#generation 2 synths

[spooky-donut-ghost-house]

Is it just me or do gen 2 synths look like crash test dummies?

Pre-war Institute made crash test dummies this is my headcanon now

[cozmicclown]

sneak peak of my synth study, I’d be honoured if anyone used my specs to draw their synths more accurately (be aware clearly seeing what exactly is happening in these guys is hard, so I’m making a few educated guesses) enjoy!

EDIT: as of recently this drawing is inaccurate! I was using JUST concept art as references! In game synths are noticeably different, I am drawing step by step how they are constructed, it will take more time but here’s a sneak peek

[starrysharks]

the urge to make public character playlists for my little guys...

[bmpmp3]

i do think its kinda funny when i see someone in the year of our lord 2024 talk about vocal synth music like its all gone downhill since like 2010 because like dont get me wrong i love a good niconicodouga-ass 2008 ass vocaloid joint BUT also like. the past couple years have had the most fascinatingly creative and expressive uses of vocal synthesizers ive ever heard in my life DJFSKHJDFS dont write it all off just yet!!

[strangestcase]

Is there like a name for when you are objectum but specifically about wacky fictional CGI technology that doesnt exist irl.

[kingsbride-moved]

OOO for the mini playlist ask game: how would you feel about us sending a ship name? mine is hirael :]c

I'd love to do it for ship names too ^.^ I love hirael as a ship name also it flows so smoothly :~) This playlist ended up with soft nostalgic "end of summer" vibes <3 H | Hanare, Banare - Fullkawa Honpo ft. Buzzpanda I | If I Were - Vashi Bunyan (also linking same but different since they flow into one another) R | River Low | Shugo Tokumaru (this one I personally consider to be more middle of summer than end but also I'm the only person who cares about this distinction </3) A | A Gift from the Sky | Dido ( I linked this one for a music meme on my main too but u have to understand. I just like it a lot.) E | Empty | Livetune ft. Yanagi Nagi (I actually have this song linked in my carrd... it's been on my mind again lately) L | Lost and Found (Band Remaster Ver.) ft. Hatsune Miku + Mami + Perio

[haveyouheardthisband]

the most obscure bands, and where to listen to them

This post will go over the five bands with the least amount of "yes" votes. Just wanted to give them some more attention - if any of them appeal to you, go check 'em out!

If you are a fan of one of these artists and I got anything wrong or you have anything to add, please let me know!

(Also, it's worth noting we don't make polls for bands if we can't find album art or genre info for them, so these aren't necessarily the most obscure bands submitted.)

Long post sorry. --rottel

-

Gold Zoo

Genres: Dance-Pop, Alternative Rock

6 out of 2,772 voters have listened to them. (0.2%)

Formed in Tennessee by members of prog rock/post-hardcore band Vela Ceras after it disbanded. Released one album, To Be Alive, in 2022.

Bandcamp Spotify Soundcloud YouTube (official; inactive) YouTube (auto-generated) Apple Music

-

Seve Vs. Evan

Genres: Synthpop, Synth Rock

4 out of 2,603 voters have listened to them. (0.2%)

Seems to have formed in Utah around 2004. Had two permanent members, Severin Bozung and Evan Sharp. From their MySpace: "We play carnival robotica or indie cool dudes pop, whatever you like better". Released three albums between 2006 and 2013.

Bandcamp Spotify 1? Spotify 2? Apple Music YouTube (official; inactive) YouTube (auto-generated)

-

Red Museum

Genres: Post-Hardcore, Progressive Rock

9 out of 2,617 voters have listened to them. (0.3%)

Formed in Seattle, WA in 2006. Often compared to The Fall of Troy. Released three EPs between 2007 and 2008.

Bandcamp Spotify YouTube (auto-generated)

-

Femina-X

Genres: Alternative Pop, Post-Rock, Latin Alternative

7 out of 2,453 voters have listened to them. (0.3%)

Texas-based band. "Femina-X identifies as "Latin Alternative" and creates unconventional fusions of progressive tribal and ethnic dance, jazz, Native/Afro-latino rhythms, Caribbean, and Southwestern desert landscapes." Released two albums between 2017 and 2018.

Bandcamp Spotify Soundcloud Apple Music YouTube (official) YouTube (auto-generated)

-

Yeah Is What We Have

Genres: Indie Pop, Power Pop

10 out of 2,498 voters have listened to them. (0.4%)

Solo(?) project of Tom Werring, former member of emo band State Lines (which then turned into Oso Oso). Based in Brooklyn, NY. from an interview: "Thorny yet radiant, sporadically tumbling into unraveled instrumental pieces at several points." Released one album in 2019.

