#because it really puts focus on the people

[therealbeachfox]

"Why do we make laser grids like these?" came the chirp from across the table.

"What do you mean?" Otto responded without looking up.

"I mean, instead of a messy random arrangement of lasers that a nimble intruder might be able to jump through, why not a simple grid wall with no gaps large enough to allow a person to pass?"

Otto sighed heavily and looked up from the blueprints he'd been amending and reworking to focus on his nephew. One of his nephews. One of his multitude of nephews because none of his siblings understood the concept of wrapping it up. He was at Mykola's place, so probably one of his. Too young to be Aiden, too old to be Eric. A, B, C... Connor? Conway? Conrad? One of those. At that extra annoying age where they're too curious for their own good, and have started to believe they actually know something, so get real argumentative about it when you prove they don't.

There's a reason why Otto didn't have kids. Or deal with kids. And tried to talk the Boss out of putting kids into his deathtraps. Fucking kids. Ugh.

"Because if we did that, it'd be impossible to get through." he said, hoping it'd satisfy the kid.

"But isn't that what you're trying to do?" Mykola's boy had his head twisted around to try and look at the blueprints from his uncle's perspective and was tracing out the twisting pathways with his eyes. "This whole thing is a giant 'You Can't Get In Here' tunnel. I don't understand why you're leaving holes in the security."

Well, the kid had actually asked, instead of just flat out stating that his way would be better. Otto grit his teeth and settled himself back for a proper lecture. "You're thinking too mundanely, kid." The boy looked up curiously and brushed a tangle of near-black hair out of his eyes. Slightly mollified, Otto continued. "This isn't like designing security for a bank or vault or something. This is something for my Boss. So we're already not designing like we would for the public sector, right?"

"Yeah? Yeah." Con-whatever agreed, though still looking just as confused.

"So, our issue is, whoever comes looking for whatever it is that the Boss is gonna put at the end of this is already going to be uniquely skilled and driven. Not just your average jewelry robbers or beat cops, right?"

"Right, yeah, you're going to be dealing with capes or cowls and stuff, sure. But wouldn't that mean you'd want it all extra locked down?" The kid was now looking directly at him. But with the intense look of someone who didn't understand but wanted to. It was by far more annoying than if the kid had just been flat-out disparaging of the whole process. Now Otto couldn't just tell him to shove off without feeling bad about it. Ugh.

"Well, here's the thing. If this was something the Boss really wanted to keep away from people, he'd have it put in some indistinguishable bank vault lock-box by a patsy that one of us underlings had hired through a third party, leaving two whole layers unaware of who even wanted the thing in there, and at least three whole layers who have no idea what the object even is besides. But he's not doing that, he's putting it at the end of a long tunnel of traps, alarms, and obstacles. Which means, what he wants is for whoever's coming after him to go through the whole thing. Which means it's gotta be at least theoretically possible to get through the whole thing. If you were a cowl and you came across a perfect laser grid that there was no way to squirm your way through and no way to work around, what would you do?"

Mykola's kid frowned down at the blueprints, eyebrows furrowed in tweenage concentration. "Start cutting through the walls, I guess. Either to find a way to cut the power, or to bypass the tunnel all toget-OH! Ooooooh, okay! I see, I see!" Otto grabbed the edge of the table to steady it as the kid started bouncing a little in his seat. "If you make it impossible, the cowls will start thinking outside the box and start looking for ways to end-run around the whole thing. If you make it difficult, but still possible, they're going to be too busy focusing on how to do the almost impossible thing so they're still playing by your Boss' rules instead of making up their own!"

Otto grunted and bit back the hint of a smile that wanted to cross his lips. Last thing he wanted to do was encourage the brat; then he'd be stuck answering questions all day. "Now you've got it. Make it hard enough that they waste as much time getting through it as possible without breaking out their bat-themed metal cutters or retreating and finding another way to come in altogether. Same reason why museums do it this way. Otherwise, the only way to get at shit would be to blow a hole in the floor, and that'd damage way more artifacts than whatever the thief was targeting originally."

"Okay, I think I totally get it. Is that why the HVAC ducts are big enough for sidekicks to get through? In case they can't work stuff out?"

Otto blinked and scowled back down at the blueprints to figure out what the kid was talking about, "No? No! I've got them as small as they can get without leaving the air rank, and we've got mesh grids every five feet just in case they try anyway."

The kid pointed down at one point in the blueprints and traced out a line that went way from one-third of the way through the hallway to right near the end, "Not on this one. And it's got this other branch that leads out to the bathrooms in the laundry mat you're using as a front, even!"

Otto squinted down at what the kid was pointing out. It was a second branch of the air circulation network, focused mainly on the above ground business, but with a few pipes down below ground as federally mandated backups to the system he'd been focusing on locking down. "No. That's not for the sidekicks." He growled and grabbed for an eraser and pencil and got to work grinding out alterations.

"Huh. So what about the-" the kid started.

"One thing at a time. Let me get this fixed, then you can ask the next one, okay?"

"Yeah, sure, okay!" The kid shrugged and grabbed up one of Otto's old notebooks that had the first iteration of designs for the Boss' main vault and started reading while kicking his legs.

Otto just ground his teeth and focused on his work. Only thing worse than a kid was a precociously bright kid with an honest interest in your work. Worse thing in the goddamn world.

He should message Mykola and let him know he needed to get one of his other kids to bring up snacks for the brat. He was at that age where he was going to get hungry long before Otto was done.

"Why do we make laser grids like these?" "What do you mean?" "I mean instead of a messy random arrangement of lasers that a nimble intruder might be able to jump through, why not a simple grid wall with no gaps large enough to allow a person to pass through?"

[badnewswhatsleft]

rock sound #312 (nov 2024)

transcript below cut:

ROCK SOUND 25 ICON

FALL OUT BOY

A BAND THAT CAPTURED THE HEARTS, MINDS AND HEADPHONES OF A GENERATION OF KIDS WORLDWIDE, FALL OUT BOY UNDOUBTEDLY CHANGED THE LANDSCAPE OF THE ALTERNATIVE SCENE FOREVER, NEVER AFRAID TO EXPERIMENT, TAKE CHANCES AND MAKE BOLD CHOICES AS THEY PUSHED FORWARD. FOLLOWING A SUMMER SPENT EXPLORING THE 'DAYS OF FALL OUT PAST', PATRICK STUMP AND PETE  WENTZ REFLECT ON THEIR PATH FROM POP PUNK, HARDCORE MISFITS TO ALL-CONQUERING, STADIUM-FILLING SONGWRITERS AS THEY ACCEPT THEIR ROCK SOUND 25 ICON AWARD.

WORDS JAMES WILSON-TAYLOR

PHOTOS ELLIOTT INGHAM

Let's begin with your most recent performance which was at When We Were Young festival in Las Vegas. It was such a special weekend, how are you reflecting on that moment?

PATRICK: It's wild, because the band, I think, is going on 23 years now, which really came as a surprise to me. I know it's this thing that old people always say, 'Man, it really goes by so fast', but then it happens to you and you're just taken aback. There were so many times throughout the weekend, every 10 minutes, where I'd turn around and see somebody and be like, 'Holy shit, I haven't seen you in 18 years', or something crazy like that. It was hard not to have a good time. When I was going up to perform with Motion City Soundtrack, which was an exciting thing in itself, I turn around and Bayside is there. And I haven't seen Bayside since we toured with them. God, I don't remember when that was, you know? So there was so much of that. You couldn't help but have a good time.

PETE: I mean, that's an insane festival, right? When they announce it, it looks fake every time. The lineup looks like some kid drew it on their folder at school. For our band, the thing that's a little weird, I think, is that by deciding to change between every album, and then we had the three year break which caused another big time jump, I think that it would be hard for us to focus on one album for that show. We're a band where our fans will debate the best record. So it was amazing that we were able to look backwards and try to build this show that would go through all the eras - nod to Taylor obviously on that one. But it's also an insane idea to take a show that should really be put on for one weekend in a theatre and then try to take it around the world at festivals. The whole time on stage for this particular show production, I'm just like 'Is this thing going to go on time?' Because if the whole thing is working totally flawlessly, it just barely works, you know what I mean? So I give a lot of credit to our crew for doing that, because it's not really a rock show. I know we play rock music and it's a rock festival, but the show itself is not really a rock production, and our crew does a very good job of bending that to fit within the medium.

That show allows you to nod to the past but without falling fully into nostalgia. You are still pushing the band into newer places within it.

PATRICK: That's always been a central thing. We're a weird band, because a lot of bands I know went through a period of rejecting their past, and frankly, I encounter this thing a lot, where people have expected that we stopped interacting with older material. But we always maintained a connection with a lot of the older music. We still close with 'Saturday'. So for us, it was never about letting go of the past. It was about bringing that along with you wherever you go. I'm still the same weird little guy that likes too much music to really pin down. It's just that I've carried that with me through all the different things that I've done and that the band has done. So for us, in terms of going forward and playing new stuff, that's always the thing that's important to me; that there should be new stuff to propel it. I never wanted to be an artist that just gave up on new music and went out and played the hits and collected the check and moved on. It's all got to be creative. That's why I do it. I want to make new music. That's always why I do it. So something like When We Were Young is kind of odd really. It's an odd fit for that, because it's nostalgic, which is not really my vibe all that much. But I found a lot of nostalgia in it. I found a lot of value in looking back and going 'Wow, this was really cool. It was amazing that we did this, that we all did this'. That scene of bands, we're all old now, but it has taken off into such a moment culturally that people can point to.

Let's jump all the way back to the first ever Fall Out Boy show. There is very little evidence of it available online but what are your memories of that performance?

PATRICK: So the very first Fall Out Boy show was at DePaul University in a fancy looking dining hall. I actually applied to DePaul, but I never went there because the band went on tour. I think there were only two or three other bands. One was a band called Stillwell, who were kind of a math rock emo band, and then this heavier, more metallic band. And then we were there, and we had a guitar player, John Flamandan, who I have not seen since that show. He was only in the band for a week or two, and we were still figuring ourselves out. We had three songs and I had never sung before in front of people. I did a talent show at school one time when I was a kid and theatre kind of stuff where you would sing, but it was more in that context. And I was also a kid too. This was the first time ever that I'm the singer for a band and I was fucking terrified. We had a drummer named Ben Rose, really great guy. I haven't seen Ben in a million years, either, but we were still figuring ourselves out. The other thing is that all of us, with me being the exception, were in other bands, and all of our other bands were better than Fall Out Boy was. We were very sloppy and didn't know what we were doing, and so I don't think any of us really took it seriously. But there was a thing that was really funny about it, where even though we kind of thought we sucked, and even though we weren't really focusing on it, we had a lot of fun with each other. We enjoyed trying this other thing, because we were hardcore kids, and we were not the pop punk kids and the pop punk bands in town, that was like 'the thing', and we were not really welcome in that. There was a fun in trying to figure out how to make melodic and pop music when we really didn't have any history with that. It was very obvious that we didn't know what we were doing at the beginning.

So when did it begin to feel like things were finally clicking? When did you find your roles and what you wanted the band to be? 

