#guess its rambling LOL
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warhammer dudes will treat the female characters in the nastiest way. Degrade Celestine's and Yvraine's characters to nothing but waifu bait. Talk about what they'd like to do to sororitas with consent optional. Gleefully describe what a daemonculaba is and act like its so cool and edgy. But the minute female fans and queers start to talk about finding a male character attractive NAW that's where they draw the line. How dare we find Titus handsome. Filthy perverts degenerates all of us. Its apparently too much for them and they get really, really mad about it. Stay pissy you gross ass weirdos, your hypocrisy stinks through the walls
#warhammer 40k#40k#piss ramble#it seems to be mostly reddit weirdos doing it but still#baffling just how mad they are lol#they get weirdly offended when women (and queers) express their own attractions#only straight cis men are allowed to be thirsty on the internet i guess#the grossest#most uncomfortable people will act like you're the ultimate sinner for expressing yourself#just because its not the way they like it
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what the fuck am i doing. scheduling this at 1am.
#MD personality shift au#murder drones#murder drones fanart#murder drones N#murder drones uzi#serial designation N#uzi doorman#murder drones Nuzi#Nuzi#enzi#biscuit bites#tw suggestive#??? i guess#no one actually notices it but he's slightly lifting her shirt. lol. lmao.#being aroace is making suggestive/nsfw art that you gradually lose interest in because you just don't feel it yknow? LMAO#it starts out like “oh boy! this one's SPICY!!” and then it devolves into “oh yeah whatever. gotta color here and shade there.”#“dang i fucked up the anatomy there. wait what was i drawing?”#shoutout to my fellow aroacers who do this full-time cuz i could not I'd literally die of boredom LMAO#its . 1am and im jsut rambling in the tags
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#dave strider#homestuck#homestuck ask blog#ask blog#homestuck fanart#homestuck askblog#hs#((ty 🔥🔥🔥🔥 got here faster then i expected especially since i can barely post atm cus i injured my hand#i dont like doing ooc stuff so i try n keep it to a minimum but i did make a mod side blog to ramble on#if anyone wants behind the scenes shit i guess#its just the same url but with mod tacked on the end lol))
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okay so the list of "threats to the king" has been getting longer and longer with each passing stream. that is the context for this LMAO.
(speaking of. my friend is streaming ISAT for the first time and i have been in call and doing voices! in about 1-2 hours after this posts!! he is in act 3!! will rb more info onto here in a bit since mature tho.)
#isat#in stars and time#isat mirabelle#isat siffrin#hmmm is this spoilers???#oh wait the censor crabs might be#isat spoilers#i really just wanted the excuse to censor some words with crabs okay#its so silly!! and fun!! to me!! yeah!!#and threats to the king are fun#mira can threaten the king as a treat she deserves it :]#also i would be SHOCKED if anyone managed to guess that second censored word without context ASFASDASFA#the first is easy i think!#the second is literally 12 characters and is probably not even a real word LMAO#anyway!! thats the ramble!!#tag talk over stream time YIPPPEEEEEE#q#so i do not need to think of tags and type when i get back home actually LOL
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some doodles from last week 😁🤞
#trigun#trigun maximum#nicholas d wolfwood#wolfwood#vash the stampede#NEEDLE NOGGIN PLEASE DONT TRY THE TACO BELL WINGS#honestly just wanted to draw more silly wolfies#but also wanted to draw trimax vash bc i love his hair but hate drawing it LOL#btw the taco bell meme is from the overhaul translation group its my fav#also im just gonna randomly ramble about this but usually my favs just tend to have dark hair for sm reason#so when i started trigun and saw vash i was like OMG😵💫 I GUESS 2023 IS THE YEAR OF THE BLONDIES FOR ME…(bc also laios dunmeshi)#but then ofc wolfwood#AND THEN LATE TRIMAX VASH…..#everything always goes back to equilibrium i guess#…..ANYWAYZ happy friday 🤞
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I would like to remind people that Chilchuck hasn't seen his wife in 4 years.
So he maybe wasn't there to see his daughters become adults, but he was there for the majority of their childhood.
When he left, Mayjack and Flertom were 12, and Puckpatty was 10. They reach adulthood at 14, so maybe yes, he was absent when they were still kids, but that doesn't mean he didn't maintained contact with them afterwards as far as I know. The thing he uses around his neck was a gift from Flertom, and he was using it when he met Laios's party.