Bandcamp Spotify Apple Music YouTube (auto-generated)

[dailyfatefigures]

this is my formal apology to type moon for assuming the worst of them. in my defense i was already feeling some sort of way bc of good smile and also really expected any celebration to somehow be tied to f/go bc i've lost so much trust in tm by this point + really thought my dash would be losing their shit if an official english f/sn was ever announced but my mutuals were all offline

hey man i mean this gently but they just announced a fate/stay night release in english. type-moon ace has also had a ton of features for the various anniversaries. TM has been doing a whole bunch for the 20th anniversary - you might've just missed it if you're not looking in the places where TM generally celebrates (understandable, since Ace isn't in english.)

i don't mean to be harsh, it just felt a little off to read your tags about type-moon hardly doing anything for the anniversary.

HUH????

[jamiepaige]

Constant Companions Closeup #2: NOT QUITE THERE

(also on spotify!)

b-b-back once again

Round two of the Constant Companions Closeups - a series of in-depth dives into the songs off of my latest album, Constant Companions! Yesterday was track one, Dyad - today is track two, Not Quite There, featuring the incomparable telebasher!

This one's a bit of a dark horse relative to the rest of the album, but it may very well be my personal favorite song on the entire thing so dammit let's Yap

---

For the uninitiated, this song pulls heavily from a song off my previous album called Gummyworm, both in vibe and by very directly quoting its synth motif.

Both of these songs deal with two sides of the same emotional coin. I actually don't want to go into too much detail about it - I feel like the lyrics spell things out clearly enough - but I will say this:

When it's all you know, it's easy to believe that a love that isolates you, a love that doesn't respect you, a love that hurts is better than no love at all.

You deserve better. There are always people who genuinely want what's best for you, who want you to feel truly loved. It certainly isn't always easy - it's genuinely good if your interpersonal relationships have a little friction sometimes - but love should make your life brighter.

You deserve a love that's fair.

---

The original version of this song was actually intended to be on Bittersweet alongside Gummyworm. The original concept for that album had a whole heady concept involving duality, songs reflecting each other, the two halves basically being reprisals of each other... Ultimately, I'm glad I scrapped that idea, because it was waaaaaay too much for me to manage after a couple years of barely making music. Maybe I'll revisit it someday though?

The drums on this song are sampled from an Instagram post by Louis Cole, where he's doing this crazy one-handed hi-hat blast by holding a drumstick sideways. I'm a drummer and that shit genuinely scares me a little like i dont know how he does half the things he does its fucked BUT. I bring this up because he's one of my biggest inspirations as a musician! I'm really big on jazz in general, in case my love for spicy chords wasn't enough of an indication, but his specific brand of freaky hyperactive bullshit just does it for me.

Seriously, go watch his band KNOWER play their song Overtime. Absolutely insane performances across the board. also Clown Core

This whole song is really just my attempt at matching some of that hectic jazzy energy with my own style of music, so I figured it only made sense to make it another collab with another musician making delightfully frantic jazz bullshit - the legend herself, telebasher! I really am such a massive fan of her work, and I struggle to think of anyone who plays guitar quite like she does. We previously worked together on another Bittersweet track, Asemic Speech, and her guitar work is a major reason why that song is still one of my favorite I've ever released!! She's just built different like listen to this oh my god!!!!

Lastly, since this song was one of the first written for this entire project... it is admittedly a case of me shoehorning the album's leitmotif in after the fact. It's a little forced when it shows up in the backing vocals! But, the choir of vocal synths during the guitar solo served an additional purpose - my own voice doesn't show up on the album again for another four entire songs, and this would've otherwise been the only song on the entire album that didn't feature any vocal synths. Thus did I attempt to bridge the gap, as it were. Hopefully it makes the final product feel more natural!!

Either way, that's all for today's post.... i think.... which means that tomorrow.... we're gonna rot.... for clout

[bisnes-socks]

talking about ready to go on this fine sunday evening

the very beginning of the song, before the guitars come in, and it's just like a synth sound, some backing vocals and bass, reminds me of kinda like old school hiphop. an opening like that could easily lead into a real rap beat, it's giving like early 90's and early 2000's hiphop. i was kind of expecting it to go the rap route when i first heard the song! but nope, in comes a siiiiick metal inspired guitar riff (jukka i owe you my life???) that's some chugging, i am also ready to go with a riff like this. hell of an opening.

his vocals come in one style, transition into another, then a new style for the chorus, and yet another for the second verse. FOUR vocal styles for one song. that's not so typical for pop music these days. i love how fearless he is with vocals in general, he's not afraid of sounding weird or funny. and even with the funny voices, he himself never becomes a joke, because he commits and puts his whole back into it. that is genuenly a skill, to be able to be so playful and still be for real.