PETE: In regards to the music, I liked Fall Out boy, way before I probably should have. I remember playing the early demos and it giving me a feeling that I hadn't felt with any of the other bands that I had been in. Now, looking back on it, I might have been a tad early on that. Then as far as the roles, I think that they've been carving themselves out over time. We've always allowed ourselves to gravitate to our strengths. Between me and Patrick, we'd probably make one great, atypical rock artist if we were one person. Because our strengths are things that the other doesn't love as much. But I think that what has happened more is it's less of a fight now and there's more trust. We have a trust with each other. There's things that Patrick will play for me or explain to me, and I don't even really need him to explain it, because I trust him. I may not totally understand it, but I trust him as an artist. On the other side of that, it's also very nice to have someone who can veto your idea, you know what I mean? It's nice to have those kind of checks and balances.

PATRICK: I had been in this band called Patterson, and all three of the other guys sang in kind of a gravelly, Hot Water Music vibe. I was not intending to be a singer, but I would try and sing backups and, it wasn't a criticism, but there was this vibe that, while I could do the gravelly thing, my voice was coming through and it didn't fit. It was too pretty and that became a thing I was kind of embarrassed of. So when Fall Out Boy started, I was actively trying to disguise that and mute it and hide behind affectation. Pete would really push me to stretch my vowels because that was in vogue in pop punk at the time. There were all these different ways that we were trying to suppress me, musically, because we were just trying to figure out how to do the things that the bands we liked did. But that wasn't really us, you know? It's really funny, because 'Take This To Your Grave' was recorded in three sections, about six months apart. Over the course of that time, I can hear us figuring it out. I think a really defining moment for me was 'Saturday', because I am not brave, I am not a bold person, and I do not put myself out there. When I was showing the band 'Saturday', we were jamming on the bit after the second chorus, and I was mumbling around, just mucking my way through it, and I did the falsetto thing. I didn't think anyone could hear me over us bashing around in Joe's parents house in this tiny little room. But Pete stopped, and he goes, 'Do that again'. I was so terrified of doing that in front of these guys, because you gotta remember, I was incredibly shy, but also a drummer. I'd never sung in front of anyone before, and now I'm singing in a band and I'm certainly not going to take chances. So I thought the falsetto thing was really not going to happen, but when I did it, there was this really funny thing. Somehow that song clicked, and it opened up this door for us where we do something different than everybody else. We were aiming to be a pop punk or hardcore band, but we found this thing that felt more natural to me.

As you embarked on Warped Tour, simultaneously you were finding this huge level of pop and mainstream success. How was it navigating and finding your way through those two very different spaces?

PATRICK: I used to work at a used record store and what shows up is all the records after their success. So I got really acquainted and really comfortable with and prepared for the idea of musical failure. I just wanted to do it because I enjoyed doing it. But in terms of planning one's life, I was certain that I would, at most, get to put out a record and then have to go to school when it didn't work out. My parents were very cautious. I said to them after 'Take This To Your Grave' came out that I'm gonna see where this goes, because I didn't expect to be on a label and get to tour. I'm gonna give it a semester, and then it will almost certainly fail, and then after it fails, I'll go to school. And then it didn't fail. Warped Tour was very crazy too, I was talking about this at When We Were Young with My Chem. Both of us were these little shit bands that no one cared about when we booked the tour. Then we got to the tour, and all these people were showing up for us, way more than we expected, way more than Warped Tour expected. So Warped Tour was putting both of us on these little side stages, and the stages would collapse because people were so excited. It was this moment that came out of nowhere all of a sudden. Then we go to Island Records, and I had another conversation with my parents, because every band that I had known up to that point, even the biggest bands in town, they would have their big indie record and then they would go to the major label and drop off the face of the planet forever. So I was certain that was going to happen. I told them again, I'm going to put out this record, and then I'll go to school when this fails. 

PETE: I think that if you really wanted someone to feel like an alien, you would put them on TRL while they were on Warped Tour. You know what I mean? Because it is just bananas. On our bus, the air conditioning didn't work, so we were basically blowing out heat in the summer, but we were just so happy to be on a bus and so happy to be playing shows. You go from that to, two days later, stepping off the bus to brush your teeth and there's a line of people wanting to watch you brush your teeth. In some ways, it was super cool that it was happening with My Chemical Romance too because it didn't feel as random, right? It feels more meant to be. It feels like something is happening. To be on Warped Tour at that time - and if you weren't there, it would be probably hard to imagine, because it's like if Cirque Du Soleil had none of the acrobatics and ran on Monster energy drink. It was a traveling circus, but for it to reach critical mass while we were there, in some ways, was great, because you're not just sitting at home. In between touring, I would come home and I'd be sitting in my bedroom at my parents house. I would think about mortality and the edge of the whole thing and all these existential thoughts you feel when you're by yourself. But on Warped Tour, you go to the signing, you play laser tag, you go to the radio station. So in some ways, it's like you're in this little boot camp, and you don't really even think about anything too much. I guess it was a little bit of a blur.

Pete, when you introduced 'Bang The Doldrums' at When We Were Young, you encouraged the crowd to 'keep making weird shit'. That could almost be a mantra for the band as a whole. Your weirder moments are the ones that made you. Even a song like 'Dance Dance' has a rhythm section you never would have expected to hear on a rock track at that time.

PETE: You know, I just watched 'Joker 2' and I loved it. I do understand why people wouldn't because it subverts the whole thing. It subverts everything about the first one. That's something I've always really loved, when I watch artists who could keep making the same thing, and instead they make something that's challenging to them or challenging to their audience. Sometimes you miss, sometimes you do a big thing and you miss, and we've definitely done that. But I gotta say, all the things that I've really loved about art and music, and that has enriched my life, is when people take chances. You don't get the invention of anything new without that. To not make weird stuff would feel odd, and I personally would much rather lose and miss doing our own thing. To play it safe and cut yourself off around the edges and sand it down and then miss also, those are the worst misses, because you didn't even go big as yourself. This is where we connect with each other, we connect by our flaws and the little weird neuroses that we have. I rarely look at something and go 'Wow, that safe little idea really moved me'. I guess it happens, but I think about this with something like 'Joker 2' where this director was given the keys and you can just do anything. I think a lot of times somebody would just make an expected follow up but some people turn right when they're supposed to turn left. That's always been interesting on an artistic level, but at the same time, I think you're more likely to miss big when you do that.

PATRICK: Going into 'From Under The Cork Tree', I had this sense that this is my only shot. It has already outperformed what I expected. I don't want to be locked into doing the same thing forever, because I know me. I know I'm not Mr. Pop Punk, that's just one of many things I like. So I would be so bummed if for the rest of my life, I had to impersonate myself from when I was 17 and have to live in that forever. So I consciously wanted to put a lot of weird stuff on that record because I thought it was probably my only moment. 'Sugar, We're Goin Down' was a fairly straight ahead pop punk song but even that was weird for us, because it was slow. I remember being really scared about how slow it was, because it's almost mosh tempo for the whole song, which was not anything we had done up to that point. But in every direction, in every song, I was actively trying to push the boundaries as much as I could. 'Dance, Dance' was one of those ones where I was seeing what I can get away with, because I might never get this chance again. We were on tour with a friend's band, and I remember playing the record for them. I remember specifically playing 'Our Lawyer…' that opens the record, which has that 6/8 time feel, and they kind of look at me, like 'What?'. Then I played 'Dance, Dance', and they're like, 'Hey man, you know, whatever works for you. It's been nice knowing you'. But I just knew that, on the off chance that I ended up still being a musician in my 40s, I wanted to still love the music that we made. I didn't want to ever resent it. It's ironic because people say that bands sell out when they don't make the same thing over and over again. But wait a second. Say that again. Think about that.

That attitude seemed to carry directly into 'Infinity On High'. If you may never end up doing this again then let's make sure we bring in the orchestra while we still can... 

PATRICK: That was literally something that I did say to myself this might be the last time, the likelihood is we're going to fail because that's what happens, so this might be the last time that I ever get a chance to have somebody pay for an orchestra and a choir. I always think of The Who when they did 'A Quick One, While He's Away' and there's a part where they go 'cello, cello', because they couldn't afford real cellos, they couldn't afford players. That's what I thought would happen for me in life. So I went in and thought, let's do it all. Let's throw everything at the wall, because there's no chance that it's going to happen again. So many things came together on that record, but I didn't expect it. 'Arms Race' was a very weird song, and I was shocked when management went along with it and had kind of decided that would be the single. I was in disbelief. It did not feel like a single but it worked for us. It was a pretty big song and then 'Thnks Fr Th Mmrs' was easily the big hit off that record. So then we have two hit songs off of an album that I didn't even know would come out at that point. But again, it was very much just about taking the risks and seeing what the hell happened.

As you went on hiatus for a few years, you worked on a number of other creative projects. How did those end up influencing your approach to the band when you returned?

PETE: On the areas of the band where I led, I wanted to be a better leader. When you're younger and you're fighting for your ideas, I don't think that I was the greatest listener. I just wanted to be a better cog in the machine. When you're in a band originally, no one gives you the little band handbook and says 'these are the things you should do', you know? I just wanted to be a better version of who I was in the band. 

PATRICK: There's a combination of things. 'Soul Punk' is a weird record. I love that record but I kind of resent that record for so many things. It's my solo record, but it's also not very me in a lot of ways. I had started with a very odd little art rock record, and then I had some personal tragedies happen. My EP that I put out far out sold expectations so then all of a sudden, Island Records goes, 'Oh, we think this could actually be something we want singles for'. I think we had all expected that I would be putting out a smaller indie record but then all of a sudden they were like 'oh, you could be a pop star'. So then I have to retrofit this art rock record into pop star hit music, and also channel personal tragedy through it. I hadn't ever really been a front man - I'd been a singer, but I hadn't really been a front man, and I hadn't really written lyrics, certainly not introspective, personal lyrics. So that whole record is so strange and muted to me. So I went from that album, which also failed so fucking hard - I should have gone to school after that one. But Pete had reached out to me just as a friend, and said 'I know you're in your own thing right now, and I know that you're not the kind of person that is going to be in my fantasy football league, so I'm not going to see you unless we make music. But you're my buddy, and that kind of bums me out that I don't see you at all, so I guess we have to make music'. I thought that was a fairly convincing pitch. It's true, that was what we do when we hang out - we make music. So we reconvene, and going into it, I had all these lessons that really made me understand Pete better, because Pete is the natural front end person. So many of our arguments and frustrations and the things that we didn't see eye to eye on, I grew to understand having now been in the position of the point man that had to make all the decisions for my solo thing. It really flipped my understanding of why he said the things he would say, or why he did things he would do. I remember early on thinking he was so pushy, but then, in retrospect, you realise he was doing it for a reason. There's so many little things that really changed for me doing 'Soul Punk' that were not musical but were more about how you run a band and how you run a business, that made me understand and respect him a lot more.

What are memories of that initial return and, specifically, that tiny first show back at the Metro venue in Chicago?

PETE: Those first shows were definitely magical because I really wasn't sure that we would be on a stage again together. I don't have as many memories of some of our other first things. We were just talking about Warped Tour, I don't have many memories of those because it is almost wasted on you when it's a blur and there's so many things happening. But with this, I really wanted to not take it for granted and wanted to take in all the moments and have snapshots in our own heads of that show. I did a lot of other art during the time when we were off, everybody did, but there's a magic between the four of us and it was nice to know that it was real. When we got on that stage again at the Metro for the first time, there was something that's just a little different. I can't really put my finger on it, but it makes that art that we were making separately different than all the other stuff.

