like how this line reminds you of a weird thing you saw in your Grandma's attic when you were ten, do whatever you want. Other people can come and leave comments on your stuff appreciating your brilliance/sending you death threats if you choose to enable that option, the way I'm imagining it this would actually be a big part of the life of the site and if all went to plan it would actually feel something akin to a social media site some of the time, but that side of it would be secondary to the main goal of each user having a place to house their own thoughts about songs in an organized, presentable, public way.

The site should make it easy to discover the annotation pages of other users writing about stuff you're interested in, the "main page" for each band and then each song would be a sort of hub for accessing other people's pages who have made annotations for that. If it had any substantial userbase this might benefit from some mechanism whereby the community identifies people who are writing particularly interesting stuff and makes those people a bit more visible, although I'd want this to be more subtle than a list ordered by likes/upvotes/whatever, and I'd want there to be some way to show off the range of different ways of using the site, with some people being more diaristic/personal on there, some people doing something like real scholarship (perhaps sometimes on a more ambitious scale than actually-existing Genuis allows for), some people might be doing something more spiritually akin to fanfiction.

I know that this site would be fascinating for (at least) me to browse if it existed and was active; I'm unsure whether there'd be enough interest to make it active. I think it's possible. There's a bunch of you guys I'd like to follow on there if it existed and if you were doing it.

[dotthings]

"Open to interpretation" does not mean you get to tell Destiel shippers how to see the canon, Karen

After the spntwit drama this week I think it matters to emphasize again how hard the antidestiel hatedom was going against how Jensen rolls when it comes to interpretation.

antidestiels continue to behave as if they believe "open to interpretation" means they themselves can dictate to other fans how to see the canon, and they call Destiel shippers and Misha "disgusting" just for speaking our viewpoints of the canon.

Destiel shippers give our take on the text and antis go "well you can't because JENSEN SAID--"

They very obviously do not listen to what Jensen says. Here is Jensen at Dencon 2021, where he pretty much clears the runway for fans to interpret however we please and his praise and appreciation for those readings: “This is the great thing about the show and I think the relationships and some of these characters is that they’re open for interpretation. If you find identity in a character because of whatever reason, fantastic! Great! If that encourages you to be a better person, or to love someone a little harder, to forgive someone for something, fantastic. That’s—that’s I think that’s one of the beautiful things about what we do is that we get to encourage people on a variety of levels.” -Jensen Ackles, DenCon October 2021

(Antis: But you CAN'T, because JENSEN SAID--)

Antis are stuck in a loop of their own making.

This is not the first time Jensen has conveyed his support for fan interpretation.

Jibcon 2015:

We also know from reports from a virtual m&g a short while after SPN ended that Jensen said he and Misha talked about the confession scene beforehand, and they "didn't want to over-define it" and "the artist isn't going to stand next to that piece of art and tell you what to see. You should be able to see, and it should be able to mean what it means to you and that's--that's the beautiful thing about art." (There is no video, this is pulled from fan reports, but as far as we know this is accurate reporting).

Antis: but you can't because Jensen SAID--

blah blah blah

Yes we can and it's not that we need Jensen's--or anyone's permission--however it's just so heinous how severely antidestiels stomp all over Jensen's respectfulness and protection of fan readings and his appreciation of that, and their lying about how he rolls. They are making very negative insinuations of him, yet somehow everyone else in fandom is the problem but them.

It doesn't add up.

"But you can't say Destiel is real and there was queer coding because JENSEN SAID--"

But Jensen said he's completely cool with how we see it.

He said so.

I have a permit. Jensen signed it. See?

Get over it. Find a new hobby. Move along.

A further thing--note my highlighting on excerpts from an interview with Jensen Ackles about Big Sky concerning the Beau/Jenny relationship. (TV Insider, 1.18.2023)

The phrasing should sound familiar.

Yes, that's right, he's used similar language to speak about Dean and Cas. And this is for a het ship.

"leave the audience wanting more" "we gave just a little bit" "but do we need to play it out in a graphic sex scene?" "a kiss wasn't necessarily needed" "let's tiptoe for now" "fired it up in a way that made it not so sexual...two humans really, truly connecting. It wasn't just like, oh, let's rip each other's clothes off."

Put that next to "I don’t think lust is involved with the romanticism" "there's some people that might try to sexualize that" "it was two sentient beings essentially" (Dencon 2021, Vancon 2022)

Isn't that interesting. (Also isn't it interesting he called it "romanticism"?)

Jensen also said something somewhere about how he would like to do a romantic comedy so long as it involves killing zombies. He doesn't hate romance. It's just that he likes genre and action stuff. He's not against, whether it's queer or straight romances.

He's also said he'd like to do a rom-com slash western playing opposite Misha Collins.

Not telling Destiel shippers what to do, but along with antidestiel misinformation spread, the Destiel lane is justly notorious for flinging accusations at him and I think it's relevant that he speaks about a het ship using similar language, and it's relevant how supportive he is of queer readings.

one last thing, this is old, from Jensen's time on Days of our Lives, but he wasn't against playing a queer character.

[bettyshoweduptotheparty]

Midnights is defined by duality: The story of an unreliable narrator and performance art (Part 1)

One year on, I think I've finally figured out what midnights is about. And it might surprise you.

The midnights album has just celebrated its first anniversary. And having listened to these songs for the last 12 months, staying up late to watch live streams of the Eras tour, and at times being unable to escape news about Taylor on every medium, I finally have an idea that makes all of this make sense: This is Taylor's duality era. And she wants us to notice. Join me on the ride if you want to know more :)

I made a post a few weeks ago about how the Midnights aesthetic has the ‘two Taylors’ duology: Private vs public, which is the lead theme that carries over into the music and most recently also into her public image. Midnights had a mismatched visual to it from the very beginning with the depressed 70s look (announcement photo and vinyl covers) and the glamourous midnight blue (cover image and public appearances).