and his singing in the chorus is good, very pleasing. i especially love his voice with the word"haluut" like he hits some soft vibrato in the second chorus right there, that is some good shit.

and guys. the way the chorus is built. it's incredible.

the long pauses in between words is so good and so... cunty lmao. it's like he is leaving room for the listener to jump to conclusions, only to call you and your mother and the whole country and culture out for being negative nellies who wish artists would fail (context for that can be read here)

so the first time hearing the chorus is like:

sä (who me?) haluut (oh? i do?) nähä (see what 🫣) ku mä (when you what 😳) flomaan taas ojaan kuraiseen (ooooh snap he said that part out loud)

and like i said it's so cunty, it's so deliciously arrogant to open the whole entire album this way, because there is so much space in the chorus to expect all sorts of things. because it could go anywhere. like...

1. sä -> oh he's talking to me now

2. haluut -> he is calling out something i want and desire. that's very disarming as a listener, makes you feel on edge because whatever he is going to claim that you want, you either have to come to terms with him being absolutely bang on the money correct, which means he sees right through you and you feel exposed, or he is going to say something you don't want, which will be a whole different journey, could be funny, could be offputting, could be anything!

3. nähä -> oop, what is it that he thinks i want to see, is this going a voyeristic route? is he going to expose everyone for being horny for him? whatever it is he is calling everyone voyers, basically.

4. ku mä -> it's so very deliciously arrogant to just straight up make a chorus that starts by him straight up telling you, that you, yes YOU, want to see me [do anything]. he's like. you're obsessed with me, aren't you. and he is RIGHT. makes the listener a bit red in the face, don't you think?

5. flomaan taas ojaan kuraiseen / mokaan ja maitojunaan meen -> aaand (finnish) people know exactly where this is going now. he is calling out the culture, he is calling out the haters, he is calling out the negativity and the vahingonilo (schadenfreude?) in this country. and we know exactly who he is talking to, we all know these people.

KING SHIT.

THE CUNT ON HIM to make this the opening track because we know it's aimed at, you know, like Pekka from Janakkala or whatever, who spent all of 2023 huffing and puffing because he thinks this Käärijä business is ridiculous and a waste of time and so he told everyone who was excited about CCC and ESC that ultimately Käärijä would fail and embarrass himself and the whole country. So Jere knows Pekka from Janakkala is still mad that "mikä lie Käärepaperi se nyt oli" actually succeeded and continues to succeed, so he calls that shit out in the first fucken song. It's like he's saying hi to all the haters who put the record on with every intention of trashing it and complaining about it. and it is them to whom he is being like "why are you so obsessed with me honey, why are you here to peep at me, hmm?"

the gaps in the chorus are like the audio equivalent of awkward eye contact you can't escape. he's saying i fucken see you.

and then the one time he modifies the chorus, he says "mä haluun ajaa tosi kovaa, vaik pelti kolisee, hei baby i'm ready to go" and that's him informing everyone that he's going to continue to do whatever he wants to do, he doesn't care if he gets a bit banged up or bruised on the way, because he is ready. and then it goes back to like "you want to see me fail, but i'm ready to go". the confidence in all that is genuenly admirable and something that this culture needs.

and i think the rest of the lyrics, in the verses, are about that too. he's going full speed ahead because he does not care if he stumbles. he's doing what he wants, what he always wanted, it's his passion, and he no longer has anything to lose. he's not afraid of failure. he knows there are people who want to see him fail, because it would confirm their own sad world view, but he does not give a flying fuck and he's not going to let that kind of mindset affect him. so he is fucking ready to go.

and musically, this song combines all of the käärijä elements really well! like i said, the opening sounds first like old school rap, then like metal, then going into more of a dance beat, the use of different vocal styles, a strong message, proper attitude sprinkled with a lot of humour and some twinkle in the eye. and the way he switches between pronouncing ready to go the finnish way and a more "proper english" way, is also a fun little international Käärijä detail.

a banger of a song with the cuntiest attitude we've seen in a while. incredible.

[sourpatchsquids]

I NEED TO TALK ABOUT IN STARS AND TIME FOR A SECOND

Okay i just finished watching my girlfriend play ISAT and I felt the urge to dig into the music a little bit and lost a whole day to it. So i think i have to post about it. General spoilers below, read at your own risk.

Ok so Im gonna talk about the title theme and one other song here, which is a secret for later. (This part took like 2 hours to cobble together ill post the other one tomorrow)

In the first statement of the melody, we have a very bog standard i -> III -> IV -> Cadential 6/4 moti-- wait a second.

With where these lines intersect, the A in the middle voice actually dips below the bass voice for the statement of this chord, which means that the chord lands in a second inversion. You wouldn't normally put a i6/4 just after a cadential 6/4 unless you were actively trying to make the resolution feel weaker for some reason. As if you intentionally wanted the listener to not feel a strong sense of returning to the tonic.