#you can tell i love chilchuck#but yea#she left him for his daughters puberty#i know they're in good terms now. he and his daughters i mean#so its unlikely to me that he never contacted his daughters after wife left#its just me defending this old man's ass because he was there 70-80% of their childhood and left when they were no longer childs#they were all adolescents (10 and 12 in half-foot years must be like 14 and 16 i guess??? wich.. yea they joung but no childs literally)#it could have been better if he didnt leave but he's got 0 knowledge of why did wife left with the kids#and he assumes she doesnt wsnts him near the kids because they left with her#oooh#i love this old man#you can hate on him all you want but dont say he wasnt there for their childhood because he was. he had work yes but he was#dungeon meshi#chilchuck#dunmeshi#chilchuck tims#delicious in dungeon#fish rambles#my shit#maybe you were talking sarcasm or idk but i felt like doing a post to this tags so im sorry lol#dungeon meshi spoilers
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The TTPD Deep Dive (Part ?)
It’s no secret that I have a lot of Thoughts about The Tortured Poets Department and it has lived rent-free in my head since it came out earlier this year. I’m absolutely blown away by how underneath the chaos, it’s actually an exceptionally cohesive story and is probably the closest to a concept album Taylor has ever done.
There are so many themes that have stood out to me over the last five months, and there’s one in particular that I think not only drives the entire album, but ties into previous albums to help deepen understanding of it.
This is it, my fangirl magnum opus, my months of posts consolidated into one place. This is also my disclaimer that this is just my interpretation of the album, and my summary of the story it tells, and I don’t pretend to have any special insight or authority. I’m not saying I’m correct at all, do not take any of this as fact, it’s just what it sounds like to me, and these are my silly not-so-little thoughts about it.
(Under a cut because it’s way too long and involves discussion many may not care for or be sick of.)
Come one, come all, it's happening again (I'm thinking too hard about Taylor music)
The overarching theme in TTPD to me is: Grief. If you’re looking at TTPD as a story being told (instead of just as someone’s real life), the inciting incident of TTPD is loss, and the grief from that loss is what drives the narrator’s actions and the fallout, as well as unpacks those complicated feelings and how they apply to the her life in general. By the end of the standard album, it’s also about recovering from that pain, moving on from it and learning from it.
The loss specifically is the loss of the dream of having a family (with one’s partner). One thing that is abundantly clear both on the top line and under the surface in TTPD is how Taylor (as a person and as narrator) longed not only to for marriage but specifically parenthood, and the fear and then realization of losing that chance absolutely wrecked her— which is why the next lover’s (the conman's) wooing worked so well, because it preyed on that yearning. Yet that loss also dovetails into the grief of many things: of youth, of idealism, of relationships, of ideas, even of self, which causes almost a deconstruction of a belief system to piece one’s life back together by the end.
THE CONTEXT
TTPD weaves in the topics of marriage and motherhood both explicitly and in the subtext, in various forms and scenarios. The cheating husband in “Fortnight.” The wedding ring line in “TTPD” the song. “He saw forever so he smashed it up” in “My Boy Only Breaks His Favorite Toys.” All of “So Long, London.” Running away with her wild boy in “But Daddy I Love Him,” fantasizing about weddings and joking about babies. The imaginary rings in “Fresh Out The Slammer.” The cheating husband (again) and the friends who smell like weed or “little babies” in “Florida!!!” “You and I go from one kiss to getting married,” “Talking rings and talking cradles,” and “our field of dreams engulfed in fire” in “loml.” (And arguably: “I wish I could un-recall how we almost had it all.”) “He said he’d love me all his life, but that life was too short,” in “I Can Do It With A Broken Heart.” They may not sound like much on their own, but they paint a picture about how the topics pervaded her thoughts and her writing, and in many cases express her desires, and her pain.
It’s something that goes back several albums when you pick up on context clues. You get the first hints on Reputation with “New Year’s Day,” and “you and me forevermore.” Then Lover is very forward with it: “Lover” is basically wedding vows, “Paper Rings” is very engagement-coded, “I Think He Knows” is cheeky but low-key “you better put a ring on it,” “It’s Nice To Have A Friend” has wedding/marriage imagery in the last verse. As a self-professed diaristic writer, it’s the type of stuff one presumably doesn’t put out there unless those conversations have already happened, and she was very excited about it at the time it was released.