The two Taylors in the Anti Hero mv really drove home the message for me that this album is about two versions of the same story, and Taylor is the writer and narrator. And while I'm sure that these two versions have existed for a lot longer than the midnights era, they have not previously been so prominently next to each other. In fact, the very point of having the public narrative, is to keep Taylor's private life out of the public eye. She has never shied away from providing the 'stories' that her fans want to see in order to relate to her music, and as the girl that made her fame with songs about heartbreak and fairytale princes, that usually meant being seen with a man that these songs could be attributed to. And she made sure people would make the connection, be it with scarves that change ownership, or foxes on shirts:

(Btw you can't deny how effective this was, with just a few photos she managed to hang an entire album on each of these men!)

So, acting is not new to Taylor. In addition to appearing in a few feature films and TV shows since 2010, she's done this public performance for well over a decade now. And she has been vocal in recent years about her intention to go into filmmaking, so we know she's able to tell stories in multiple ways. She's a storyteller first and foremost, maybe the best of our generation. But is she a reliable narrator?

What does 'unreliable narrator' mean?

A story told by a so-called unreliable narrator, is usually a first person narration, where it turns out that the person telling the story was either lying or in some other way unable to give a truthful account of events (e.g. hallucinating or dreaming). That usually means that the audience is left with having to interpret for themselves what really happened and what was real or not real. Famous examples of this kind of storytelling are the 2010 psycho thriller 'Black Swan' with Natalie Portman, or the YA novel 'We were liars' by E. Lockhart. If you like stories that leave you guessing, check those out ;)

So, why is Taylor an unreliable narrator? For those fans that have paid attention to her lyrics, it has long been evident that her songwriting and public narrative don't match up. The most obvious theme being her 17-year run of writing songs about secret relationships and hiding, while she was parading men around in public to be photographed with. But, as we know, most people ignore it because it's just easier than digging deeper into lyrics. But now with Midnights, I'm starting to think she wants people to notice the duality and start to question her narrative. The sheer number of songs on that album that have strong double meaning or draw attention to lying or distorting the truth is astonishing: Right out the gate with track 1 we have Lavender Haze, a pretty loud song about bearding using the very well established queer reference of lavender. (And maybe she leaned out of the window a little too far with that title, because we all know the gaylor uproar was so loud when the title was revealed, that she had to backpedal and hetsplain it.) Immediately followed by Maroon, the song that has probably singlehandedly turned the most swifties into gaylors since Bettygate of 2020... Then on to Anti Hero, the ultimate duality song that also makes mention of lying and scheming, same as Mastermind. High Infidelity and You're Losing Me join the ranks of songs that look like they are about romantic relationships on the surface, but could also be interpreted to be about Taylor's relationship with fame and her fans. High Infidelity is a play on words of the term High Fidelity or HIFI, which is a 90s sound technology that refers to truthful reproduction of sound. High INfidelity is therefore a genius way of referring to both cheating and unfaithful reproduction of sound, almost like someone who makes music that isn't quite truthful... We also know from Aaron Dessner that this song was written following the 2021 Grammys and in the light of the whole William Bowery grammygate situation... I think there is point to be made about this song drawing attention to lying in a big way.

The timing of the release of You're losing me right around the time that her breakup with Joe made the news also feeds the narrative of a breakup song. But in this very 'breakup song' she says You say, "I don't understand," and I say, "I know you don't" and talks about sending signals that fall on deaf ears. Doesn't that sound an awful lot like 'I gave so many signs'? What does she know the addressee won't understand? Is it that when she finally reveals all her lies 90% of her fans will be shocked to their very core? On the exclusive CD version that has this track on it, it also immediately follows Dear Reader which on the track list looks like this:

Dear Reader You're Losing me (Does that look like a message? I think it does...)

By the time we make it to Dear Reader, she's basically told us 'I'm a liar who hides behind fake lavender relationships who charms everyone like a sleezy congressman, I'm the narcissistic Anti Hero you can't trust who schemes like a criminal and plans out everything like the puppet master I am, just so you like me and therefore you shouldn't look up to me, but I know you still will.' If that doesn't scream 'I want you to question everything I say or do' I don't know what does. Which brings us to performance art.

What is performance art?

Performance art is any kind of visual art that involves a dramatic performance aspect. To explain how this relates to Taylor and who she may have taken inspiration from, I refer to the brilliant Kristina Parro on TikTok:

Ok, groundwork is laid, but this is getting too long. Part 2 will be relating this to upcoming music releases and media coverage but that will have to wait til tomorrow.

As always, thanks for humouring me guys!

[iztea]

dy have any tips to make your art look less lifeless? I stare at my rendered digital art and everytime without fail i start to rot from the lack of soul in it

ok first of all, I think you might be judging your art too harshly. The only quite literal soulless art is AI art so as long as you create something, there's soul in it. But I understand what you mean. Honestly, I'm not sure if I'm best suited to answer this since it's something I struggle with myself, but since you asked me, here are my two cents on the matter

A lifeless look in your art may come from two places: a lack of skills or a lack of message/delivery

Skill-wise, there's a looot you can do and improve on : gesture, dynamic poses, more expressive faces, better color language, strategic line expression, shape language, using color theory to better express a certain mood of a piece etc.

i could go into detail for each point but it would take too long so I'll leave it up to you to google and research things on your own ( or you can shoot me another ask if you want me to yap about a certain technical approach and I'll gladly do so)

but honestly, these are just skills and tools that you master in time. A first step is to at least acknowledge their existence. I want to talk more about the second aspect of this issue: intention. The intention behind your art is more valuable than you think. Art can feel soulless if it doesn't send any message, if it's generic, if there's no emotion behind it or if there's nothing to be interpreted. I'm not saying all art should be super deep or profound to hold value of course, but i often feel like this is a rather neglected part when discussing art. We sometimes get so tied up in the technical aspects like rendering or anatomy but the truth is, a general audience (aka the people who will see your art) doesn't give a crap about the technicalities. They judge something at face value and the first thing they look for is the /message/. What is this painting about? Who or what did you draw? The second thing they will look for is connection. When they can relate to the emotion conveyed or the subject matter, the experience becomes more rewarding and engaging. The same applies to the artist. Creating something meaningful and personal often leads to a greater sense of accomplishment. Honestly, skill comes second.