Musically, as you moved forward, everything sounded much bigger, almost ready for arenas and stadiums. Was that a conscious decision on your part?

PETE: Patrick felt like he was bursting with these ideas. It felt like these had been lying in wait, and they were big, and they were out there, and whether he'd saved them for those records, I don't really know. That's what it felt like to me. With 'Save Rock And Roll', we knew we had basically one shot. There were really three options; you'll have this other period in your career, no one will care or this will be the torch that burns the whole thing down. So we wanted to have it be at least on our terms. Then I think with 'American Beauty...' it was slightly different, because we made that record as fast as we could. We were in a pop sphere. Is there a way for a band to be competitive with DJs and rappers in terms of response time? Are we able to be on the scene and have it happen as quickly? I think it kind of made us insane a little bit. With 'American Beauty…', we really realised that we were not going to walk that same path in pop culture and that we would need to 'Trojan horse' our way into the conversation in some way. So we thought these songs could be played in stadiums, that these songs could be end titles. What are other avenues? Because radio didn't want this right now, so what are other avenues to make it to that conversation? Maybe this is just in my head but I thought 'Uma Thurman' could be a sister song to 'Dance, Dance' or maybe even 'Arms Race' where it is weird but it has pop elements to it.

PATRICK: I had a feeling on 'Save Rock And Roll' that it was kind of disjointed. It was a lot of good songs, but they were all over the place. So when we went into 'American Beauty…', I really wanted to make something cohesive. I do think that record is very coherent and very succinct - you either like it or you don't, and that's pretty much it all the way through. By the time we got to 'MANIA', I had done all this production and I'd started to get into scoring. The band had done so many things and taken so many weird chances that I just felt free to do whatever. At that point, no one's going to disown me if I try something really strange so let's see what happens. 'Young And Menace' was a big part of that experiment. People hate that song, and that's okay. It was meant to be challenging, it's obviously not supposed to be a pop song. It's an abrasive song, it should not have been a single. However, I do think that record should have been more like that. Towards the end of the production, there was this scramble of like, 'Oh, fuck, we have no pop music on this and we need to have singles' and things like that. That took over that record and became the last minute push. I think the last half of that record was recorded in the span of two weeks towards the end of the recording to try and pad it with more pop related songs. I look at that record and think it should have all been 'Young And Menace'. That should have been our 'Kid A' or something. It should have really challenged people.

But we have spoken before about how 'Folie à Deux' found its audience much later. It does feel like something similar is already beginning to happen with 'MANIA'...

PETE: I agree with you, and I think that's a great question, because I always thought like that. There's things that you're not there for, but you wish you were there. I always thought about it when we put out 'MANIA', because I don't know if it's for everyone, but this is your moment where you could change the course of history, you know, this could be your next 'Folie à Deux', which is bizarre because they're completely different records. But it also seems, and I think I have this with films and bands and stuff as well, that while one thing ascends, you see people grab onto the thing that other people wouldn't know, right? It's like me talking about 'Joker 2' - why not talk about the first one? That's the one that everybody likes. Maybe it's contrarian, I don't really know. I just purely like it. I'm sure that's what people say about 'Folie à Deux' and 'MANIA' as well. But there's something in the ascent where people begin to diverge, you are able to separate them and go 'Well, maybe this one's just for me and people like me. I like these other ones that other people talk about, but this one speaks to me'. I think over time, as they separate, the more people are able to say that. And then I can say this, because Patrick does music, I think that sometimes he's early on ideas, and time catches up with it a little bit as well. The ideas, and the guest on the record, they all make a little bit more sense as time goes on.

'MANIA' is almost the first of your albums designed for the streaming era. Everything is so different so people could almost pick and choose their own playlist.

PETE: Of course, you can curate it yourself. That's a great point. I think that the other point that you just made me think of is this was the first time where we realised, well, there's not really gatekeepers. The song will raise its hand, just like exactly what you're saying. So we should have probably just had 'The Last Of The Real Ones' be an early single, because that song was the one that people reacted to. But I think that there was still the old way of thinking in terms of picking the song that we think has the best chance, or whatever. But since then, we've just allowed the songs to dictate what path they take. I think that that's brilliant. If I'd had a chance to do that, curate my own record and pick the Metallica songs or whatever,that would be fantastic. So it was truly a learning experience in the way you release art to me.

PATRICK: After 'MANIA', I realised Fall Out Boy can't be the place for me to try everything. It's just not. We've been around for too long. We've been doing things for too long. It can't be my place to throw everything at the wall. There's too much that I've learned from scoring and from production now to put it all into it. So the scoring thing really became even more necessary. I needed it, emotionally. I needed a place to do everything, to have tubas and learn how to write jazz and how to write for the first trumpet. So then going into 'So Much (For) Stardust', it had the effect of making me more excited about rock music again, because I didn't feel the weight of all of this musical experimentation so I could just enjoy writing a rock song. It's funny, because I think it really grew into that towards the end of writing the record. I'd bet you, if we waited another month, it would probably be all more rock, because I had a rediscovered interest in it.

It's interesting you talk about the enjoyment of rock music again because that joy comes through on 'So Much (For) Stardust' in a major way, particularly on something like the title track. When the four of you all hit those closing harmonies together, especially live, that's a moment where everything feels fully cohesive and together and you can really enjoy yourselves. There's still experimental moments on the album but you guys are in a very confident and comfortable space right now and it definitely shows in the music. 

PATRICK: Yeah, I think that's a great point. When you talk about experimentation too and comfort, that's really the thing isn't it? This is always a thing that bugged me, because I never liked to jam when I was a kid. I really wanted to learn the part, memorise it and play it. Miles Davis was a side man for 20 years before he started doing his thing. You need to learn the shit out of your music theory and your instrument - you need to learn all the rules before you break them. I always had that mindset. But at this point, we as a band have worked with each other so much that now we can fuck around musically in ways that we didn't used to be able to and it's really exciting. There's just so much I notice now. There are ways that we all play that are really hard to describe. I think if you were to pull any one of the four of us out of it, I would really miss it. I would really miss that. It is this kind of alchemy of the way everyone works together. It's confidence, it's also comfort. It's like there's a home to it that I feel works so well. It's how I'm able to sing the way I sing, or it's how Andy's able to play the way he plays. There's something to it. We unlock stuff for each other.

Before we close, we must mention the other big live moment you had this year. You had played at Download Festival before but taking the headline slot, especially given the history of Donington, must have felt extra special. 

PETE: It felt insane. We always have a little bit of nerves about Download, wondering are we heavy enough? To the credit of the fans and the other bands playing, we have always felt so welcomed when we're there. There's very few times where you can look back on a time when... so, if I was a professional baseball player, and I'm throwing a ball against the wall in my parents garage as a kid, I could draw a direct link from the feeling of wanting to do that. I remember watching Metallica videos at Donington and thinking 'I want to be in Metallica at Donington'. That's not exactly how it turned out, but in some ways there is that direct link. On just a personal level, my family came over and got to see the festival. They were wearing the boots and we were in the mud. All this stuff that I would describe to them sounds insane when you tell your family in America - 'It's raining, but people love it'. For them to get to experience that was super special for me as well. We played the biggest production we've ever had and to get to do that there, the whole thing really made my summer.

PATRICK: There's not really words for it. It feels so improbable and so unlikely. Something hit me this last year, this last tour, where I would get out on stage and I'd be like, 'Wait, fucking seriously? People still want to see us and want to hear us?' It feels so strange and surreal. I go home and I'm just some schlubby Dad and I have to take out the compost and I have to remember to run the dishwasher. I live this not very exciting life, and then I get out there at Download and it's all these people. Because I'm naturally kind of shy, for years, I would look down when I played because I was so stressed about what was happening. Confidence and all these have given me a different posture so when I go out there, I can really see it, and it really hits you. Download, like you said, we've done before, but there's something very different about where I am now as a person. So I can really be there. And when you walk out on that stage, it is astounding. It forces you to play better and work harder, because these people waited for us. The show is the audience and your interaction with it. In the same way that the band has this alchemy to it, we can't play a show like that without that audience.

[ivesambrose]

𝑾𝒉𝒂𝒕'𝒔 𝒕𝒉𝒆 𝒏𝒆𝒙𝒕 𝒄𝒉𝒂𝒑𝒕𝒆𝒓 𝒐𝒇 𝒚𝒐𝒖𝒓 𝒍𝒊𝒇𝒆

•❅──────✧❅✦❅✧──────❅•

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To book a personal reading with me message or send me an email with your name and query on ivesambrose@gmail.com

The next chapter of your life indicates a period of discipline, structure and determination. Long term plans or goals instead of short term gratification. I feel previous months of stagnation, struggle and mental turmoil has led to you having the mindset of being rather unfazed towards anything because you have likely realised that regardless of what you 'see' you're in control. You've learnt to trust your intuition and inner guidance over anyone else. You might encounter power struggles in between but this will lead to emotional growth nonetheless.

There is a lot of joy, celebration and new connections to look forward to as well. It might seem like despite the good happening to you and what you've wanted for so long finally being yours, you feel rather defensive. Remember to push through despite past struggles. To fully be in the present and enjoy what you have and what you deserve. For some of you I do see you making really good friends but due to past experiences you're rather guarded towards them. The message I'm getting is that yes, do use discernment when dealing with people. Do establish necessary boundaries. But don't let promising friendships falter due to fears.

You can also expect your dreams to be more within reach, renewal and unexpected help coming through, the path getting clear when you least expect it, healing from mental strain that have remained unspoken.

Lastly, you will experience a balance in giving and receiving. This will be necessary when it comes to your material and spiritual growth.

The next chapter of your life calls for adjustment and change. Drastic ones. If it's causing you some tension know that this area of your life requires that change. You can't expect to step into the next chapter of your life otherwise. I see that this involves your daily routine, health, work, with opportunities of personal growth and recognition in those areas. You may also be stepping into a new role of responsibility that requires self discipline on your part. You will be pushed to focus on your physical health a lot more. So if you feel like you're getting sick often it's a sign to stress less about it and take mindful steps towards it instead. Be it getting a proper check up or holding yourself accountable. You don't have to rush anything however, improvement will happen gradually. Some of you likely just need more movement but not the kind that puts your body on overdrive. There will be rapid progress and sudden opportunities coming your way out of the blue, a lot of communication and even travel. Career wise, it's looking really good! You will also be transitioning away from a very difficult time of your life. You may also have new intellectual pursuits, you'd want to learn new things or will be acquiring a lot of necessary knowledge. you will also find yourself juggling many tasks or projects at once but this will lead to a sort of mastery over your life You'll be feeling rather accomplished.

The next chapter calls for self expression, communication as well as creativity however some challenges or conflicts might arise as you assert your individuality or learn to find your voice in new environments.

You can however, look forward to emotional growth, new beginnings in your emotional life as well creative expressions.

Steady and solid growth when it comes to your finances as well. Something that makes you feel like you don't need to rely on others and you have financial freedom so one less thing to feel anxious about that has possibly been weighing down on you far too much .