Then the pandemic happens and folklore comes out, and while there is still happy love there (“invisible string”), there are also the first indications that something has happened to put a halt to whatever future she once dreamed of (“hoax,” “the lakes”) and that she’s trying to reassure herself and him that it can still happen even if she’s scared it might not (“peace”). Notably, as far as I can remember it’s the first time Taylor explicitly brings up the idea of family (with her partner) with “you know that I’d give you my wild, give you a child,” which stood out at the time because it’s so incredibly vulnerable, but it’s even more poignant when you really take in that the whole song is like a confession of her deepest worries, and this is her vowing to give him these things that she holds most sacred if he’ll let her. These are what she cherishes most dearly and wants to return in kind: her youth and commitment (my wild), the family she craves (a child), unconditional support (swing for the fences/sit in the trenches) and understanding/compassion (silence that only comes when two people know each other).
Evermore follows an even darker path, and suddenly the album explores relationships that end and grappling with loss. There are toxic relationships (“tolerate it”), dangerous marriages (“no body, no crime,” “ivy”), failing/broken relationships (“Coney Island,” “champagne problems,” “happiness,” “‘tis the damn season”), as well as grief (“Marjorie,” “evermore”). Even some of the happy songs have uncertainty in them: in “willow” she’s begging for him to take her lead, like she’s still trying to decipher him and ask him to commit; in “cowboy like me,” still a beautiful love song, she’s thinking, “this wasn’t supposed to work and we were supposed to bail on each other but we fell in love instead”; “evermore” is about the depths of severe depression (and more) with the love story being the one saving grace in her darkest hour. And it’s also notable that after all the “fiction” writing, shortly after this album she writes “Renegade” where she’s telling the subject: I’m ready to start the next phase of our life now, why aren’t you? Is it me you don’t want after all? It’s like there’s something telling her that this stall might not just be a stall.
Midnights is a jumble (in a good, but in hindsight, also sad way) with the “sleepless nights” concept, but it seems pretty clear now that the themes and events and relationships she was revisiting tied into a lot of what she was feeling in her present life. I wrote the cliff notes version awhile back, but she’s questioning so much of her life that’s reflected in past events and relationships. Am I actually always the problem? How did we lose sight of each other and what we had? We only seem to work when we block out everyone and everything else. Can we ever go back to when things were good? Why are you neglecting me? I once thought I was going to lose everything but you saved me in the nick of time, can that happen again? I chased my career, but did I give up my chance at having a family in the process? Nobody knows what I really suffer from behind closed doors and I’m all alone.
And so on, which in retrospect now that we have TTPD, is very much what she was grappling with in private while writing and releasing the album. The inspiration behind the songs may have been different events and muses, but regardless of their origins they all end up feeling too familiar, like she's seen this film before (ahem). We’re seeing her view of commitment change too, or rather how she writes about it: she’s not making the outright declarations of it like on Lover, or even the implied ones on folklore, nor is she talking of the dark side of it like evermore. For the most part it’s a return to the early days of some relationships, before things got hard, or the end of them when there was nothing left, and also pushing away the discussion of it altogether by the outside world. “Sweet Nothing” is a sweet slice of life, but even at that, it’s the peace of the home in conflict with the pressure of the outside world. Now that we have “You’re Losing Me,” which was written at the same time as the rest of the album, we can probably deduce that she was going back to the start because something happened that made her doubt the future.
THE SETUP
So much of Midnights directly ties into TTPD, and I said in the post I linked that it’s like Midnights is asking the questions that TTPD answers. But there’s one song in particular on Midnights that sticks out to me as being key in the broadest sense to understanding the state of mind that led to the events of TTPD, and that’s “Bigger Than The Whole Sky,” because the way it expresses grief is reflected in the theme of mourning a life built and the dreams along with it that are never realized in TTPD. There are several instances in TTPD that are basically variations of: “every single thing to come has turned into ashes,” and that’s what makes her snap, and leaves her vulnerable to someone who promises her those things when she’s bereaved at losing them in the first place. (In other words: “the deflation of our dreaming leaving me bereft and reeling.”) The song tells a story about how that loss of hope colours one’s entire mindset, and in some ways is a bridge to TTPD to understand what such a low point feels like.