When the strings come in we are treated to lush root position 7th and 9th chords to really feel magical and detached from ourselves. Just as well, that cadential 6/4 turns into an entire tonicization for A major! I adore the way the strings milked the motion down from D to C# to C, its a perfect suspension of the old tonic into the tonicized dominant :>. The themes of not feeling at home continue from here. We get the briefest glimpse of a happy A major chord in measure 8 before we lose any sight of an A that feels at home in the harmony. Measure 10's A in the melody is completely unsupported by the G major chord underneath, and the only A's to play in measure 11 are in the bass and the frenetic synth line bouncing between left and right panning, as the upper string descend to a G and the melody completely skips over the A in otherwise stepwise line. I wonder why home is so hard to latch onto in this piece? You're only ever able to grab onto it for a little bit at a time, when you even know what you're listening for.

As we approach the end of the phrase, we finally get a reasonable resolution to the tonic! We made it! However, it is nowhere near as harmonically pleasing as it should sound. Even with the faster pulse flipping back and forth between the ears and the actual stepwise enclosure of the tonic, when a tonic chord finally rings it quickly darts back, and what we get is empty. The 3rd of the tonic is played for the length of a eighth note and is quickly kicked out of our aural memory by the staccato E in the same instrument. And then all previous accompaniment leaves, save for the strings, as the piano enters to play one last statement of the B theme. The title theme makes very clear, we are allowed to approach home, but we are not allowed to linger. As quickly as a taste of it comes about, we realize how much it tastes like nothing.

Finally, we are rewarded with another cluster of A's and E's to leave us feeling empty and full of ennui. Truly we are meant to interpret this piece as Siffrin feeling lost and alone, no home to return to, nowhere to truly rest. That about wraps up my analysi-- hey wait a fucking second.

HEY WHAT THE FUCK.

If you listen at the very end, the strings jump back up to a D chord at the very end of the piece. D, the key we originally thought we were in. This single chord completely recontextualizes the entire piece and im not kidding in the slightest. If everything that happened while we thought A was the home key was actually just elaborating the dominant, then what does it actually mean? And more importantly, why is it so quiet? What is the purpose of the final D chord, the actual end chord of the piece, when it is so removed from what feels like the real ending of the piece. It's as though it's being intentionally kept at bay, as if we as listeners are actively pushing it away. It's like song itself doesn't want to really end.

Oh.

Studio Thumpy Puppy, if any of you ever read this, please know that I am in absolute awe of your ability to bake in the themes of the story into 42 seconds of music.

Not only does the title theme convey Siffrin's emotional pain from not being able to remember his home country, it manages to tell the listener the crux of the plot before a single line of exposition hits the screen. Siffrin doesn't want his party to leave him alone, he doesn't want their journey to end. He is so desperate to prevent his party from returning home without him that he breaks the structure of the piece, hides the final chord, from his own god damn opening theme. To stop the journey from ending.

If you've gotten this far, please support the artists behind this amazing game. If you haven't bought and played ISAT yet, go do it, and while you're here, also buy the soundtrack. Give these people money!! They're really good at what they do!

Next up: We're With You! Look forward to it, it's also amazing.

[hypnoneghoul]

when you listen to the rhrn album can you please give your thoughts about like the mixing? Live albums typically don’t always have the greatest mixing but this one like confuses me

alright anon, I'm using your ask to make my official HYP TALKS RHRN SOUNDTRACK post

tag list: @devilsandstarlight @jazz-bazz @skele-bunny @azureseacloud @lilhoechlinsbae @delusionalbitchinthehouse @fallen-iii-ghost

A disclaimer, any negative-leaning take is not hate or "I would've done a better job" (because I would not), it's only my opinion that I was asked for multiple times due to what I do here on tumblr

Okay so I can divide the tracks in two categories when it comes to mixing and all that stuff:

1. Awesome mixing – more depth, better instrumental and vocal balance – Spillways – Cirice – Call Me Little Sunshine – Twenties – Marry On A Cross – Kiss The Go-Goat – Dance Macabre – Square Hammer

2. Less fortunate mixing – some flatness and chunkiness, less balance – Kaisarion – Rats – Faith – Absolution – Watcher In The Sky – Rats – Miasma – Respite On The Spitalfields

I’m not putting If You Have Ghosts into any of these categories because it’s a different world entirely. It’s actually just brilliant, but it’s not as hard to find balance with so few and such instruments as with the other songs on the album. I think Copia is a little too sharp for this vibe and I'm pretty sure they tried to help with reverb. It was a nice touch, but I think it could’ve been more smoothed out. But also I kinda hear Terzo in the second half of it, not Copia, SORRY. The vocal ghoulette could’ve been put either fully on the middle or all stretched all around to surround Copia and the instrumental and fill the space, if that makes sense