Once again, try not to over exhert yourself or you'll end up attaching the experience to something that should come to you rather smoothly. In other words, you really need to drop the mindsets of the people that have been projected onto you and have become your belief systems. It's time to make some of your own without losing sight of what you truly value.

You can also expect more mental clarity and better insights in regards to what to do, where to invest, your life's purpose and what truly brings you joy. But instead of running from it like you did before, you'll embrace it.

You might feel more drawn towards arts, aesthetics, cooking, gardening etc as well.

Having time and proper consideration towards things you earlier didn't have the state of mind for.

[nadianova]

welcome to surprise nadia nova how to make a visual novel tutorial

you want to 100% use ren'py i dont make the rules

its straightforward enough that simply downloading, installing and hitting the "create new project" and spamming through the menu and then opening script.rpy to see the code which will tell you like 70% of what you need to make your first vn. there no need to be afraid just because the word 'code' was mentioned. ren'py's own language is just copy pasting stuff back and forth and inserting your own names and pictures. its nothing like C# or java or whatever languages exist cause i know jackshit about any of that and dont know how to do programming

anyway, inside the main script file, script.rpy, are commented instructions on how to name a character, place a sprite, place a background, and put in text and you can basically make a vn with these things. i can not stress it enough KEEP IT SIMPLE, especially if you're starting out. making things complicated or planning massive projects is just shooting yourself in the foot. better to make 2 minute game than get stuck trying to make a epic masterpiece

writing a story is its own thing. however anyone can write and its better to write a shit story than no story. that way you have something to build on and get more comfy with your own art process. its what me and everyone else who makes vns and any other art or skill or hobby have done too.

if you like what some other vn/manga/anime/story does copy it and smash these inspirations together to make your own thing. save pictures and lines you see that get you inspired if you need inspiration and references for your own story. everything in this world is inspired by other things someone else has made. its not stealing unless you get absurd and download someone elses game and take out half the assets and put them in your own game and pretend you didnt

if you have interest do yourself a favour and make a vn. as far as game development goes its one of the most accessible options out there . ren'py is an amazing engine having all the vn necessities already in place since that allows you to just focus on the story and not have to worry about setting things up yourself and scrambling with advanced code unless you really want to

i know the jam is just ending in the following weeks and depending on when you see this post this might be outdated as hell but my yurijam server is still going and will be going until people simmer out and something new shiny takes their attention. still, its a server an people post gay shit there occasionally even outside of jams so me and many others are helpful and like answering questions to help otehrs make stuff. so i think the best way is to join the server rn and just ask questions in the help channel. better to ask stupid questions than no questions

now go make a visual novel im holding a whip and making those scary crack sounds and aiming just close enough to your feet that youre almost convinced it hit you despite your jumping and dancing and DANCE NOW DANCE MAKE A VISUAL NOVEL DANCE GET TO IT MAKE A VISUAL NOVEL DO IT NOW OR ILL GET YOUR FACE NEXT MAKE A VISUAL NOV-

anyway but for real if you really are interested make a vn cause im holding a whip and making thOSE SCARY CR-

[captain-ashby]

All of this and more. I loved this game a lot, it had many strengths, and for me it stands next to the others in the series, if an inch or two lower. However this IS the heart of most of the problems with this game: the writers refused to allow conflict except with the antaam, the venatori, and the elven gods.

All the previous dragon age and mass effect games revolved around the fact that even the world's/galaxy's saviors are people who had one goal: save the world/galaxy, no matter how broken it is and how much you are hated. The HoF fought simultaneously against and for a nation that believed wholeheartedly that they were traitors. Hawke and his family/companions are made up of people that are considered the scum of the world. The Inquistor is wrongly persecuted as a heretic and has to fight against overwhelming religious and political pushback. Shephard CONSTANTLY is treated as little more than nuisance until the galaxy ending threat has already started, despite being one of the most decorated soldiers in the galaxy.

On top of this, their companions are a constant source of conflict. Tali/Legion, Jack/Miranda, Alistair/Morrigain, the entire da2 team, Solas/Sera, Dorian/Bull. Almost all the companions have centuries old prejudice baked into them, and more often than not they are willing to betray you and each other for their own goals. Where all of these games shine is leaning into that, working through the conflicts, and resolving them in ways that are satisfying.

Rook and his team face almost no pushback. Lucanis is a murderer and an abomination. Taash is Qunari, who are by and large considered zealous and violent conquerors. Davrin and Bellara have just had their gods almost destroy the world, and elves are almost always second-class citizens. Necromancy is not just accepted by the rest of the Thedas as just another school of magic.

In fact, mages in general no longer face any of the persecution they used to, despite the fact that Elgar'Nan, Ghilan'Nain and Solas are the most powerful mages to ever live and are responsible for almost all the major ills of the world. All of this isn't because the Veilguard has proven to the world that their prejudices are wrong, it is just... not addressed. Ignored. Rook is respected by everyone bar the comical villains (even then The Butcher respects you with no effort on the players part), with the exception of the people of the city Rook didn't personally go fight a high dragon for because they were busy fighting another one elsewhere.

And there's the crux. Theres no proving that you are the one in the right, or that there's a bigger evil to focus on. No political maneuvering. Theres not even really any conflict resolved outside of killing Venatori, Antaam, and darkspawn, all of whom are outcasts from any real society and as such have no real ramifications to being destroyed. The other BioWare heroes succeeded despite the world they were saving not wanting them, Rook succeeds because everyone puts their entire faith into one person.

Again, I enjoyed this game very much. But it forgets that "fighting against impossible odds" doesnt just mean mortal against deity, but also nation against nation, race against race, and ally against ally. Everyone in Veilguard comes across as a good person in need of a little therapy, when bioware as a whole thrives on stories about inherently flawed and tragic characters rallying together to do what MUST be done to save an ultimately ungrateful people.

TLDR: One line from the Inquisitor in Trespasser perfectly sums up the inherent frustration that permeates all other bioware games to create compelling stories, which I believe is the missing thread from Veilguard: "Dammit! We save Ferelden, and they're angry. We save Orlais, and they're angry. We close the Breach twice, and my own hand wants to kill me. Could one thing in this fucking world just stay fixed?!"

Why Fenris could Never Cameo in Dragon Age: The Veilguard

In the run up to Dragon age: The Veilguard, I was almost certain that Fenris would be our main legacy character from previous games. Not only has he been central in the comics released between DAI and DATV, he is an escaped Tevinter slave who's plot revolved around magisters, magic and the structural prejudices surrounding elves in Thedas. Not only that, but he's canonically in Tevinter killing slavers currently so he's geographically in the right place for us to meet him.

About halfway through the game though, it was clear to me: Fenris could never cameo in The Veilguard. Because he'd break it.

How the Veilguard treats Thedas is...odd to me, to say the least. I will be writing another post about how much I adored the expanded big lore in this game (the titans, ancient elves were spirits, where the blight came from etc.) and yet while these large lore expansions worked for me, the actual culture of modern Thedas is entirely softened, its sharp edges filed down until it's a sanitised fantasy world devoid of what made the franchise so vibrant and compelling in the first place.

So let's start with Fenris and slavery. In all three games, the reality of slavery is pushing at the corners of the world. In DAO Loghain allows Tevinter Magisters to enslave elves in order to raise money for his war effort. In DA2 Fenris is fighting to be free from slavers who will not leave him be, let alone the reminders that the city was built by slaves which are everywhere. In DAI one of the two possible mini-bosses is Calpurnia who was a slave, and characters such as Gatt and Dorian both show us how much slavery is tied into Tevinters culture and success.

But DATV the first game actually set in Tevinter where we get to see the famed Minrathous...it's like the game purposefully wants to avoid the issue. I can feel it tilting the camera away to not allow me to see. Slavery is mentioned, but never talked about in depth or as a specifically ELVEN problem in Tevinter. This might have been done to be less problematic, it feels ignored.

We are in DOCK TOWN. We are at the DOCKS. You would think that slaves from all over Thedas who are being smuggled and bought by various groups would be everywhere. You would think that the injustice in dock town would be partly built on the back of ships we've seen in the comics crammed with elves in chains. This is the world Dragon age set up for us. And yet...nothing. zilch. A tiny easily skippable side quest where we free a couple of venatori slaves, but only one of whom is an elf.

None of our Tevinter characters seem to have been influenced by their culture even a little bit when it comes to how they view elves; there is no moment when Neve fucks up and says something prejudiced, no moment when Bellara or Davrin are distrustful of her for being a Tevinter mage.

The same goes for Zevran; a character who epitomised the issues with the crows. The crows have consistently been characterised as very morally dubious assassins who kill for the highest bidder and who buy children on the slave market and torture them as they grow in order to assure that they reach maturity able to withstand torture without giving away a client's name. Zevran is very explicit about the fact that if you fail a contract your life is forefit.

Nobody responds particularly to you if you're an elf. Nobody trusts rook less for it in Tevinter. Nobody treats Rook any differently. Even DAI had better mechanics for this; with nobles in Orlais less likely to trust you as an elf.

Considering one of the main plot points of this game and what makes Solas sympathetic is the fact that he was fighting against the slavery of ancient elves...you'd think the game might want to mirror that in modern Thedas. It might want to show us how characters fighting to end slavery in Tevinter are similar to Solas and how the society Solas fought against was similar to the one that characters we love such as Fenris have fought against in modern Thedas. Maybe we'd want to explore how in a world of slavery like this, how could the answer NOT be to tear it all down? Maybe we should have that option at the end of the game so it really can chose whether we agree with Solas and his plans or not.

Adding Fenris to this game would entirely break the game because Fenris refuses to allow you to look away from this horror. He is a sympathetic character who had to learn to trust mages again because of course he didn't trust them. Of course he didn't. Fenris wouldn't allow the camera to shift focus because he's literally covered in the lyrium scars that show how slaves are used as experiments in Tevinter. Fenris WOULD question Neve on how she feels about elves and slaves. Fenris WOULD have things to say about Lucanis and the crows (let alone the fact Lucanis is an abomonation). So he could never be in this game; he'd drop a bomb on it's carefully constructed blinders to the very society its supposed to be set in.

And yet, in DATV, the crows are presented as...a found family of misfits and orphans? The politician who opposes the crows having absolute power in Antiva is framed as a comically evil idiot who doesn't understand that the crows are ontologically good. Yet...they're NOT. Crows in this game act more like a secret rebel group than an assassin organisation. We see no crow taking contracts with the VERY RICH venatori magisters despite being hired killers. We see crows just refuse to kill people despite having a contract because 'its crueler to leave them alive'. The crows don't feel like the crows here, they feel like a softened version of a cool assassin group who are cool because they wear black and purple.

Our pirate group are also sanitised; the Lords of Fortune are good pirates who only steal treasure that's not culturally significant. Theyve clearly read the modern critiques of the British Museum and have decided to explicitly stop anyone levelling similar critiques at them. There is no faction of the Lords of Fortune who aren't like this, no internal arguments about it. Everyone just. Agrees. And is able to accurately tell what a cultural artifact is vs. what treasure that you can have yourself is. Rather than showing us why a pirate stealing cultural artifacts might be bad (like in da2 where such a situation literally causes a coup and a war) it just tells us it's bad. But also pirates are cool so we still want them in our world.