I think that that grief, and most importantly losing hope for an imagined future in its wake, is fundamental to understanding TTPD on so many levels: both the decline with one partner that kept her hanging on then led her such a dark path, and why she fell for the conman's apparent bullshitting because it offered an express pass to what she was losing with her partner. And I also feel like it plays a part into the ruminating she’s doing all over Midnights, trying to make sense of where she finds herself when she’s writing the album, which directly leads to “You’re Losing Me.” Loss permeates so many of the stories on Midnights: of lovers, of innocence, of youth, of faith, of control, of life’s work, etc. “BTTWS” is just one of the ways in which it is expressed so fully, capturing that deep depression and subsequent extinction of faith in something that once felt assured and very much wanted. (Which is also mentioned in her writing process in the “Depression” playlist on Apple Music.)
If you understand why that feeling of loss in general across so many parts of life is so important to Midnights, then it illuminates so much about the “narrative” in TTPD too. If on Midnights she’s wrestling with the seeds of grief and loss (on multiple fronts), TTPD is her reckoning with it in its full form. “So Long, London” is the song that is the most explicit about it: How much sad did you think I had in me? How much tragedy? Just how low did you think I’d go before I’d have to go be free? You swore that you loved me, but where were the clues? I died on the altar waiting for the proof. It’s the sequel to “You’re Losing Me.” It’s, the air is thick with loss and indecision, I know my pain is such an imposition, I’m getting tired even for a phoenix, all I did was bleed as I tried to be the bravest soldier, I’ve got nothing left to believe unless you’re choosing me, my heart won’t start anymore, but from the other side of the break.
This is highly speculative, but if you follow the thread about the topic and the relationship as told from Rep through TTPD, in broad strokes it goes: young love with a serious connection (Rep) -> growing up and making life plans (Lover) -> something happens that delays those plans or makes them grind to a halt (folklore) -> serious doubts arise and cause a loss of faith in their future (evermore) -> struggling with the loss of that future and trying to make sense of the problems in a last ditch attempt to save the relationship (Midnights) -> fallout from that grief after the blowup of the relationship (TTPD). Understanding that progression of events (through the music) explains not only the storytelling side of TTPD (e.g. the jump from the partner to the conman) but also how the experiences/muses blend in the music, and how the music that on the surface is about the short-term relationship is really driven by the destruction of the long-term one.
Following the music, it’s IMO implied that Taylor (the narrator) was holding out for marriage and family with her partner, for years, and it seems like it was at one point a shared dream until something happened to pump the brakes, and seemingly on her partner’s end. And extrapolating further, given how the sorrow expressed in former albums bleeds into TTPD, it sounds like a plan that had been concrete in some form before it had fallen apart, and losing something that once felt so tangible is what drives her in her grief to find any kind of respite from the pain. Which is why the situation with the conman becomes so appealing as the one with the partner splinters further and further.
(If everything you’ve once touched is sick with sadness and you don’t want to be sad anymore, what are you left to do?)
THE STORY
So (one part of) the story kind of sounds like this from the standard album: the relationship with her partner as well as his mental health slowly deteriorate and he withdraws emotionally (“London,” “Fresh Out The Slammer”) and physically (again, “London,” and “Guilty As Sin?”) and takes his resentment out on her (“London” and arguably “My Boy Only Breaks His Favorite Toys” even though I don't want to get into muse speculation here). As she sinks deeper into her own depression as a result, the weight of the failing relationship starts feeling like a cage— or a noose (“London,” “Guilty”), but coming to terms with the loss of their life together and the future they’d dreamed of was killing her (again, “London,” but also “I Can Do It With A Broken Heart”).
Enter the conman who she reconnects with at the very point where this is coming to a head (knowing that IRL she reconnected with him around the time Midnights was being worked on) , and if you read between the lines, she confides some deeply personal things to him (“Down Bad” and “hostile takes overs”/“encounters closer and closer,” “Smallest Man” and the entire sleeper cell spy imagery which is one of my favourite things and I could write a whole essay about the meaning of it, “loml” and “A con man sells a fool a get-love-quick scheme”). Then after she’s confided these secrets to him, he insinuates himself back into her life (“Guilty,” “Down Bad,” “Smallest Man”) and sells her a dream that HE can give her all these things she hopes for (again, “Down Bad,” “Smallest Man,” “loml,” song “TTPD,” “Broken Heart”).