In general the mixing is strange in some places, even in the better made songs, it’s just like they lose the plot sometimes. It's possible (and very likely) that it was prepared with vinyls or CDs in mind, not headphones, but that doesn't explain why sometimes it's better and sometimes worse. Some general stuff about mixing I picked out:

1. Dew isn't really on the right, he's more to the middle than Aeon who's totally to the left. Dew could be louder actually in some places, Aeon could be stretched more to the middle 2. Bass has a great definition, we can finally hear how nice some fillers are and how good Rain actually is 3. The girls got some very much deserved highlights, but they did Swiss dirty. I’m outraged for my bbg, but not only because I love him. It would be a genuinely better technical decision if he was louder and/or placed somewhere else. The entire thing is very off balance. It's lead guitar and strong female vocals on the right, and rhythm and basically nothing (Swiss) on the left. It just doesn't make any sense!!!

Now some stuff about specific songs:

1. Rats – So dirty, the mixing failed a little here, the audience just sounds like noise instead of actual good background – DEW DID A PINCH HARMONIC (I manifested it) – Cirrus!!! It’s hard to hear her most of the time and she rocks here – Aeon and Dew had a very good harmony, they work so good together wtf (sorry Aether but they win here)

2. Faith – Aurora and Cumulus completely slay – I adore Dewdrop’s little addition to the 1st solo – But he missed a note in the 2nd solo heh

3. Spillways – FINALLY Swiss in Spillways – It’s the best mixed song in general and I’m not only saying that because of Swiss (who I love), all the instruments and voices are balanced so much better and so much more fluid – There’s less tone definition on bass though

4. Cirice – Dew does some fancy lil harmonic tricks in Cirice, I LIKE – It’s also very well balanced when it comes to instrument, SWISS IS AUDIBLE – Something went WRONG with Cirrus’ synth here, like omfg they did my girl dirty

5. Absolution – I talked about Absolution extensively here

6. Watcher In The Sky – Love the synth on it, why not do that setup for Cirice pls – But also Swiss is always the loudest at the beginning, why not here!? – It’s on the worse list, but it’s not horrible, the backing synths fill it nicely so it’s not as chunky as Rats for example – I think someone forgor Dew is lead, not Aeon, but at least we can appreciate the bug’s skill some more like that – Mounty slamming those bitches at the end, go baby!

7. Twenties – Very glad they highlighted the drums and the bass so much in this one, it’s what Twenties is FOR – Both Dew and Aeon’s palm muting game is so yummy here – Oh, Swiss how I love you – But what are they doing with the solo mixing, why is the bitch moving at the beginning? It’s like someone was late to press some buttons (It might have been on purpose but trying to do some fancy effects doesn’t always work)

8. Miasma – Miasma lands somewhere between the worse and better mixing category but that might be the lack of vocals which takes away some of the needed balance, but it is rather chunky – I don’t like the synths shoved totally into my left ear but that’s just me, not an actual flaw – But then what are they doing at c. 3 minutes??? Again, more fancy doesn’t always mean better and Miasma is fancy and full enough as it is – I think the mixing in Miasma changes from worse to better along the way because the ending is so much better and smoother, around when the sax comes in so they might’ve adjusted some things just to fit it – OMG RAINY GO FANCY AT THE END (the tiniest solo ever <3)

9. Mary On A Cross – Cumulus oh my fuckckk – The vocals before the chorus is such a good touch, nice ascend into the change in melody, love it – Same with Aurora’s solo part the next time, it’s so good that they put her on the middle for that, it’s perfect – The girls do slay the end but Swiss could balance it nicely if only he were just a tiny bit loudeeeeer – And again what are wed doing with these weirdly sustained layered synths??? That’s just slightly unnecessary

10. Respite On The Spitalfields – Swiss should be louder here, too – Respite is in the slightly worse category because this one sounds very flat to me for most part, it’s like only the drums and bass give any depth (or rather force some depth into it) – Once again Aeon’s palm muting is top tier – Girls slaying as usual – I’m not sure why the strings are just forcefully shoved behind Dew but okay… – The mixing here is a crime!!! It’s so flat and this is a song that deserves to be all around and fully immerse you. I’m actually sad about that one – And where are the solo vocal parts???