This issue seaps into Thedas and drains it of any of the interesting complexity and ability to SAY anything that this franchise had before this game. It becomes a game about telling and not showing rather than the other way around. The games have ALWAYS asked questions about oppressive structural systems and their interplay with society, religion and culture and how these things can affect even the most well meaning character. Dragon age at its best IS a game about society and how society functions both for and against it's characters and what happens to societies built on cruelty and indifference. The best bad guys dragon age has given us are those who are bad because they embody these systems or have been shaped by them. Our main characters have had to wrestle with questions surrounding how to exist in these systems, fight against them, learn and grow.

Yet every group you come across in DATV is sanitised and cleaned up to the point of being as non problematic as humanly possible. None of our cast of characters have to wrestle with where they came from or the world that shaped them. None of them have to confront their own biases. They start the game perfectly non-problematic and end it that way too.

And this just...isn't what Dragon Age has been in the past. It isn't why I love the franchise. The whole game just felt, in a way, hollow. And this was a CHOICE and it is why the legacy characters are few and far between. Too many dragon age characters are just too...angry and complex for this game. You can feel them pulling their punches on this one. I have to imagine they did this because they didn't want to be criticised or have too much controversy? But I think it honestly goes far too much in the other direction and just makes it bland.

I can't imagine what I say here will be unique, but it is the basis for a LOT of my other thoughts on this game so I wanted to get it out of the way first. The softened Thedas and characters make this game by far the weakest in the franchise.

[faithshouseofchaos]

Yaknow maybe you should write a blurb where driver male reader gets into f1 the same time logans dropped(i wanna say kicked because it cant be described as just dropped yaknow?) And theyve been dateing for a while so when he gets into f1 he Decides he's going to ignore the other drivers like they did logan (Except maybe talk to alex a little even tho their on different teams) and reader just demolishes the rest of the drivers on track and gets first for the races left (while being nice to franco only because logan said so) and the other drivers ask oscar why reader is to cold to them and he doesnt know cause readers doing the same to him even tho their childhood friends he even tells them that he's never seen reader this petty and it probably something personal that happend off track and that he'll be better by they end of the season (even tho reader wont)

Cold revenge— Logan sargeant x male reader

Word count — 1535

Fluff with a angst

The paddock was louder than he’d expected, bustling with voices and familiar faces. But Y/N wasn’t here to make friends—not with them. Not when they’d let Logan go so easily. He could feel a flash of resentment bubble up as he brushed past the crowd, heading straight for his garage.

As the season started, his focus sharpened, race after race. He was taking wins like they were meant for him, hardly sparing a glance for the other drivers. He’d see Oscar trying to catch his eye now and then, probably wondering what was up, but Y/N kept things short, tight smiles and nods before walking off. Alex got a little more acknowledgment, mostly because Logan had always had a soft spot for him. And Franco? Logan had asked him to be cool with Franco, so he’d manage that, too.

It wasn’t long before the other drivers started noticing. In the paddock, the whispers grew. During post-race interviews, Y/N’s answers were straightforward, never really engaging with the usual back-and-forth banter. Charles leaned over to Oscar one day, raising an eyebrow. “What’s with Y/N? He hasn’t even looked at half of us since he got here.”

Oscar shrugged, visibly stung, like he didn’t have a clue either. “Honestly, I don’t know. Maybe something off-track. He’s never been this… intense.”

Race by race, Y/N kept winning, his focus relentless. But with each victory, he caught himself glancing at his phone, waiting for Logan’s usual text—a “good job” or a thumbs-up emoji. Y/N knew Logan was watching, but lately, the messages were shorter, more… careful.

By the third race, Y/N noticed Franco hanging back after qualifying. The two exchanged glances, Franco giving him a slight, knowing smile. At first, Y/N wasn’t sure whether to respond, but he remembered Logan’s words, that Franco was “alright.” Begrudgingly, he gave Franco a quick nod as he walked past.

Next race weekend, Franco didn’t hold back. “Good job out there,” he said in his usual friendly tone as they passed each other in the paddock. “Could’ve made it look less easy, you know?” he added with a smirk.

Y/N couldn’t help the small grin that slipped out. “Guess I’m just doing my job.”

Franco laughed, clapping him on the shoulder. “Well, good to see you’re human after all. Logan would be proud, yeah?”

A flicker of surprise crossed Y/N’s face. Hearing Logan’s name reminded him of the loyalty that had been fueling him, but Franco’s easygoing attitude softened his edge. “Yeah… he’s been watching.”

The next time he ran into Franco, it felt almost natural to swap a few words. They didn’t talk much, but Franco’s relaxed, warm nature was slowly breaking down the ice.

Not long after, Y/N found himself in a post-race briefing alongside Alex, who had a way of putting people at ease. Alex gave him a quick glance as they waited. “You know, Logan’s been talking you up—says you’re unstoppable out there.”

Y/N managed a quiet chuckle. “Guess I have to live up to that, huh?”

Alex smiled, nodding. “If anyone could, it’d be you. Just… don’t let the intensity take you down too, yeah?”

For a second, Y/N hesitated, then nodded. It was odd—Logan had always admired Alex’s resilience and calm, and now Y/N could see why. Alex’s words settled something inside him, easing the sharp edges he’d been carrying.

Over time, the walls began to come down, bit by bit. Y/N would pass Franco in the paddock, giving him a small grin. Alex became someone he actually stopped to chat with on occasion, their exchanges short but genuine. He still wasn’t the chattiest guy in the paddock, but for the first time, it felt like he didn’t need to keep everyone at arm’s length.

By the season’s end, Y/N had found a balance between his loyalty to Logan and his own journey. The paddock had gone from hostile ground to something familiar, and as he stood on the podium after the final race, he couldn’t help but look at Franco and Alex in the crowd, grateful for the unlikely friendships he’d found along the way.

Let me know how you like this! This version keeps Y/N’s guarded personality intact but lets Franco and Alex start bringing him out of his shell gradually.

Finally, after a particularly tense win, Y/N found a message waiting from Logan: Come over tonight? Need to catch up, just us.

When he arrived, Logan had already set up in his living room, a few beers on the coffee table, the TV playing softly in the background. Logan shot him a grin as he walked in, patting the seat next to him. “Congrats, champ,” he said, holding up a beer. “Guess the whole ‘quiet assassin’ thing is working for you.”

Y/N chuckled, easing onto the couch. “Guess so. I’m just here to win.”

Logan took a swig, then gave him a long look. “Yeah… noticed you’re not exactly chatty with the others.”

Y/N shrugged, avoiding his eyes. “Not here to make friends. They didn’t exactly do you any favors.”

Logan shook his head, a fond but tired smile creeping across his face. “I get it, really. But they’re not the bad guys here, Y/N. This… grudge or whatever—don’t make it yours.”

For a moment, Y/N was quiet, letting Logan’s words sink in. He felt a pang of guilt; maybe he’d taken things too far.

But the next weekend, in the paddock, he felt a little lighter. He saw Carlos out of the corner of his eye, who gave him a nod he’d usually ignore. This time, he raised a hand in a casual wave. Carlos blinked, surprised, but returned the smile.

Then, during pre-race prep, he found himself standing next to Pierre, who hesitated before glancing over with a small smirk. “So… you’re finally letting us exist?”

Y/N shrugged, a grin slipping through. “Just maybe.”

As the season wore on, Y/N gradually loosened up—small nods here, a smile there. He was still mostly quiet, but the wall was cracking.

Y/N was heading back to his garage after another win, the adrenaline still pulsing through his veins. He’d barely stepped out of his car when he spotted Oscar lingering nearby, leaning against the wall with a look that was somewhere between curiosity and frustration. It wasn’t the first time Oscar had tried to catch him alone, but this time, Y/N stopped.

Oscar pushed off the wall, hands in his pockets as he approached. “Got a minute?”

Y/N nodded, folding his arms. “What’s up?”

Oscar looked at him, clearly trying to pick his words carefully. “Look… I don’t know what’s going on with you lately. You’re here, but it’s like you’re not. You barely even look at any of us.”

Y/N’s jaw clenched slightly. He wanted to deflect, but he could see the concern in Oscar’s eyes, mixed with a bit of hurt. “It’s nothing personal. Just… keeping my focus.”

Oscar scoffed, crossing his arms. “Come on, mate. It’s not just focus—you’ve been shutting everyone out, including me.” He hesitated, then sighed. “We’ve been friends since before all this. I get that F1 changes people, but it feels like you’re a stranger here. It’s like something happened and you’re just… cold.”

Y/N looked down, feeling the weight of Oscar’s words. He’d been so focused on staying loyal to Logan’s memory in F1 that he hadn’t thought about what it looked like to the people who actually cared about him.

“It’s about Logan,” he said finally, his voice low. “He got kicked out, and they barely gave him a second thought. I didn’t want to let it go, so I guess… I figured keeping to myself was my way of showing I’m not here to be their friend.”

Oscar’s expression softened as he nodded slowly. “I get it. I really do. But Logan wouldn’t want you to be this way, would he? Being here, it’s your time, your career. Don’t let what happened to Logan weigh you down. You’ve got nothing to prove to anyone but yourself.”

Y/N felt something shift. He’d been carrying this silent anger for so long, and now, faced with Oscar’s steady gaze, he realized maybe he didn’t have to carry it alone.

“Yeah, maybe you’re right,” Y/N said quietly. “It’s just… hard to shake it off.”

Oscar clapped him on the shoulder, a reassuring smile spreading across his face. “I know. But just… let us in, alright? You’ve got people here who want to see you succeed, not just win.”

Y/N managed a faint smile. “Thanks, Oscar. I’ll try.”

As he walked back to his garage, he felt a weight lift, and for the first time, he was ready to let the walls down—just a little.

By the final race, he was in the paddock with Logan’s voice in his head, letting go of the need to prove anything. And when he finished the season with a win, he found himself in the center of the team celebration, surrounded by drivers who’d finally started to see the real Y/N.

[dira333]

Soft Launch Competition - Suna x Reader

for @moochiwoochi for the Milestone Event Week 2

You don’t want to be the one asking for it. 

But with how much time Rintarou spends on social media, you shouldn’t even have to, right?

“What are you doing, Rin?” You ask, cuddling into his side.

“Scrolling,” he huffs out, swiping upwards one last time before putting his phone away to focus on you. “Just wasting time. What are you up to?”

“Cuddling?” You offer and he pulls you further in, rests his chin on top of your head. 

“I like that idea.”

“Do you-” You hesitate. “Never mind.” You grab the strings of his hoody and pull on them, hoping it will distract him enough.

But this is Suna and he’s got laser focus when he shouldn’t, really.

“No, no, what did you want?”

“Nothing,” you push your lower lip out but he’s not buying it today, biting it but keeping his eyes sharp. You shouldn’t have started what you can’t finish.

“I’m hungry,” you decide. It’s your best bet to push this away from you.

It works for a while, at least, because you’ve been undecided on food before, weighing the options of different restaurants, eating and not eating late at night.

Rintarou knows you like that, so you have reasonable hope that he’ll stitch it up to this.

-

“Now,” he drags a fry through the ketchup on your plate and holds it up to your lips. “What’s on your mind?”

“I don’t know what you’re talking about.”