Case in point: why does hyperrealistic art get shit on? It's very impressive technique-wise, yes, you can't deny the artist isn't skilled, but does it express something? Nope, they do the job of a printer which again,. it is impressive but not from an ~artistic pov, just from a skill pov. On the flip side, why do poorly drawn sob stories get so much attention and praise? Because the art triggered a certain emotion (that has overwritten an already untrained eye) and emotions are extremely powerful for humans as we all very well know and it basically makes them ignore or neglect the execution

So, my piece of advice is to draw something that has personal meaning /to you/, that ignites a certain feeling you can't shake ( it doesn't have to be something #deep or sad, laughter and joy are equally valuable so keep that in mind), a certain situation or scenario and I can guarantee your art won't feel as lifeless to you as before. To better express this idea of yours that you now possess, you can now think about the technical side of how you'd express it. For example:

~deliberately messy brushstrokes and textures -> create chaos.

~maybe you're feeling something lovely dovey and soft -> warm colors to express that + brushes with lost edges

~maybe you want to tell a story in a comic format -> focus on calligraphy; shaky lineart gives off the impression of vulnerability; leave whitespaces etc

~something funny? -> goofy facial expressions or lowkey downgrading the quality usually makes something funnier

~Colors ! colors ! colors !!! pretty self-explanatory blues and grays for depression pinks and rainbows for the happy ( or NOT if you're feeling adventurous winkwink)

BONUS TIP: hiding/blocking out/blurring the face of your subject makes the painting feel more immersive. The viewer can relate to the person you're drawing ( "oh he's just like me fr")

There are artists who are insanely skilled but make kinda "boring" art and then there are artists with cool ideas but with maybe an underwhelming execution.

Ultimately, it's a combination of BOTH awesome skills and intentions. Those are my favourite artists. When i find someone who draws something that makes me stare and wonder how tf they drew that while also appreciating how cool the concept is I knoww I hit jackpot. And if they draw fanart of my fave?? bonus points

okkkkkkkkk i yapped for too long sorttyyyyy hope it helped maybe idk

!!!!DISCLAIMER!!!! this is all my personal interpretation and how i view things I'm self taught I've never been to art school or taken any art classes so i might be completely wrong !! take everything with a grain of salt !!

[genericpuff]

You mentioned multiple times that Persephone is a self insert of Rachel, how is that so?

Also, I love Lore Rekindled

So obviously it's not like Rachel herself has outright stated that Persephone is a self-insert, but there's a lot of narrative and visual evidence that points to this being so.

Disclaimer before I continue: a lot of this is speculation, take it with grains of salt, but understand that all of the following evidence is why so many people subscribe to the idea that Rachel is using Persephone as a self-insert power fantasy, myself included. This is going to be a long post.

First, the most obvious - Rachel and Persephone look virtually identical, especially when Persephone's hair is short. In a way that's not even reaching at this point, like there are times when Persephone literally looks like she was traced directly off Rachel's face. It's panels like these where you don't even have to squint or fill in the blanks with your own interpretations, Persephone literally looks like Rachel.

There was also that time she dyed her hair pink and her own audience called out how she looked like Persephone (unironically for the most part, which goes to show how much the implications of Persephone being a self-insert of Rachel has gone over their heads, sigh)

She's also made absurd claims in interviews that Persephone and Hades were her "muses" since all the way back in middle school.

I say these claims are 'absurd' because frankly I just don't think that's true, there's nothing from her early-mid 2000's online presence (which is still accessible via the Wayback Machine) that suggests she was into Greek myth content, most of her stuff from back then was medical fetish and lolita art and not a single piece of Greek work is mentioned on any of her profile bios, favorite book lists, or interests, not even once you get to the 2010's when she started shifting away from blatant medical fetish art and more towards marketable storybook-style art.

(she definitely mentions Lolita though 😒)

I firmly believe she's just making up that whole "Persephone and Hades were my muses" thing the same way she's made up her 'folklorist' label to hide the fact that she has no connection to Greek myth whatsoever and was just creating LO on a whim during the era of Hades x Persephone shipping prompts that were popular on Tumblr at the time. It just so happened to become massively popular so she stuck with it and tried to pretend like she always loved Greek myth as a way to justify her success when really it was just luck and circumstance.

But we can go further back than that.

You see, Rachel also really... really likes Mads Mikkelson. Like, beyond just enjoying his work and entering teenage girl obsessive cringe territory. I wouldn't be calling it out if she was a teenage girl or even a young adult, but she isn't - she's thirty seven years old.

Mads Mikkelson is, of course, her dream cast for Hades, and when you see how she views Mads Mikkelson, the rest practically writes itself.

But we can go even further back than that.

Because, you see, Rachel has old art accounts from long before Lore Olympus. Normally I try to avoid posting a lot of this stuff because it's very much old skeletons that we usually understand to leave buried, but this particular piece is very relevant to this discussion.

'Madame issue' was the screenname of her account where this drawing comes from. You may also notice this is very likely where the name 'used bandaid' came from. This character is meant to be Rachel. It was very common for her to draw herself with short pink hair back then and it seems that's barely changed now.

Just wanna also throw it out there real quick that Rachel's birthday is March 21st. Guess what date Rachel chose to make Persephone's birthday? Oh yeah, the first day of Spring, literally March 20th. Which shouldn't even exist yet as Lore Olympus is based on The Hymn to Demeter which outlines the creation of the season. But I digress.

Now, this may be a little irrelevant and nitpicky, but to circle back around to the point I made earlier about her not having any genuine connection to Greek myth, Rachel seems to have always behaved like this, in a way that tries to 'hide' the fact that she's not 'legit'. There are old FAQ's from her art pages that answer questions she's asking herself in a very arrogant "how dare you ask me this" kind of way. Like, she claims to have imposter syndrome, which I'm not saying is a lie, but if she does, she definitely uses blind arrogance as a way to cover up for it. It reeks of early 2000's 'mean because it's cool to be mean' energy and that seems to be an attitude that she hasn't left behind in the early 2000's where it belongs - she's just channeled it into 'girl boss' Persephone instead.