But the thing is, he only knows these are the things she wants because she’s revealed it to him, and presumably, told him that was what she was losing by staying with her partner. And instead of the normal response of, “that is really sad that your partner is not supporting you and you deserve to be treated better,” to a friend in growing distress, it seems like it was, “well I can give you all those things!!!! Right now!!!! Trust me!!!!” And worked on her until she believed it, and jumped at the chance at a precarious time in her life. And one thing I want to underscore is: Taylor has agency in the situation always, it’s not like she’s been kidnapped and brainwashed. (In fact, she implores on songs like “But Daddy” that SHE is in charge of her own choices, good or bad.) She chose to rekindle the friendship and then relationship, and she chose to eventually leave her long term relationship for another man, and she reiterates on the album that she owns this all. But it’s also: nothing exists in a vacuum, and she makes choices based on emotions and information she has at the time, which is why it gives so much whiplash.
THE ALBUM
When you look at it as, the situation with the conman only happens because of what happened with the partner first and that the appeal of the conman and the fantasy he sells her is a direct reaction to that, it makes the “swirliness” of the music make so much more sense. And for much of it, even many of the “conman” songs on the surface are really “partner” songs underneath.
Fortnight
A suburban gothic allegory about a broken marriage with a distant husband with a wandering eye, which makes the rekindled romance with the neighbor so appealing. She’s miserable caged in her stifling house because she’s been abandoned by her spouse, so the reappearance of this past love reignites the passion that’s dead at home.
TTPD
“So tell me, who else is gonna know me?” “I chose this cyclone with you.” I’m gonna kill myself if you ever leave. Everyone knows we’re crazy. She’s laying it out there that she’s already in a dangerous state of mind, and she’s actively putting herself in more danger by pursuing the conman. “At dinner you take my ring off my middle finger and put it on the one people put wedding rings on, and that’s the closest I’ve come to my heart exploding,” spells this whole thing out so clearly: whether it’s an actual event (likely) or a metaphor for the promise he makes to her, the reason why it makes her heart explode is because it’s the thing she’s been waiting for forever with no movement, and here this person comes in and slips it on her finger in an instant like it’s nothing. (And eventually, as we’ll come to know, it is absolutely nothing to him.) You mean it could have been this easy this whole time?! (Well, no. Not until a certain other suitor makes his appearance later.) It feels like she’s finally getting everything she wanted in the blink of an eye! How lucky! How convenient! What was that about the get-love-quick scheme you say? (Unsaid: the reason why this feels so urgent is because there’s a sense that time is running out in so many aspects of her life and not just the obvious. Which reappears later on.)
Down Bad
“Did you really beam me up in a cloud of sparkling dust just to do experiments on?” sets the scene for this euphoric experience in the moment that starts to feel violating once the dust settles (which is then followed up in “Smallest Man” and the spy mission on her). The bridge spells out how he weaselled his way into her life, preyed upon (intentionally or not) her emotional state, sold her a dream and then vanished, without the benefit of hindsight yet we see later in the album.
The alien abduction metaphor is pretty brilliant, because it shows both how she was desperate to escape the place she found herself in, and how much it screwed her brain to then be left stranded when the affair was over. “[I loved your] hostile takeovers, encounters closer and closer,” is so evocative because it details how the situation came to be: his overtures under the guise of friendship blurred lines until he made her an offer that she eventually couldn’t refuse (hostile takeovers) as he infiltrated her life more and more intimately. The sad thing is that the song has parallels to how her relationship with the partner started too in earlier albums, in that they ran away to live in their own bubble (or planet) only for him to metaphorically abandon her as the years went on. (Oven, meet microwave.)
My Boy Only Breaks His Favorite Toys
Being continually emotionally broken down by a person who knows he’s hurting you but still acts the way he does. (The original voice memo version makes this even clearer and it’s rather heartbreaking.) “He saw forever so he smashed it up,” speaks to the loss of a future the person became scared of, and the original lyrics (“he saw forever so he blew it up”) somehow cut even deeper to me because it feels so much more intentional.