“Liar,” he drags another fry through the ketchup and taps your cheek with it, grinning when you move to pat away the ketchup stain. “Stop.”

“Only if you tell me what’s going through your head.”

“That you’re annoying is going through my head.”

“Boohoo, you’re so sad about it. Tell me.”

“No.”

Rintarou grabs another fry and you know you can’t win this one, you just know.

“Fine,” you huff and he drops the fry with a winning smile. “I was wondering… whyI’mnotonyourinstagram.”

His smile does not waver. 

“Ah,” he nods. “I should have guessed that.”

“Right?” you nod, despite the anxious thrumming in your stomach. “We’ve been dating quite a while.”

“Mhm,” he eats a fry and chews slowly. “You know putting you on my Instagram is going to unleash hell, right?”

“What?” You furrow your brows. “No, it’s not.”

“You’ve seen my posts, right? People follow me for my jokes.”

“And your thirst traps.”

“Oh,” he blushes. “Those. Yeah. I do upload these for you, so.”

“Liar,” you tell him. “You could just send them to me if that were the case.”

“But where’s the fun in that?” Rintarou grins, teasing you. “Besides, you haven’t posted me either.”

“I was waiting for you to post first.”

“Oh, are we scared now?”

“No!” You pull your phone out and put it on the table. “Bet?”

“Oh, it’s on.” He waves his phone around. “Whoever posts first pays for the food?”

“We already paid, it’s McDonalds.”

“Not today,” Rintarou scoffs. He means business now. “This Sunday, big date. Loser pays.”

“Fine,” you hiss, grabbing your phone. You already have the perfect picture saved. “Go.”

-

You win by a measly five seconds and you suspect that Rintarou let you win, not that you’re going to complain. 

He’s got the bigger paycheck.

“Let me see what you posted,” you giggle, still high from your win.

“Yours is cute,” Rintarou comments, turning his phone to show you your post, the two of you, sunglasses on, at golden hour. 

“I kno- Rin! Why’d you pick that?”

“What? It’s cute!”

“It’s not cute, my shirt has stains on it.”

“And I still claim you as my girlfriend. You’re welcome.”

-

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[jayktoralldaylong]

Alright, there's something I'd like to talk about, and let's come at it with an open mind. When Season one of Arcane ended I was 99% sure that Mel was not going to make it to this season. I was praying for every kind of miracle that could happen just to keep that beautiful goddess on screen but she was the first line of contact for that bomb.

Now that everything has been revealed, I want to talk about that bomb.

Ironically, Season two episode one starts with the exact same shine of gold that ended season one.

See, season one:

Season two:

And when the smoke clears we can see her leaning really close to Jayce, like she got blasted towards him.

Now, looking at the seat arrangements from Season one, I can actually see it a lot better now that I'm taking a second look. We can see that she is standing directly in the line of fire, Jayce is standing to her left and Viktor is sitting in his chair, Jayce's chair. Just about everyone sitting by her right died, Salo is sitting furthest away from the blast, opposite her. He probably saw it just a few seconds before she did.

And when she wakes up, all groggy and out of focus, her hands are on his shoulder. They been there, she did not just put them there, she already had her hands on him. Protecting him.

But what I really want to pay attention to, is the look on Mel's face when she and Jayce take in the damage.

The entire place burned down. Realistically, not a single person should have survived that, especially not unharmed.

Then the damage starts sinking in (Don't look at Jayce, look at Mel):

Look at Mel, as they look around the room of injured Councillors.

Jayce is panicking, full on panicking, he's had his nerves rattled, he's never seen anything like this (unlike Mel who, if the audience remembers, grew up in Noxus). And the sweetest thing is how she follows him around, trying to comfort him, while he's trying to shake Cassandra awake.

And she stays right there by his side, until her mother pulls her away (foreshadowing about their duties pulling them apart perhaps?)

Now, imagine you were in the middle of a disaster, a terrible disaster, and you had the power to save every single person in that room, but you did not know this because no one ever bothered once telling you that you had powers. However, in that moment, you did indeed save one person, without knowing, without even thinking. Who did Mel save?

She saved Jayce. (The craziest thing about that.....is that.... Viktor was literally right beside him. He was right beside Jayce OMG 😭😭).

Watching this scene, I cannot imagine the amount of guilt that threatened to swallow Mel whole ever0y time she saw the aftermath of what happened and a small part of her brain would nag her that she could have prevented it, that she could have protected Jayce's friend.

So why Jayce? Why ONLY Jayce?

"Because she loves him."

Obvious answer, two plus two equals four, but this is Arcane we're talking about, there is more to this simple equation and it is plain to see in their reactions in the aftermath.

Jayce is devastated. He is new to war, he does not know shit about it, it scares him to see all the people that he respects flattened like they are nothing. The Piltover Council means something to Jayce.

To Mel, they are colleagues. They are.... people with names and faces and power. They are people she would help on a normal day, but at the first sign of danger she clung to one person.

Jayce was Viktor's first friend, and he was Mel's too. He was the first person to tell her that she was not crazy. The first person to strangely believe in her dreams, to pour out affection not out of arrogance but genuine care that he was not ashamed or even hesitant to show her. He fought for peace when she began to doubt. When she felt unstable, his naivete and pure heart steadied her.

Mel loved Jayce. Loved him so much that she did not freak out when he was tweaking cause of the Arcane. So much that she fought for him when he was getting outright dominated by his ex. 💀💀 And while it is not the space shattering world changing soul bonded union of javik, I think it is beautiful that Mek loved Jayce.

I think it's ironic that the brotherly love that people keep trying to achieve with Jayce and Viktor was represented so well with Jayce and Mel. I think it's iconic that a male and female character that banged on screen can go their separate ways without a dramatic breakup and without losing the entirety of their care for one another (cause some of it was definitely damaged after their individual trauma).

What I'm trying to say is that Mel loved Jayce. The love was there. Call it romantic or platonic or whatever but she cared about him more than she cared about anyone in that room when that bomb went off.

And it just twists something in my heart....that Jayce was so loved by the two people that meant so much to him. That he gave all of his heart out and they gave everything back because of how selfless his love was. Everyone says Viktor and Mel are out of Jayce's league but they both keep putting him first. (⁠T⁠T⁠) They just cannot resist that all encompassing love of his. It saved Viktor, and it saved Mel who finally found her truth, and lost him to find it.

[ts-janus-rp-blog]

"I care because he cares about me!" Janus tried to catch Roman to gently set him down, but well, Roman was much too big for him so they both fell to the floor. But Janus didn't waste any time in standing up and inspecting Roman. He would help pull the toys out or do anything he could to help him. "I know he's not my master!" Janus looked over to Virgil, his eyes like daggers. "But I care because he cares about me when he doesn't have to! Unlike you, I care about people! I don't care about me! I'm worthless, im nothing, I'm just...a walking dick! So that's why Id throw myself away for people who care about me! Even if theyre not my master or not, I could care less! It's the fact that he cares about me is good enough!" He used his body to shield Roman. "I don't like him as a mate! I like him as a friend! A good friend!" He snarled, "And unlike you, I don't hurt my friends! I care about them just as much as they care about me! I don't laugh at my friends pain!"

Remus chuckled loudly as Patton coughed up the whiskey. "Told you." He winked at him, but he took the bottle and put it back in the fridge. But his smile quickly faded as Patton asked those questions.

"It's alright, it's part of our lives and has been since...really as long as Romans have been alive. I won't trade that experience for the world, despite everything. He's a good kid, and he never gave me much of a headache. But...I think it's about time i focus on myself. Virgil... Well, Virgil likes Roman. Like... He wants Roman to be his boyfriend. But Roman doesn't want that. And Virgil doesn't like that. So he's hoping he could get Roman pregnant...and use that baby to force Roman to like him. It's some sick shit. As for Janus... He's just using Janus to get to me. He knows I care about Janus, and thinks of Janus as my property. It's basically...like he's beating up my car right now. It's not cool. He's trying to piss me off. Not really, if you count existing and being hot in Virgil's eyes as bad, then yeah... He's bad." Remus glanced down at Patton, then he took in a breath. "You remind me of Janus, you know that? Janus would say that too..." He took one last sip of the beer before tossing it into the trash and grabbing another one. "Just cause you're a hybrid doesn't mean you should be treated like shit. You're a living thing... Even a ladybug should be treated with fairness and respect, don't you think?"

Patton knocked desperately at the strangers door, praying someone, anyone was home. His heart beat as fast and loud as the rain thundering against the sidewalk. He was sure he was being followed, they were going to catch him. They were going to drag him back. He wasn't sure if whoever lived here might be worse, but he was willing to risk it at this point. Anything to escape.

{@moralpuppylover2}

Janus didn't know who would be at the door. It was late, but his master won't surely be home at this time. He normally doesn't get home until the sun starts to come up.

So, as the dog hybrid walked up to the door and opened it, he wondered who it could be. And if he should open it at all... Who knows, he may get in trouble with his master for opening the door. But, his curiosity was getting the better of him-

He stopped when he saw the soaking wet cat standing at the doorway. He could tell that this cat needed help almost immediately. Well, if his poor state of clothes were anything to go by. His eyes flickered up and down the sidewalk before he grabbed pattons arm and pulled him inside.

"are you alright?" Janus nervously asked as he grabbed a towel from the mud room. "Well, that's a stupid question, of course you're not alright! Are you...running away from your owners?" As Janus walked, the collar around his neck would jingle loudly. And even though it was cold outside and even in the house, he only had a pair of boxers on. Because of that, Patton would be able to see the numerous large scars that covered his body...and the countless amounts of fresh bruises.

@moralpuppylover2

[gayferrari]

okay i am coming to you as carlos fan who loves charles to my core (he is my soul sister!!!) but only ever roots for him for ferrari reasons, trying to see this from charles fans pov how is anything that happened tonight carlos’s fault and not just ferrari’s fault… like i try to be critical and i love to shit on carlos when he is stupid (bc he is stupid a lot) (for example spain24 i fear i am not on his side there) but ferrari fucked carlos over so bad today with his pit stop like i truly believe the thing that happened with charles was more of a fuck you to ferrari and not anything to do with charles at all so like i get why charles fans are upset but… i don’t know again would like to hear your thoughts on tonight

DISCLAIMER VIEWS MY OWN (as in. I don't speak for all Charles fans and probably not even a majority of them about this. and I enjoy it when athletes are petty and angry and grudgy and let out their ugly sides)

my first takeaway is that it's truly not that deep. Like, yeah, it's race day emotions are running high but so are the emotions of the guys in those cars. they're gonna get out of the car, calm down, shower, go on with their lives, and not think half as hard about this stuff as fans do, and some fans will remain upset for far longer than their blorbos will ever remember this. I think it is good to keep in mind before getting worked up

what happened: [regardless of garage 55 brainfart moment] Charles was ahead before the pit stops. At the pit exit, Bryan told Charles that Carlos had been told not to fight him and he should just focus on tyre temp instead of defending; Carlos went ahead and overtook him anyway. (That's when Charles said "Next time tell him in Spanish") Later, when Max was right behind Carlos and Charles was trying to overtake Max, Carlos was really slow. Like, there's speculation on reddit that he was feeding Max DRS <- not saying it happened (WE will never know) BUT he was slow enough that other people went "Wait this is weird," and his frustrated teammate would have noticed. If EYE was fighting for the wcc and I even suspected my teammate put someone else between the two of us (costing the team points) to protect his individual race, I would also go off about it. Regardless of whether it's true. Again! Not saying this is what happened and we will never know, but earlier in the race Carlos was definitely told not to overtake, and did it, and between the two of them he's the one with a history of ignoring team orders.