It's become abundantly clear after going through old LO asks/livejournal/flickr/etc. posts that Rachel herself 1.) romanticizes purity culture (again, like the Greek myth 'self-proclaimed folklorist' thing, she's trying to claim she's 'deconstructing' purity culture when her actual beliefs are the exact opposite), 2.) values naivety and youthfulness vs. experience and wisdom, especially with how she talks about Persephone and 3.) constantly tries to act like a 'boss babe' similarly to Persephone.

There's also the fact that the time skip perfectly aligned Persephone's age to be in the same range as Rachel - she's now 30 to Rachel's 37. The time skip didn't have to be exactly ten years, if it was purely to retcon the age gap problems then she could have made it far longer, but she made it specifically 10 years and I feel like it can't be a coincidence when we consider how close in age Persephone and Rachel now are. Recalling that earlier point that Rachel seems to be obsessed with naivety and youthfulness, she probably didn't like the idea of making Persephone 40 because that would be too "old".

That's not even getting into the actual way that Persephone is written. This is the part where I say there's nothing inherently wrong with writing self-inserts, even famous authors do it, but the issue lies in authors writing them as power fantasies and not actual fleshed out characters. Persephone is not a fleshed out character. She does not have flaws - at least none that are recognized as flaws - and she never loses. She does whatever Rachel wants her to do on a whim even if it contradicts previous actions or information we've been shown. Sometimes she's an inexperienced "uwu" teenage girl, other times she's attempting to be a 'boss babe' (but really it just comes across as her acting like a Karen.)

All that said, it's not uncommon for poorly written self-inserts to lack consistent characterization because the author is too hopped up on writing them to fulfill their fantasies, even if those fantasies don't align with pre-existing information. There's also the fact that Persephone herself never suffers any consequences for her actions, even when she's in the wrong, and terrible things that happen to her are more for the sympathy of the audience and less for actual character development, depth, or underlying meaning. The comic's universe and the characters that reside within it bend around Persephone and her wants and needs, and this is something that happens with poorly-written self-inserts a lot especially when they're being written purely as power fantasies and not actual character studies or reflections. Nothing bad will ever happen to Persephone, she'll never suffer real consequences for her actions, and she'll never make any real sacrifices, because Persephone is Rachel and Rachel can't write Persephone separate from herself.

This kind of goes hand in hand with the whole "she didn't make Persephone 40+ because then she'd be too old" thing, but I'd also like to mention real quick that Rachel has never written a female character who isn't like this. All of her main characters from all of her works are women, which is perfectly fine in isolation, but they're all written as the exact same woman, sharing traits of naivety, inexperience, youthfulness and innocence. None of her female characters are over the age of 21. Making Persephone a "doesn't know she's sexy" 19 year old who's often drawn very childlike was very intentional as it's the exact same kind of character she's been drawing for years now, and the fact that she's 30 now is simply Rachel trying to retcon the problematic age gap that she got called out on; with the added bonus that it makes Persephone even more like Rachel.

No, Rachel has never directly confessed to Persephone being a self-insert, but I don't think someone like Rachel - who already speaks with a veil of disingenuous arrogance - would admit to it anyways. The writing is on the wall: how she's written Persephone and every female protagonist who has preceded her is a deliberate choice based around Rachel's own beliefs and values - that women are only desirable when they're young and thin, that the "ideal man" is someone who's above everyone else in power, wealth, and status and will and should use that power, wealth, and status to get what they want, and that women should be as cute and innocent as they can be until any degree of opposition or questioning comes their way, in which they are justified in exercising outright cruelty and abuse towards those in their way, with no in-between.

And that's all I'm gonna say on that.

[amber-jinx]

Me again!

Do you think that Rachel and Max had a spiritual connection with one another? They’re completely different as far as their personalities and outer appearances. Yet, they both have one thing in common:

Their love for Chloe.

Plus, the fact that Rachel appeared as Max’s spirit animal (the doe) somewhat shows me that they were connected to some degree. What do you think?

You always ask great questions! I must admit I'm not as well versed on Max's side of the story as Rachel's, so there definitely are people who can give a more comprehensive answer than me. But imma just try and write what comes to mind :)

For 2 people that have never met, their spiritual connection, chemistry, "fate entanglement" as I liked to call what they have are the strongest across the fandoms I've seen. When Max returned, we as players felt Rachel's presence all over Arcadia bay. In the original there was even a line to the effect of "I feel like everything in this town is connected to Rachel Amber somehow". Max was able to "see" Rachel through different people in Arcadia bay. Everyone had something to say about her, even a random trucker. It can be said that she really had an effect on the people of that town, if we put the fire aside. This town being Max's hometown adds another layer to it, it is so much different due to Rachel's existence.

left pic from a fan made Rachel DLC | Yes, their love for Chloe is the key link that transcends through time & space, allowing them to see each other in some way.

Like the town, Max is also very different from her past self. While she didn't have such a strong presence back when she was growing up in Arcadia, Max eventually became the decider of the town's (including most of its people) fate. Whether Rachel is the root cause to Max's powers is very much a mystery and up to interpretation, just like many things in life is strange.

If we acknowledge that Rachel is the cause of the fire, there could be another parallel: this girl who tried to leave this town nearly destroyed the town; meanwhile another girl who came back actually have the power to do that, or stop it from getting destroyed. Even though both never meant to. (Not expanding on Rachel being the storm here cuz it's really not definitive & personally I think if Rachel's got powers she'd just use them on those who did her wrong, not the entire town)

Personality-wise, especially on the outside, they are almost opposites. But somehow I get the feeling that they'd really understand each other, because on the inside, they may not be that different. I've seen a Tumblr post saying Rachel using her people skills to get on people's good side is mirrored by Max using her rewind powers to fix her responses. (When you've got such an ability, of course you use them! Which is different from being manipulative, might I add.)

Rachel with her sensitive, vulnerable side, which she guarded & masked with so much effort and painted with her smiles & godly social skills, is definitely able to understand & empathise with Max and not judge her. And Max being pretty perceptive herself, having quite an astute understanding of Rachel just from photos she found, is definitely able to see more than Rachel lets on. Both are powerful smartasses and fiercely protective of Chloe. (& both bi x)

Max sees, Rachel shows. The photographer & the muse. Built for an "electric combo", as Love is Strange says, even though they may not hit it off well at the start due to awkwardness or slight jealousy from both sides, eventually they're gonna realise that the other is beneficial for them. Max is able to ground Rachel and give her heartfelt & real advice that she needed; Rachel's able to help build Max's confidence, socialise better (back off V, she's with me), share insights about art & photography.