11. Kiss The Go-Goat – Now why is KTGG deeper and more melodic than Respite??? We’ll never know ig, but yeah, it’s on the better category – Did Nihil fucking mix this album or what??? – Cirrus’ solo in KTGG should be as loud as Dew’s, period

12. Dance Macabre – Dance Macabre is on the better category too, you can even hear Swiss – Glorious bass here

13. Square Hammer – Now Squammer, very good mixing for the finish but I still think that the girls should be more to the middle and wider, especially in backing vocal heavy tracks like this one – YES Dew bestie go ham on it at the end, slay, make your tech angry – OHHHH AEON’S THING UGHGFHNGHGHHG (he was probably wobbling his pickup switch with one of them turned off so it was basically sound on–off–on–off)

Also not really from the technical side but they cut out some strong tracks and it's honestly a big shame :(

Some gear stuff nobody will hear but me (/hj): 1. Rain definitely still has steel strings ‘cause COME ON, the TONE!!! 2. Aeon’s palm muting skills rock 3. The difference between Aeon’s ceramic humbuckers on the Fantomen and Dewdrop’s Hot Rail single coils is on the Strat so prominent AHHH 4. Aeon missed on the CMLS solo a little but Dew covered him up hjfgsdh 5. Slightly funny addition, but I love that Aurora’s voice and Dewdrop’s guitar can be mistaken for one another sometimes because of the tone and pitch lmfao

And that's it heh I'll gladly elaborate on some aspects or answer any questions that might come up so you know, my askbox and dms are open :3

[cozmicclown]

haven’t forgotten about this, just been busy, but wit a few new references I feel I have an even better idea of how synths are constructed! Being able to make a diagram layer by layer of their construction would be super cool!

[pinkyjulien]

I did not expect hostility over my Flat Chest mod, so I'll half acknowledge it and kill some of the assumption before they take roots in other people's minds

No, I did not make this mod *because* I refuse to support Na's flat chest mod

Initial Mod idea was a working "binder" for Fem, something you'd equip to flatten the chest- like a real life binder, basically. It's part of my To-Do list of June, for Pride

The mod evolved as I got more ideas, I also started working on a body replacer, it's basically ready to ship as well, but I decided against it; not to step on toes and causing confusion with two "flat chest" body mods, knowing there is also another one in the work from a fellow modder

(the binders themselves will come much later, and will be available for both fem and masc body frames!)

Again, the mod started as a "binder"- I mentioned it multiple times, either in servers where I started sharing the idea, and in the tags of my mod post

"Binders" are not costumes. They are gender affirming aid, something a lot of person use; I've made a couple of "wearable" / "switchable" body parts mods in the past already, including a trans masc vagina, I really hope you don't see this as a costume as well?

In the universe of Cyberpunks, implants and synth skin are used by everyone, for all kind of purpose; GNC people, trans people and gender-fluid people would probably use implants and cyberware to sculpt themselves, feel comfortable in their body

Who's to say some rich citizen wouldn't have some fancy switchable body pieces- hell it's even canon in game, Mr.Stud and Mrs.Midnight? Switchable boobs are already a thing, I don't see what's wrong with switching up for a flatter chest

The survey's results aren't out yet, so I couldn't know. But that's beside the point, as my mod isn't a "bandaid" for any issue this fandom may have

If the name is causing trouble, I'm open to changing it; but the main goal, again, was to flatten the vanilla fem V chest, and I think "flat chest" is pretty straight forward for nexus users

Mmmh. Sorry but, no

Everyone is different and handle their own space differently, and I do not want to support people who did me, or my friends, any serious mental health damage. Be it from harassement, witch hunt and whatnot

I won't be dragging in there old drama from 2 years ago, but I simply won't support someone who tried to get a friend of mine fired from their work place, threatening to send a 30+ pages google doc to their leads and boss, and dragging all of their personal beefs to the public on multiple social medias. They ruined my friend's mental health, and I simply won't forgive nor forget.

That is my right. And I wish people would accept and respect that.

I won't tell anyone who to support or what mod to use/not use, NOBODY should tell you what to do, what to support, who to like or dislike; and nobody can control who I must support and what I must do. Simple as that

And I'm glad the flat chest body mod exist for people who wish to use it! I'm offering another option that I'm sure some people will find useful

Thank you :)

People already gave me trouble in the past for "doing work that already exist"

Those past few weeks has been eventful when it comes to "drama" especially involving Zwei, who's notorious for having a modding monopol and gatekeeping ideas in general

Let's not bring that same mindset here, yeah?

Everyone is free to mod what they want, whatever body they want, to refit what they want!

Again, just to point it out, mod isn't there to fix a problem, that's just a mod I wanted to make

It's a brand new mod, meaning it needs refiting; I did not test the flat chest bodymod, nor tried the already existing vanilla refit. And I won't, for the reasons I cited aboved a few lines before.