EYE (tumblr user gayferrari) have my own opinions. nuance button. I don't think you should get a gold star for being a "good teammate" or that following team orders is always the right thing. But CHARLES clearly values it, and in the past he's actually put his money where his mouth is and pulled his weight even when it cost him individual points, and I can understand he'd go on a heated tirade for 4 seconds when he's high on adrenaline. I don't think any of this should be a big tell about Charles's personality, team dynamics, his relationship with Carlos or whatever. I think he just spoke without a filter for a couple seconds, and I believe in taking these kinds of radio moments with a big pinch of salt. I'm gonna RPFy the shit out of this because I am on f1blr to have fun not to get angry. But I don't agree Charles was mad at the team, it was a very much "other side of the garage" kinda moment.

(*) note also that Carlos was told to swap with Charles earlier and DID do that, but after a few laps / because he was struggling with pace + very early on, when Charles dropped P2 -> P4, he was the one who spontaneously brought up letting Carlos pass because he knew he was struggling. So they both had moments where they were collaborating this race. I'm bringing this up for completion's sake, like, yeah Carlos swapped when asked even if late! But he also overtook when told not to

I hope this clears it up! Again, it's MY view that it's not that serious because we all choose how to enjoy sports and I'd much rather get angry about other things I feel matter more, and leave the petty drama as RPF fodder. But everyone enjoys sports differently so I can't speak for others

[fyeahnix]

Ok lemme talk about this season of Arcane, the ending, and most importantly, Sevika. If you don't want spoilers, back away now but I'm leaving this open because people have a tendency to not open or read my posts with read more cuts after them 🙃

[SPOILERS BELOW]

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[SPOILERS BELOW]

First off, I will say that I like Arcane a lot. Like a LOT. I've watched the first season 4 times (rarely do I watch anything more than once) and I think it's a masterclass in adult animation. Fortiche really put everything into this series.

That being said...

While I did like season 2, I don't think it was enough. Animation wise it was phenomenal, writing wise...I think it could have been better. As I've learned through doing research for my Sevika fics, the League of Legends universe, lore, and worldbuilding is fucking MASSIVE and even if I don't give two shits about that community or game, I have to give it props in that department because they really put a ton of work into it to make it feel alive. Maps? Short stories? Timelines? Race and culture? Apex could never...

That ofc is why it's hard for me to say that the writing is amazing. We had far too many characters to keep track of in season 2 with far too many plot threads to finish in two seasons. I think ideally, this series should have been 3 seasons instead of 2. Acts 1 and 2 could have been its own season, and Act 3 could have been its own season. If not that, then at least one more episode per act would have helped a lot. Things just progressed and wrapped up far too quickly for my liking.

Also not a huge fan of how quickly video game related media tends to dip into the whole timeline and multidimensional business. It def works well for some games but here? Idk I guess it was bound to happen given some League character's abilities, but the stakes just elevated far too quickly for me. Not a fan of Viktor becoming one of the main antagonists at all, and DEFINITELY not a fan of the conflict between Piltover and Zaun being sidelined for an "enemy of my enemy is my friend" thing with the war against the Noxians. It makes sense, I just wish "war with the Noxians" came at a later date so we could focus on the twin cities.

And speaking of the generational conflict between Piltover and Zaun, let's talk about Sevika.

As I said before, Sevika is the most qualified person to become the leader of Zaun and I stand by that even after the ending. But first....what about her found family? Isha sacrificed herself and Sevika gets no on-screen reaction? The last two episodes just progressed SOOOO FAST that we and some of the characters didn't even have time to breathe. Did Sevika even get time to mourn for Isha? What about Jinx, who is now gone? Sevika barely even encountered Vander! I would have loved to see some of the aftermath there because I think season 1 did a better job of allowing characters time to process their emotions and grief, even if the pacing was still kinda fast. It was acceptable!

I am sad af she didn't get more lines, but remember, Sevika has always been a side character in this series. An important side character but a side character no less. The promo shot of her now feels like...what was the point? (more on that in a sec) but considering how many characters and plot points and plot threads they had to account for, I am not surprised she didn't get more screen time. Hell, Vi and Caitlyn didn't even get a chance to have a full conversation on eveything that happened and Caitlyn didn't even apologize on screen. The fuck bro.

Now about Sevika's ending....I am very happy she isn't dead. Like dawg, you have no fucking idea how happy I am about it. SHE FUCKING LIVED. But....

I am seeing some people saying they're not happy or they're confused or that her ending doesn't make sense. And I just disagree with those points. Let me explain why.

I posted something earlier today about it, but again, as people don't open my read mores, I'll repost it here:

We absolutely do not know how much time passed between the war and the final few shots of the season. So Sevika joins the council. I DO NOT THINK she would do this unless there's a good reason for it, and that's why I'm guessing she will be Zaun's ambassador on the council. That war probably significantly changed the relationship between Piltover and Zaun and while old wounds will take more than a fucking war to heal, her being on the council now means she directly has a say in Zaun's future. Remember, the council was literally about to hand Zaun their independence before Jinx blew it up, and Mel was in support of it. As I said before, Sevika is respected down there at a bare minimum with all the factions. She would know better than anyone how to lead Zaun at this point. So yeah I get the hesitation, but it makes sense in my eyes. And it makes it likely that Sevika could show up again in a future League animation, if not become a whole champion.

I like her ending. I am sorry but it just makes fucking sense. Sevika is extremely loyal to her home and her people of Zaun. We've seen that time and time again. She was willing to go to war and die for those people not just against Piltover but also the Noxians, so why on fucking earth would anyone believe she's making a bad choice here?

She is now in the best possible position anyone in Zaun could be to advocate for their independence and support their growth. She knows the chem barons and brought them to peace, she gained the respect of the Firelights with Scar leading them in Ekko's absence, and she even got the Jinxers together with them before the Noxian attack on Zaun. Sevika has experience, she has the ear of the people, she knows what it's like down there, she is made to lead and help advocate for them!!!!

Believe me I get that whole "changing things from the inside" angle doesn't work more often than not, but this doesn't feel like "changing from the inside," it feels like "let me advocate for my people's actual independence so we have a starting point to become self sufficient." Again, Piltover was literally about to let Zaun gain their independence, and while none of the previous council members that agreed to it are there, Mel is/was. Who's to say she didn't help negotiate for Sevika to sit on the council and start (or complete!) the Zaun independence process before she left for Noxus? I can't imagine Sevika would just show up to the table and sit there if she didn't have a damn good reason. Like come on now. This woman has seen first-hand what Piltover is capable of and does not like them nor looks like she wants to be there. But she's seen what Piltover has done to her people first-hand, and after learning from both Vander and Silco, this is how she feels she can best protect her people.

She IS the new leader of Zaun and their ambassador at the council.

And lastly, we've been told that some characters will be returning in future League animations. Mel seems like an absolute given, but what about Sevika? Zaun's story is only just beginning, and yeah they said they'd like to branch out to other regions, that doesn't mean a cameo or maybe another medium can't be used to continue that story (a book, perhaps??).

Anyway yeah those are my thoughts...

[tyrantisterror]

Wherefore Art Thou Clownfucker?

A while back I made a post explaining why vampires appeal to me, and while it was mostly in a more general sense, there was a specific focus on why I find them, you know, hot. And it was that was in part because I had recently discovered that I'm apparently surrounded by Werewolf fuckers on here, much to my dismay as a Vampire fucker. It's like being the only goth kid at a rockabilly concert or something. I felt defensive, is the point! I needed to go to bat (heh) for my pale ladies (and Astarion.... and Spike)!

And now, because Muncher compels me to do so, I'm doing the same for Clowns. My other pale ladies.

Now, keep in mind the fact that I'm a monsterfucker first and foremost, and that my clownfuckery is really more derived from my monsterfuckery. I imagine the middle section of the Clownfucker/Monsterfucker diagram is pretty big, but I also know there are some clownfuckers who are very much NOT monsterfuckers, and vice versa. This is not the case for vampirefuckers, who are nestled firmly within the monsterfucker circle, because while all vampires are monsters, not all clowns are monsters. I bring this up because while I'm gonna try to explain clownfuckery on its own terms, there is likely going to be some monsterfucker bias in my explanations and defense. That's just how it is on this bitch of an earth!

I'm gonna get real pretentious here and talk about the historic role of clowns for a moment. From Comedia del Arte harlequins to medieval court Jesters, the clown's role has always been that of Comic Relief. They are, simply put, here to be tonally dissonant - when everyone else is serious and dramatic, a clown comes in as this weird, silly, incongruously hilarious element that contrasts the gravity of everything around them. "Relief" is really the key word here - a clown's job is to provide levity when otherwise there would be none. When everything is dark, they provide a little light.

That's the core emotional appeal of clownfucking - a clown is/should be someone who can make you smile when you need it the most. Kingdom's at war, family's fighting, your life's in shambles? The clown will make you laugh. Everything feels dark and gloomy and depressing? Here comes a silly little goofball wearing bright, clashing colors and jingling with each step because they're covered in bells, and all they want to do is tell jokes until you start laughing. Clowns are, by intent, that sweet sweet hit of dopamine personified.

Clowns are here to make you smile.

Another important historical detail about clowns is their unique place in the hierarchy of society - namely, being entirely outside of it. A jester was in some respects the lowest person on the totem pole, a fool that had power over no one and nothing, living to be laughed at. Yet, because they had no power over anyone, it was generally poor taste to take offense to anything a jester said, which meant they could talk more freely than anyone else - when everyone else acts like a butt-kissing sycophant, a jester is free to talk shit and speak their mind.

The traditional attire and appearance of clowns plays into both of these traits: the bright, gaudy clothing and makeup is silly, yes, but it's also a sign that the clown does not give a single shit about fashion and other social norms. A clown is, by nature, an anomaly, a misfit, a rebel.

Nowadays we have another word for people with that attitude. Clowns are punk.

Weird makeup, crayola red hair, patchwork clothes...

I would say the very fact that "normal" people look at clownfucking as some sort of inexplicable fetish is, in fact, part of the appeal. It's a form of xenophilia, of attraction to things that are different and othered, a love for outsiders and misfits and oddballs. To fuck a clown is to show love and adoration for something outside of the realm of what is socially acceptable - something silly, goofy, and weird, yet also often harmless. After all, a clown's main purpose is to make you smile.

That's not to say that clowns have to be harmless to be attractive, mind you. Tons of people, many much smarter than I, have talked about the cultural shift of our perception of clowns that began somewhere in the 1980's. Clowns went from being viewed as genuinely fun and cute to primarily being figures of fear and terror - if a clown shows up in modern media, even if it's innocuous, there will always be at least one character who vocally talks about how creepy they think clowns are.

That may in part be due to the fact that clowns have such a benign mission statement - a lot of people, especially nowadays, do not trust a person who claims they just want to make others happy. Anyone who acts like that MUST be up to something - there must be something nefarious going on, some evil plan, some lurking danger.