I'd even say Max & Rachel may complement each other more than Max and Chloe, OR Chloe and Rachel. (If there are more content on these 2, AmberPrice in my heart might be challenged. Yeah. It's scary.)

Some say they share the same spirit animal, which is really possible (bts putting that "doe see doe" photo on Rachel's bed frame), or it could mean that as Max's spirit animal, Max sees all spirits in a doe form. Another possibility is that Rachel have the doe as her spirit animal, and everyone who can see her spirit sees the doe. Nonetheless it's incredible that Max seems to be the only person to be able to see the doe, or that Rachel chose to present herslef to only Max. Definitely a connection there. 🦌

Looking at their personalities through enneagram (Rach 4, Max likely 9) we see that they can be similar but in different ways (9 & 4 can be mistyped):

"The difference is that Nines are detached both from the external world and from their emotions (not keeping in touch w Chloe in Seattle & delay on reaching out to her?), whereas Fours withdraw from whatever has caused them pain (delaying telling Chloe about her messy relationships cuz it causes her pain? + her immediate reaction to finding James making out with another woman). Nines see the world through rose-colored glasses, and their view of it is comforting, whereas Fours see the world from a garret window as outsiders and are not comforted: everyone else seems to be living a happier, more normal life."

Thanks for the question! I've no idea I was gonna write this long. You guys can see a few of my blogs or reblogs that I've mentioned these 2 via the tag "Rachel and Max" or "Amberfield" if interested :) Feel free to reblog/ add on!

[queerprayers]

since you mention having a rosary, is it common for lutherans or other branches of protestants to use them? i've always found them fascinating, but i grew up baptist and wasn't really around anyone who used or had them. what are your thoughts on people having them just because they find comfort in them?

Hi beloved, good question!

In my experience, they're not very common among Protestants, which seems to be because the rosary is so associated with veneration of Mary, which most Protestants are wary of (to say the least). The tradition is so associated with Catholicism that lots of Protestants don't even consider that it could be for them too.

I've had to create my own way of connecting with rosary practices, because the dominant Catholic tradition is often not relevant to me. I'm more comfortable incorporating Mary than most Lutherans, but I don't generally pray through any saints--it just has never been how I've prayed, and while I love saying prayers saints have written and learning about them, asking them to pray for me isn't really how I interpret "the communion of saints." For me, they're praying with me, and my petitions are to God, as Jesus taught. (I'm not dismissing or demonizing anyone's saint work! This is just personally my practice.)

The Hail Mary is such a gorgeous prayer, for instance, and most of it is straight from the gospel--and I definitely find it more valuable because it doesn't involve any personalization/specific petitions, just a general yearning for her to pray for us. I don't really experience her as listening to me, but as praying for all people with her Son, and my recognizing that connects me with her and all saints who have prayed through time.

Anyway, practices like this are really common and people find all different ways of connecting with them! Catholic rosaries, Orthodox prayer ropes, Muslim misbahahs, Jewish tzitzit--they all tap into a physical prayer practice, a tangible repetition/reminder of spirituality that I think is beautiful.

Holding something people regard as holy can be inherently comforting, however you connect with it! Just holding a rosary, wrapping it around my fingers, religious art I can put in my backpack--it's powerful. Hanging it up, carrying it with you--this is a tangible prayer practice as much as any repeated prayer sequence.

If you are interested in prayers to go with it, but don't connect with the Catholic tradition, there are all kinds of things you can do! You can look at the existing traditions and see what you connect with and what you don't--I love some Mysteries, and some aren't in my practice/belief system, like the Assumption. You can look up "[denomination] rosary" to see if anyone's done it before you--several people have written Lutheran rosaries, and a Swedish bishop created the pearls of life tradition, to tap into this desire for Protestants! And then of course, you can create your own practice, picking prayers/verses/meditation subjects that are most part of your spirituality, and going through them.

Best wishes on your journey! Fascination in a practice is often (for me, at least) a sign that I should try it out, seeing how it transforms my practice and me. You can always leave it behind if it doesn't work for you.

<3 Johanna

P.S. Artist shoutout! Work of Human Hands on Etsy makes personalized pride flag rosaries, if anyone's interested! I'm planning to get one when it's in my budget :)

[grimmf0xx]

Janna: The Storm's Fury.

The other day I made a post talking about how excited I was that Janna finally had a real design and her character and lore was expanded upon. Now I want to actually talk about what this means for Janna and how she interacts with the world of Runeterra. At least, my interpretations of it.

Starting with her stunning level 1 card art, she is finally shown to be a goddess. We finally have a design to express what she is in the lore and we can say goodbye to the generic sexy elf (at least in LOR). There is more to her design from a worldbuilding perspective. Yes we have the Shuriman clothing, the golds, the brass and the green, even the tanned skin all showcasing her origins as a shuriman spirit god. However if she is now a goddess protecting Zaun and Piltover why doesn't she have expressions from these clockwork and chemwork cities? I think she doesn't rock Piltovan and Zaunite aesthetics because she takes on a form of her own choosing and she most likely has kept the form that was passed down through word of mouth. Shuriman sailors worshipped her as a goddess of weather and those who prayed to her would have passed on the stories and descriptions of their goddess through both word of mouth and writing. I think the few stories and pieces of literature that still exist of Janna still describe her in a Shuriman way and so that is the form she still chooses to hold when she is seen by her people. But I also think Janna herself feels deeply connected to her Shuriman form, they were her first followers, her first worshippers, the first to build shrines in her honour and leave offerings on her alters, I think Janna herself is attached to this form and whilst she most likely takes on many other forms such as birds or even more Zaunite versions of herself I believe her default is that of how she was first described as a way to stay connected and represent her original people who she failed to protect when worshipping her became outlawed.