I'm glad you agree! Nobody has to do things they don't want to

You call it disingenuous, and I call it having principles/self respect; again, crazy how different people are from one another, and how we just can't assume everyone work and react the same as we do

I see, I see, the name is a big issue; I'm open to suggestion, feel free to leave a reply and I'll see what catches my eyes

Cause It's still my mod, so I get to decide

Anyway, hope this cleared up a few things, and sorry this made people upset!

For everyone else, thank you for the support 🧡

[sinisterexaggerator]

NSFW / 18+

[Hancock]

➤ oneshots:

Nothing to lose

Ao3 link | Tumblr post

hancock x f!reader

Summary: You are important to John Hancock; there is a radstorm brewing. As a skilled and reformed scavver, you’re after a part for a decommissioned lounger—it belongs to Doc Amari’s famed Memory Den.

Hancock's tense; he should have gone with you, but it’s not too late to search you out. He would be glad to have you home safe in his arms, only things don’t always go as planned, nor do you go unpunished for your negligence.

Little Red Dress

Ao3 link | Tumblr post

hancock x f!reader

Summary: You're wearing a little red dress, one that teases and tantalizes Hancock. You're the Mayor of Goodneighbor's prized possession, and it does not bode well for you to tempt him so, especially in public.

Hard Feelings

Ao3 link | Tumblr post

hancock x f!reader

Summary: You are the General of the Minutemen. Hancock is your companion when out on missions. It's all fun and games until there are hard feelings at play, the ghoul thinking that one day you just might leave him.

➤ headcanons:

First impression

NSFW Alphabet

Possible explanation for why Hancock likes you addicted to chems

Game glitch (cw:suicide)

[Nick Valentine]

➤ oneshots

Final Straw

Ao3 link | Tumblr post

valentine x f!reader

Summary: You're sick to death of listening to people insult and belittle Nick; you take matters into your own hands, much to the Synth's surprise, but your methods are a little bit unorthodox.

True Colors

Ao3 link | Tumblr post

valentine x f!reader

Summary: Nick Valentine hardly ever leaves your thoughts, but you're barely on his radar. Your infatuation takes a rather interesting turn; you're caught red-handed in his bed, wearing candy apple lipstick and a freshly laundered dress. What is to become of you? Will you be able to confess your feelings, or will you run away instead?

➤ headcanons:

First impression

[Valencock]

✩ Coming soon.

[Cooper Howard / The Ghoul]

✩ Coming soon. Maybe? Idk.

➤ Memes/random: #1 | #2 | #3 |#4 |#5 |#6 |#7 |#8 | #9 | #10 | #11 | #12 | #13 | #14 | #15 | #16

➤ Thot thoughts / incorrect quotes: #1 | #2 | #3 | #4 | #5

[milgram-tournament]

MILGRAM Best Song Tournament, Round 2, Match 2 BRING IT ON vs. THIS IS HOW TO BE IN LOVE WITH YOU

Propaganda for both options under the cut!

Propaganda for BRING IT ON:

"Reasons why Bring it On should win:

- Just by starting the song, the instrumentals are BANGER. Like his more rock style is very cool, even better than After Pain’s more mellow style - Arthur’s voice (Futa’s va) had bills due because have you HEARD his singing?? His raspier voice fits Futa so well - It feels so explosive and like a call to action in a sense, which very much matches Futa’s mentality during trial 1. He also wasn’t playing victim like a CERTAIN girl… (jk, love you mu!) - SAA HAJIMEYOU USOTSUKI KARIDA - UNDEAD HEROOOI YES SLAY KING HIS HIGH NOTE HERE IS HEAVENLY - His scream at the end. Oh my god. HE LITERALLY ATE THIS NOTE. AFTER PAIN COULD NEVER. BRING IT ON FTW 🔥🔥🔥" - His range goes WAAAAAY higher than Mu. She would end up like PHG if she even tried hitting any of his high notes in the last chorus /j

---

- The vocals are amazing, those growls are so well done - You’re able to get Fuuta’s crime and motive pretty succinctly, only based on the visuals - But it still leaves a lot up to interpretation, like how he only attacked once in the final fight scene. It lead to some cool theories. - On that note, the game aspects are so cool!! Especially when paired with him going after people online, just good synergy with awesome style! - Fuuta’s scared face after he realizes what he did. The great contrast of other foes simply being knocked out then being met with blood splatter. - The tempo of the song changing with his mood is a really good touch as well. Make the song more chaotic which highlights his character traits well

---

"propaganda for bring it on: the music FUCKS it genuinely slaps so hard listening to it. song style is incredible its perfect for fuutas personality and gamer vibes. also the way the mv frames everything as a game? the only time real blood and real gore happens being when killcheroy dies? the little details of all the usernames, the different monster designs, the generally distorted feel of everything being too lighthearted?