Which is where you REALLY bring the monsterfuckers in.

You really don't need to do that much with a clown's design to push it firmly into monster territory - "a pale person with sharp teeth" is the bare minimum it takes to make a vampire, after all (and even the pale part can be downplayed).

And a clown's dedication to making things "funny" can make for a very enjoyably-scary persona for a monster - hell, half the appeal of the Addams Family is that they're a bunch of freakish inhuman monsters who react to a bunch of scary shit with absolute delight and adoration. Again, the tonal dissonance element is at play here, albeit in a different way - even when Clowns are the darkness in your world, they still bring light in the sense that they view it that darkness as funny in of itself.

(hell, the word "harlequin" means "five horns," and may be rooted in folkloric monsters like Herne the Hunter depending on who you ask, so in a way clowns have always been monster-coded)

I think all of this is pretty well exemplified in the current Patron Saint of Clownfuckers, the goddess of Clownfuckery if you will, Harley Quinn. Hailing from a story whose main setting is such a Gothic Horror-inspired nightmarish shithole of a city that it's literally called Gotham, surrounded by characters who are at least 60% gothic horror archetypes by volume, opposed by a hero who literally dresses like a Dracula, it is inarguable that Harley Quinn is surrounded by darkness that's both literal and figurative.

But she's always smiling, and not in an ironic way.

Harley Quinn suffers intense abuse, she's drawn into wicked schemes, and in the way of most modern clowns, she causes no small amount of mayhem and suffering herself. But even at her darkest, she's always smiling, always trying to find the bright side.

She's a rebel, she's a punk. Almost everyone thinks she's beneath them. Almost all of those people get proven they're wrong. In a world full of tyrannical hierarchies, she steps outside of them.

She's an outsider, a misfit, an oddball. And she wants to make you smile.

I think you can probably see the appeal of that.

[meloveanimeforreal7604]

Head-Canon Saturday!!!

I just had a thought about healing and how it can work with the Bad Sanses!! (Fanon)

As most people know. Healing requires a good enough amount of magic and intent. Otherwise, how can the monster heal physical wounds or injuries?

Nightmare -

Nightmare is able to heal only because he has such good control over his emotions. Yes, he is the Guardian of Negativity, but that doesn't mean healing is out of his range. He already has a huge amount of magic, plus spending several years mastering control of his abilities, so emotions and his magic aren't an issue. It never is when it comes to one of his own, despite them telling him not to, he'll give them the old, "You're ribs are fractured, I will not afford to losing one of you for your insolence, now hold still!"

Killer -

Killer is probably one of the skeles who'd have the most difficulty with healing people. He can't exactly feel anything, so if he even tried to heal someone, the intent wouldn't exist no matter the amount of magic he uses. He'd try, and nothing would happen, no glow of green magic, nor a glow of agitated magic because he doesn't have the intent to put into healing someone, if he were asked to heal someone he'd shrug it off and have someone else to heal them, knowing he can't.

Dust -

Dust definitely has the magic for it, but if he tried his magic being how it is as well as his mental state on the average day, it would be very difficult to place his intent to be healing. It would be agitated magic and rather what would feel relaxing and soothing, it feel like a ton of static electricity directly on the injury, causing the other he is trying to heal, to flinch away. He feels really bad about this and Not-Papyrus doesn't help with the guilt.

Horror -

While Horror sure has the intent for healing others, he wouldn't have the magic to, so he spends his time outside of missions cooking and perfecting healing foods, putting all of his intent into it. That way, during battles, if someone does get hurt, he can just give them a small portion of their favorite treat, and they'd be up and running almost instantly! Sometimes, though, after cooking for a while in the kitchen after he's cleaned up, he can be found sleeping in there, putting intent in things takes energy out of him, especially doing it for hours. Nightmare or one of the others usually wakes him up and takes him to bed.

Cross -

Out of the entire group besides Nightmare, Cross can heal at almost anytime. If Killer had gotten hit by Blue? No problem!! Quick heal and ready to go. Cross having been trained in the royal guard in X!tale had certainly helped him keep a cool head during battle, and being able to focus his intent and magic into healing has definitely helped out the gang more than once, though outside of battles and missions if someone were to arrive home injured he'd be right by their aid with Horror, he wants to help and be important to the team after all. The only time he'd have issues with healing other people is if Chara starts distracting him, his intent wavers, and it would end up like how Dust heals.

[yenntrash]

My issue with Arcane S2

(Disclaimer: I think S2 is still amazing. Just much weaker than the first) I let my mind rest a bit, and I finally figured out what left me feeling... Flat. Not sad, not disappointed, just flat. It's the change of focus. Arcane season 1 shows us a very personal conflict between two long-lost sisters and the people around them. Their conflict is mirrored by another of much larger scale: that of the cities of Piltover and Zaun. In season 2, the conflict is made yet larger. People are not fighting for complex socio-economical reasons anymore, no, now they are fighting to save the world. Now, uniting everyone against a bigger threat makes for some kick-ass battle scenes, sure... But was it really necessary? I just feel like there was still plenty to say about the relationship between Piltover and Zaun. I feel like there was a way to make a compelling and powerful ending by still focusing on this lower-scaled conflict. I mean, that whole thing sure FEELS huge throughout season 1. Instead, season 2 felt... Like a superhero flick or something. A great one, sure. But season 1 was so much more than that! And another symptom of this change of focus is that as we move away from the conflict that birthed them, Vi and Jinx become secondary characters in their own story. I don't dislike Vik and Jayce, but when did they become the main focus? I just don't feel like the relationship between Vi and Jinx had a proper conclusion... I mean, the show starts with them on that bridge! They're the ones we follow for the first three episodes! The apex of season 1 is all about them too, as we are left to wonder what the ramifications of Jinx's actions will be! How will the cities be affected? Did everything change forever?!! And then, in three episodes, we swipe it under the rug and as we make way for the Viktor show. Hell, can you believe it? He's so important that he even manages to make the cities come together! Take that, Silco! He even indirectly makes some lasting change by putting Sevika on the council! Meanwhile, Vi and Jinx are fighting Vander... And for what? It doesn't matter. Jayce and Ekko save the day. Thank you for coming, girls! You didn't think that you were involved just because you're starring in the opening, did you? The more I write the less I like it... It's still great. Season 2 is amazing. But season 1 was next to flawless. Season 2 is high in the sky, but the drop still really hurts.

[lukolashipper]

Good morning, fandom!

Just wanted to put my thoughts in on this topic.

It is absolutely not okay to be having conversations about someone's body.

Saying things like, oh, Nicola must be lying about her height because she appears to be shorter than Yerin. Who cares. What people should be saying is wow, she looks gorgeous and is so talented.

Saying things like oh, she looks like she is expecting in this photo is just absolutely unacceptable. Do you realize that some people are unable to have kids for one reason or another, and talking about things like this is just bringing up a trauma.

Not to mention that your thoughts on others' bodies is just frankly none of your business.

Let us normalize not talking about others' bodies, please. Instead let us focus on their beauty, inside and out, and their talent, and the causes they support.

if you really must talk about this, do so in private and off the internet. You never know who is watching and seeing comments and posts.

I hope we as a fandom really take this viewpoint into consideration.

Have a great day

[sinfiltrate]

Act 3 spoilers

I just wanted to voice my opinions on the entirety of act 3, I will be making another post focusing on Jayce because I am disappointed with his story specifically.

Let's start with what I'm happy with!

The display of Mel's magic was amazing. All her scenes were so powerful.

CaitVi is canon! (which was predictable for obvious reasons but i'm still happy for them)

The music choice was perfect, as well as the quality of the episodes, as expected. No matter the storyline's flaws, the art style itself is undeniably gorgeous.

Maddie dies IMMEDIATELY after betraying Piltover, so I'm happy with that. Don't get me wrong, I think the season looked rushed, but the instant karma of that scene was enjoyable. It's well executed shock value.

The Caitlyn/Mel and Ambessa fight sequence was SICK. They really emphasized Ambessa's strength and battle IQ here, and while I dislike her, it was satisfying to watch.

The JayVik ending. Now, I am very conflicted with this, but I'll focus on the positive part. THIS MOMENT WAS SO TENDER!! It revealed how much Jayce truly loved and cared for Viktor, and that Viktor thought Jayce to be the only person who could ever make him acknowledge the importance of humanity. Jayce was his last and only hope, and Jayce proved Viktor right in every timeline.

Jayce defenders, we won. We got an entire episode dedicated to what Jayce and Ekko/Heimerdinger went through, and it proved that JAYCE WAS RIGHT AND HIM AND EKKO ARE OUR SAVIORS THANK YOU 🙏

Jayce looked fine asf. That is a beautiful man and I'm expecting many more edits (pretty please).

Alright, now let's get to what I'm upset about.

Jayce's wasted potential. The way I see it, they just reduced him to a pawn in Viktor's character arc, considering that his life begins and ends with Viktor. It's sweet, yes, and can be counted as a win for JayVik shippers, but I really wanted more for Jayce. And yes, I will most definitely come back to this on my Jayce-centric post.

The lack of reaction to Jinx's and Jayce's "death". I'm honestly not sure if either of them are dead (I am also somewhat in denial). Mel lost her lover, of whom brought out a softer side of herself that she didn't even know existed, and there's no reaction? Not even a scene of her finding out? The same goes for Caitlyn, since she literally saw Jayce as an older brother. Then there's Vi, who's seen completely fine with Caitlyn, and Ekko, who's having the only appropriate reaction, but even so, it's too calm. We'd have to assume that there's been another timeskip, but it couldn't have been long since the war. ALSO XIMENA, Jayce's MOTHER, she's seen putting a paper of Jayce's name to burn and honor him after his supposed death, but her expression is blank. Just simple resignation. I don't know, the lack of reaction had me questioning why I was sad.

No proper reunion scenes besides Ekko/Jinx and Mel/Jayce?????I actually liked Ekko and Jinx's reunion, but Mel and Jayce? Not even close to what I expected or wanted.

This season was rushed; that's something everyone can agree on. I think it was very focused on action rather than the complexity of these people's relationships and minds, while the first season had a balance between both. There just wasn't enough time for that balance with all the information they had to give us.

Honestly, and this is gonna sound horrible but hear me out, I would've preferred it if they had episode 6 be the last episode instead, and used the act 2 to explore Caitlyn's dictator arc and truly emphasize how long Jayce, Ekko, and Heimerdinger had been gone. I know how this sounds, but I really wanted to see more of Caitlyn and her mindset during the whole fascism plot rather than have her throw it all away three episodes later. It would've helped others understand her more, while also acknowledging how blinded she had become with anger and sadness. Also, this would've given more time for people to grow an attachment to Isha and see how she reminds Jinx of Powder!!! Just imagine it, the season closing with Jayce "killing" Viktor, no sign of Ekko or Heimerdinger, and Isha dying would have been even MORE devastating; the ultimate cliffhanger. There's no denying people would've been angry and shocked, but it would've made us want more, just like the first season did. I would be 100% willing to wait 3 or more years for the next season than have such an underwhelming ending.

Okay, I think that's it. Might add more to this post later if I come up with any other critiques, be prepared for the Jayce post because I NEED to talk about him.