On a side note, I again want to talk about how she is translucent in her splash art here, I don't think she can be seen by any of the children. None of them are looking at her, they are all looking at the boat which is pretty strange because if the god you worshipped appeared and started playing with you, you might take a moment to actually look at her. Instead they are all fixated on the boat Janna is pushing along, I think Janna is simply watching over the kids here, taking a moment to use her powers to bring joy to those growing up in a troubled city, keeping them a way from that trouble.

The fall of Janna's followers is interesting to look at when looking at her overall lore. She wasn't some small unknown goddess to a tiny town she had a massive following, so much so temples and statues were built to worship her. Zaunites believe she's the goddess of fresh air, She never appeared to them as a goddess of fresh air, in fact when Zaun finally saw her for the first time in all her power she was commanding the winds to throw back the ocean that was flooding the city, she called the winds to usher people to safety and pull them from the waters. It was only after that when people began to worship her again and she found a new home that she started clearing the streets of Zaun of the poisonous smog. Before this she was worshipped as the goddess of weather and sailing (most likely by the costal communities of Shurima) until worshiping her was outlawed.

I think Janna has a lot more power than what we see, I think she is truly "The Storm's Fury" and has dominion over storms, rain and wind however she isn't a god who shows all her power demanding worship and sacrifice like some other gods, she is in service to her people she protects them, guides them and so wind is all we ever see her use. She could command lightning if she wanted to, she could wrap a city in an eternal storm commanding all bow to her but instead she listens to what her people cry out in need for and she does whatever is in her power to help.

Janna embodies and has dominion over one of the most destructive forces of nature, storms have been responsible for levelling entire cities and yet she is not a goddess of war, her followers are kind and welcoming, preaching love and acceptance.

Its interesting to see the parallel between Janna and Volibear. Both are storm gods in the same world however Volibear demands war, he demands blood tribute for his blessings, when the Freljord began to turn away from the old ways Volibear swore he would create a river of blood.

Janna blesses people who don't even ask for help, and those who do come to her seeking guidance and perhaps even a boon she showers with gifts beyond their dreams.

Galesong Swallow is one of Janna's follower cards and I might be reading too much into it but I think this is an example of Janna providing blessings people aren't directly asking for. These creatures are spirit birds "half made up of water" they happen to be flying over Zaun, the most polluted city in the world, Janna might be sending these creatures over the city, brining rain and filling up tanks with clean and fresh water.

The Windborne Mariner talks about how he had everything he wanted materialistically wanted in life, however taking it from others left him feeling empty inside. He now follows Janna and hopes she will lead him down a better path. When Played with Janna she says "Place your faith in me and your path will unfold" Windborne than replies "Janna I beg you reveal my path to me"

Janna doesn't have to grant him a boon, she doesn't need to give him any special powers or guidance. She knows by simply encouraging him to stay with her followers he will change his values, she knows he is capable of putting in the effort to change into the man he wants to be. "Wind may not be seen to move our world" She is telling him not all actions require payment or recognition, good things make the world a better place and good deeds don't need recognition. When Janna gives a blessing to the temple caretaker Windborne Says "Wait you? I love that for you" and the caretaker replies, "perhaps the answers is in others, not yourself" again preaching kindness and good actions towards others to better himself rather than being given something he can use. Janna is answering his prayers, encouraging to work for her favour so he can discover the kindness within himself.

Janna's interactions with Nilah show a much more involved approach to granting blessings. When draw with Janna, Janna will say. "I will aid you Nilah, for you face monsters"

And this is where we start to see the full power of Janna's blessings.

Exalted Cloudwinder is zephyr, a spirit of the winds, super charged and summoned by Janna.

"My dear zephyr, come down from your clouds and perch on my shoulder a while won't you?"

Janna hasn't just summoned a cloudwinder for the sake of showing off her power she is sending it onwards with Nilah's ships, Janna knows it will take all of Nilah's strength and more to defeat the Volibear and so she is using her power to conjure calms seas and summons powerful winds to guide Nilah and her followers safely across the ocean to the Freljord.

"With wind in our sails onward!" -Janna

Nilah has her own story fighting the Volibear but from Janna's interactions with the both of them and from the splash art I think Janna is still present in this fight between Nilah and Volibear. Lightning is striking and bouncing off Nilah, this is Janna's doing, her final blessing. Janna cannot beat Volibear on his own turf but she can aid Nilah on her quest of defeating the beast.

"Be at peace! The storm may rage around you, but it shall not harm you" - Janna

Janna is not strong enough in the Freljord to block the full might of the Volibear but she can still have a strong presence, wrapping Nilah in protective winds guiding her through the raging tempest protecting her from the lightning, wind and ice so Nilah can stand a chance against the wild god.

I also want to take a moment to aknowledge the interactions between Janna and Volibear as I have been wanting the two storm gods of Runeterra to fight for a long time and it truely showcases their dynamic, Janna showers her people with blessings and fights only when she truly needs to. Volibear withholds power from his people, twisting their forms into machines for violence when he finally grants them power as he lives for blood and war.

"You wish to cut my thread? Grand boast tiny being!"

"Your rage will leave you nothing to protect"

During the battle Janna guides her people, comforting them before the battle on the horizon.

"Hold fast to your hope, in me and in one another!"

Janna fights along side her people, she doesn't command them.

Volibear's followers demand and power from them as he enhances their twisted forms and Volibear stirs his follower's lust for violence with war cries.

"My storm does more than destroy, Volibear"

"Drive your storms harder Janna!"

This is not the first time the storm gods have been at war, and it won't be the last.

[raionmimi]

I love your art of Setanta and Medb Lily, is there any evidence of them actually being childhood friends in the Ulster Cycle?