okay i could go on about the mv for hours but lets not. aside from that: the FEEL of the song!!! the vocals!!!! it really feels like fuuta putting his whole heart into it, into this point of view that both blows problems out of proportion and minimises them, and DEEPLY fucking up. my darling little hypocrite gamer boy twitter user. he makes his witch hunt genuinely sound like something that could sweep people up into it. also the instruments goddddd. the guitar and synth the bass and the drums the DRUMS. im relistening to it to write this propaganda and it keeps making me headbang when i should be writing. if you arent headbanging to bring it on you are LYING.

the way the lyrics are written is wonderful too!!!! they feel so brash and brave and powerful and like. cocky about it. and it fits PERFECTLY. its gets someone swept up into it and it FUCKS. vote bring it on im serious. lets go!! a victory march!! dan da dan!!"

Propaganda for TIHTBILWY:

okay so like the thing im most in love with: the VOCALS!!!! this song has an absolutely AMAZING singer and AMAZING vocals!!!! the way the conversational talk-singing lines still feel so musical!!!! the cute cute cuteeeee mahiru voice!!!! it brings you so much energy!!!! its a song sung with so much love!!!! mahirus va brings such an amazing feel to the song with such amazing talk-singing!!!! its very skillfully done and it happens in i love you too!! mahiru songs r the QUEENS of musical talk singing

the silly phone call bit. kurururu~!

the little vocal flourish and the way her voice raises up like an excited exclamation in the final prechorus!! daijoubu nante kirai DA!

its such a fast song but everything flows so well!!!! it makes it feel so bright and cheery and peppy!!

the instrumental is so underrated just LISTEN to that catchy bass line thats so pretty in the verses!!!! no for real even if u dont vote this is how to be in love with you go listen to the bass line in the verses it works to move both the song and the listener forward at mahirus sweeping breakneck pace. and the cute keyboard sounding and synth instruments!!!! its SUCH a danceable song!!!! i cant listen to it without bopping along in my seat

the way the ominous bits are subtly hidden? it all sounds so cute but there are just these Things that she sings that are really kind of concerning and unhealthy when she sings them!! and the veiled desperation to be in her relationship- listening to that and the cheery tone and breakneck, quick song pace, it really does represent mahiru SO well. she throws in all these little bits that just go noooo teehee the relationships just fine!! when it REALLY isnt

i would listen to mahiru talk for hours

the MV!!!!!! HER FASHION SENSE THE MAGAZINE STYLE!!!! the magazine style especially works so well with her character!!!! its so cute and stunning and just looking at it you have a blast. also her birdcage!!!! her birdcage and the bright orange and the pink bars!!!! the way everything desaturates and becomes more sickly looking when she wakes up at the end!!!! its such a happy carefully curated and designed dream and then it drains away!!!! also god all her outfits are stunning. mahiru call me

the way she sings "overheat de~!" cutest thing in the WORLD.

the little faces she makes!!!! godddd shes so expressive

actually the whole songs so expressive!!!! shes putting her all into it!!!! her words have so much expression in them!!!! once more praising mahirus va the way her voice can soften and become bright or subtly desperate so quickly is MASTERFUL control of expression when singing and its so underrated. join me in being insane over miho okasaki delivers her lines. shes such a perfect mahiru.

funniest es cover. hands down. funniest es cover.

this is how to be in love with you is FREE serotonin!!!! free energy right there!!!! this is how to be in love with you sweep!!!!!

---

-The song is so cheerful!! I always feel like dancing and singing when this one comes up in my playlists!! Absolute banger, mood definer, kicking sadness in the shin with those high-heels and then hitting its face with a cute purse -THE HIGH-HEELS STEPPING TO THE BEAT OF THE MUSIC IN THAT ONE SCENE (0:50). SIMPLY ICONIC. NO ONE DID IT LIKE HER. -👠💅👝👗 -She is slaying. Look at her outfits. She put so much effort there. She gave it her all. Absolutely serving. -SUKITTE KIMOCHI WAKATTA TSUMORI? NARA KONO MAMA FUTARI O-VA-HI-TO- DE -The storyline of the mv MAKES SENSE and you can form a COHESIVE TIMELINE OF EVENTS (unlike other unspecified contestants' mvs you know 🙄) -look at herr 🥺 she beby 🥺 all she did was love too much 🥺 we all love mappi don't we 🥺 she deserved more let her win this pleease 🥺 -No medical malpractice happened in the making of this mv 👍

---

I care so much about This is How To Be In Love With You- it's visuals are brilliant in the ways it conveys its themes and narrative. I'm never normal Ever about the "Love as marketing" symbolism that is brought in by the use of magazines. It's a lovely upbeat song but the Horrors are Always Lurking under it, the breakup Ritual line is my Favorite Line cause its so horrifying but its said so casually and its so good oh its so good-