Short answer: Not exactly, it was just me piecing together timelines that are extremely vague and plot points that would make way more sense if fleshed out more. So I started making comics based on my childhood and kids I know for a surreal idealization that would be the catalyst for their problems when they fight in the war

Long Answer:

All that I know is that Fergus is 20-ish years older than Conchobar. Conchobar is older than Medb, who would have to have been in the 10~16 range and been officially married at 15-16. (I’m assuming she’d be about 17-18 when divorced because she was forced to bear an heir) Cú was 5 when he came to Ulster and about 7-10 when he left, but it’s never mentioned that the two talked to each other at that time since it’s not relevant to the story

But it would make sense that they met considering their relationship to Conchobar, who was Medb’s betrothed and Cu’s uncle. Even further, Cu’s warp spasm when he was 7 was stopped by Mugain, who was Medb’s sister. Meaning, Medb was probably there when it occurred, but there wasn’t a reason to mention her

Then in one story, Cú and his friends decide to get Medb and Ailill to be judges for their “Who’s the best warrior” competition. They figured they’d be the most fair, but this was prior to the war. How would they be familiar with the Connacht rulers since Cú doesn’t really spend much time with official political shenanigans? All three had to have known of Medb and Ailill before this event. Since Medb often hosted people from other kingdoms, namely Ulster, they probably have all visited her nation before

It all kind of leads back to Cú knowing Medb personally, which could give more emphasis and weight as to why he listened to all her demands/schemes and refused to harm/fight her in the war. It’s unknown if he knew what abuse was happening to her when she was married to his uncle or what his uncle did to her after they got divorced. BUT we do know his uncle directly confronted Cú and demanded him to kill Medb, and Cú said he refused to his face

Then you have Fate’s interpretation. Medb is treated more like a troublesome neighbor rather than a threat. Cú lets her off with a slap on the wrist more than anything. He tells you in a voiceline that Medb is one of the women he broke a promise to so he wants to be more reliable this time. Fate has never mentioned what promise he made Medb, even though you can guess what he probs promised Emer, Scathach, and maybe Morrigan. Medb says she wants to dominate Cú but she never does much to actually do that because there’s some invisible line drawn that she herself put down

In my brain, it makes sense that there is something connecting the two with an unsaid past. One that drives Medb to having mixed feelings about Cú (both hating him but not being able to leave him alone) and Cú to feeling like he has to be there for Medb. Something that neither really wants to talk too much about, and especially not with each other

The easiest connection would be them being friends at a young age when they met in the Ulster kingdom. They’re both lowkey unwelcomed as Conchobar abuses Medb for her refusal to yield to him, and he didn’t even want Setanta to join his army at first. He kind of hates and fears both of them. Makes sense for them to just be regular kids together to set up the dynamic change for later.

A shattered friendship is one of the most devastating things that could happen to a child growing up, and could easily warp to an obsessive hatred and lingering guilt. Leads to feelings like “You betrayed me,” “Why didn’t you take me with you?” or “I wasn’t there for you, I need to make up for it.”

I like tragicomedies a lot, so I think it’s the best foundation for both causing and healing the severe rift between them when they’re older

So no, there’s no actual source material that would outright say that they’re childhood friends, it’s just something that would make the most amount of sense when you go back and align the dots. At least to me in my brain

[alicejeangreenlane]

What are your personal thoughts on Peekablue in your rewrite? Is Peekablue still a woman like the original or a trans man like in the reboot?

First up, Thank you for your question. hopefuly this post will awnser it but I did ramble a bit. By a bit i mean a lot.

Now about Peekablue. Well, since you ask. 

(sorry for the info dump I am about to subject to too) 

They are (drum roll) non-binary and use they/them pronouns.  

My fan comic is primarily based on the original she-ra animated show with some elements taken from other adaptations of the story. But I didn't take much from the new series because I don't like it.  The main thing I took from the 2018 show was the sibling rivalry between Catra and Adora. To be honest, the decision to make Peekablue a trans man confuses me because the creator said the reason they made him a man is because the og character has male peacock feathers. But wouldn't that make them a trans woman? Like a woman with male characteristics, wouldn’t making them a trans woman or intersex be more logical? Maybe that’s just me. Originally, I was going to have Peekablue be a trans woman but I changed my mind when I chose to make them a spiritual leader and learned more about Balka.   

Peekablue is loosely based on Bakla from the Philippines who were AMAB people who adopted a feminine gender expression, in pre-colonial times they were considered spiritual leaders. I suggest you do your own research into them because Peekablue is not an accurate representation of them as Peekablue is inspired by multiple southeast asian religions and queer expressions. 

Peekablue is part of a alien race on a alien planet they are not ment to be a one to one parallel to earth. Every one dose have a parallel to a real country but they are not from that country.

IMPORTANT: If you are Southeast Asian, and find my depiction here inaccurate or offensive please let me know and I will change it. 

Peekablue was AMAB (which is why they have male features like their tail) but preferred a more feminine gender expression but sees themself as neither so they use they, them pronouns. They are a spiritual leader who was granted the ability to see into the past and future (using their peacock tail, They have a peacock tail because they are from a race of bird people.) by their goddess who they are closer too, because of  their feminine presentation, feminine mannerisms and their strong empathy making it so they are able to connect more with the goddess.  

They are extremely kind and patient but are afraid of their own shadow. They believe in the rebellion but are too afraid to fight so they help from the side lines. Because they are a spiritual leader, people come to them for advice both spiritual and personal. Peekablue always helps them no matter how big the problem is.  The people who Peekablue is the most empathetic towards are younger queer people who are still figuring themselves out as Peekablue know what it’s like to be in their shoes.   

They play a big role in the story. They are the first person to show kindness to Despara (because they have seen Adora's past) and using their powers they  show Despara her past (by holding hands with a person they can share their powers) and tell Despara the name their parents gave them. They also show Adora the harm the horde is doing to the people of etheria. Peekablue act of kindness and trust in Despara/Adora is what finally gets Despara to leave the horde putting her on the path to becoming She-ra. 

Here is the first design I have for Peekablue it will probably change a lot. I am thinking of basing them on a white and blue peacock and giving them vitiligo.  I also think their design is too simular to Shadow weaver.

If you have any ideas for their design, please tell me (if you want to do art of how you would interpret this version of the character please send them to me), I would love to hear/see them. Likewise, if you have any ideas for their character, please let me know especially if you are Southeast Asian or non-binary as I am neither.

[ruvviks]

okay. first all that's left ost question. pls explain the song in what we leave behind 👀

another one thought/question is that i was thinking abt it while making breakfast and i think all that's left would be v interesting as a video game that's divided into episodes. like whatever remedy's doing with alan wake.

anyway i am soooooooo in love with all that's left btw. i'm not even into zombie stuff but this one is soooooo cool. :]

HEHE THANK YOU SM <3 i love zombie media entirely too much i was obsessed with it when i was younger to the point i had entirely too many dreams about the zombie apocalypse. which is where half my zombie story ideas originated from including parts of the story for all that's left LMAO

so in "what we leave behind" the song playing is everyone dies by parsonsfield which is a song that i've always heavily associated with the story for some reason?? specifically because in an alternative ending i came up with, all the main characters did end up dying in very like. regular human ways to die in a zombie apocalypse in a way to show to the readers that, well, everyone does still die in the end despite how beautiful a journey or story can be etc etc and so on, and to show that there IS an end to all this but the main characters' good deeds end when they die, not when the story is over if that makes sense. they keep on being good even after the story is done. but i ended up kind of scrapping that because i preferred a more open ending that leaves room for own interpretation of what happens between like, the end of the story + when the main characters die. but the song has always stayed in my heart

which is why i added it to that chapter specifically! in "what we leave behind" the different players in the story (it's season two so that's three separate parties whose story you've been following the whole time) have all found themselves in predicaments scattered across los angeles; one group has been separated after a devastating breach in one of the districts, another group has been hunted down in the wasteland around the city, and the third group has been chased out of the city for their smuggling crimes (helping people out of los angeles into the wasteland to find a safe community to live in)

it's a chapter in which all hope seems lost which i think fits with the song in a way. there is very much the threat here that people are going to die, but it's part of how life goes, and i think the upbeat sound of the song contrasts the heaviness of the chapter very well which is something that i keep doing with this story because it creates an almost nostalgic feeling (for me personally, idk if it comes across well)?? as if you as the reader are very much aware that the story has already been told and there's nothing that can be changed about it anymore, and the soundtrack is reminiscing on what happened back then :]

and ooohh i never really thought about that tbh!! i think it could work as a video game but it would be a VERY cinematic game and i personally am not a big fan of that because i do like having things to do and especially with all the different perspectives and whatnot it would be very hard to keep track of the story while also trying to put down an interesting game if that makes sense SHGFDJGHDFGKD i did games & interaction in art school so this is like. the game designer in me talking LMAO

i do think some chapters would work VERY well as video game though, especially ones where a lot of stealth is needed or the more combat focused scenes. for example there's one scene in which they're trying to manage a huge horde of ghouls and like, lead them away from a settlement to then gun them down somewhere, i feel like that would be super cool to see in a video game >:^) but there's also a lot of scenes in which there's just a lot of talking and connecting to other characters going on which would be very boring to sit through i think :(

i've always visualized all that's left as a tv show and it would probably work best as that i think, because there's just so many characters and so many stories to tell that weave into one another very intricately. the visuals of the story would also just work best as a tv show because the way i'm imagining it is like a very vibrant tv show, bright colors and almost like, retro-y vibes?? basically the kind of vibes i put in those playlist edits, it contrasts the heaviness of the story very well + goes well together with the soundtrack!!

on top of all that (sorry i'm Going now) a tv show would give the story enough time to build up correctly, a movie would be entirely too short for that. with actual episodes and actual filler episodes focused more on exposition of the world and character conversations and a bit less action to give everyone including the viewer some breathing space, the story can actually be set up correctly and get people interested in the bigger picture of the universe i think :] it would have about 4 seasons of roughly 20 episodes per season, maybe the first season (book 1) would be a bit shorter on account of just following one group, but especially the next seasons (book 2-4 and Maybe 5 depending on how well i execute book 4) would just need more episodes because you're following around three groups in all those seasons. or at Least three. i can't remember my own lore. there's a lot going on just trust me

[missing-a-place-ive-never-been]

so i just finished campaign 2

in 6 months pretty much to the fucking day. and what a half a year it was. i don't know how to write down how much i love these characters, just... watching them evolve from the very beginning of the journey was just so special. i started campaign 1 in the briarwood arc (and i honestly should probably rewatch that just bc i was so confused about what was happening still at that point) and i loved seeing these characters from their first meeting as a group and how their experiences and relationships formed them into the people they were a year(-ish??) later.

Although c3 is the one that got me hooked and will always be special bc of that, and c1 felt more of a idk how to say it a story because of the separation and a more clear path (going from the briarwoods to the dragons to vecna just felt more natural to me instead of what mostly felt like side quests next to the war storyline and the lucien storyline), i feel the most connection as a group with m9. their individual development but also their group dynamic in which each of them felt like an integral part to the story and all were important to each other and had special moments together... idk something so very compelling and i will be thinking about them for a long fucking time.

As for the numbers, this means that on average i spend over two and a half hours a day for the past half a year watching critical role and i honestly cannot say i regret it. i don't know if i will ever play d&d myself as i think cr has set such a high bar of expectations and i don't really know the right people for it (at this moment) but i have grown to see the value in role playing games. though the stories might be fantasy, the emotions these people bring to the table each week is are just raw and real and have made me work through some of my own issues, i can't even imagine the impact on their own lives throughout all of it.

in the end, i would have loved to see more of essek and caleb interacting. liam and matt's interactions in the final part of 141 broke me and made me yearn for more. i haven't seen the wrap up of the reunion eps yet but at least for the reunion i don't think we see essek until the last few moments, which is bittersweet; while we don't see it directly play out, we get a good glimpse into their combined futures and i think that open ending does leave for a lot of own interpretation (and def a lot of great fan art!). overall, the characters i enjoyed most were caleb (i adore liam and his faithful representation of a bisexual disaster) and jester (do i need to explain? wonderfully chaotic and the kind of enjoyment of just life and its beauty i admire and aspire to), but even the characters i had less of a personal connection with (for me ford) i really loved for their interactions and relationships with the others.

i laughed and cried so much while experiencing this campaign, and i am just feeling full with love for the cast and crew and their incredible work and play. this is just a rambling of my thoughts at the moment and kind of a time capsule for myself, but if you are a critter and read all of it, thank you to you as well <3 the community (i mostly only interact with the one on tumblr) makes the experience def more valuable and i'm happy we're on the same journeys together!