Also in the original version, “he was my best friend and that was the worst part,” also speaks not only to the loss of an entire partnership in the wake of this hurt, but also to the feelings of betrayal that the person you trust so deeply has the ability to hurt you in this way too, and how it’s a one-two punch of not only losing the relationship but also your closest confidant. (It’s like the sequel to “Renegade” and the missiles firing to me.) Again, there are shades of both/many situations in the song, pointing to an unfortunate pattern in some ways. The situation in “My Boy” is part of why she was so low, and why the “get love quick scheme” was so appealing later on. And it dovetails nicely into…
So Long, London
The most explicitly “partner” song that puts a coda on “You’re Losing Me,” and is Track 5 because it’s the emotional underpinning of how she got to where she was, and drives the events of the rest of the album. It spells everything out: He withdrew, she tried to fix it for both of them, eventually even that stopped working, he was oblivious to or minimized how badly she was suffering and his (in)actions couldn’t reassure her, he wouldn’t move forward on their future plans and stewed in his own struggles, she was spiralling out of control trying to hang on and ultimately felt like she was going to die if she didn’t leave.
But Daddy I Love Him
Like a direct reaction to “So Long, London” in that she breaks free from the death of one relationship and throws herself with reckless abandon to the next, fuck the haters. How dare you judge me, when the relationship you think I should have stayed in was killing me? (Dutiful daughter all the plans were laid. All you want is gray for me.) Fuck all of you, I’m going to choose whoever I want! (So what if I have a baby with HIM, huh?! I tried doing it the proper way and look where that got me so now we're back to square one) It’s again her imagining how wonderful and freeing this “wild boy” is going to be for her, and how wrong she’ll prove everyone. THIS TIME she definitely got it right. So what if she has to run away! So what if she scandalizes the whole town! They don’t know what she really wants or needs anyway! She’s the only one of her (hee-hee-hee) and she’s the only who gets to decides how this goes. (Because: she longs for control in a situation she’ll eventually realize she has little of it in, which we’ll find out is a recurring theme in her life.)
Fresh Out The Slammer
Also spells out what happened with the partner in the first verse and the pre-choruses, which is what makes the conman so appealing as the imagined jailbreak. The bitter loneliness vs. the sultry passion she builds up in her head as she awaits her release from prison is key to understanding the two sides of the story in the album. There’s this whole outlaw imagery (which is also carried through in “I Can Fix Him”), but it’s contrasted in the end with her and her reunited lover sitting on park swings like children with “imaginary rings” — because “Ain't no way I'm gonna screw up now that I know what's at stake.” What’s at stake is lasting love and the promises that come with it (marriage/family) that are precious and time-sensitive. The imaginary rings are both a nod to the youthful dreams of her and her new/old lover, but also has a double meaning to me because those promises aren’t built on anything together; they're made up, intangible. (They’re no more concrete than the plans that went up in smoke with the partner.) Like with most of the conman situation, it’s all a fantasy in her head that has yet to happen, and as we find out later in the album, reality ends up leaving much to be desired.
Florida!!!
Broadly speaking, it’s running away from your problems and wanting to disappear from your life. (But again: the life she’s disappearing from is the cheating husband she may or may not be feeding to the swamp-- another miserable marriage.) What kind of flies under the radar though is the “I don’t want to exist,” line, which points to her dire state of mind that led her to fleeing to that metaphorical timeshare down in Destin. In many ways about cheating death.
Guilty As Sin
Yes it’s the “masturbation song,” but again the nuance is that she’s left to pleasure herself because her partner has abandoned her emotionally and even physically, i.e. “my boredom’s bone deep.” To be blunt: they aren’t even intimate anymore, so she starts fantasizing about the guy she used to have chemistry with who’s reentered her life and is making moves on her. And realizing that she’s now finding release in another man (albeit imaginary) breaks her even as it reinvigorates her because she finally understands that the relationship she’s in is effectively dead. (“Am I allowed to cry?”)
Who’s Afraid of Little Old Me
This isn’t about relationships, but about society and its reaction to them in a general sense. But again, she’s left to stew in all this anger and hurt as she’s been abandoned at home, then abandoned by public opinion, and the public attack on her is part of the origin as well as the end of that story. The trauma inflicted upon her detailed in the song is the reason why she felt trapped in the first place, which led to the decisions she’s made and habits she’s leaned on ever since.
I Can Fix Him (No Really I Can)
This is one of the few songs that is the most completely conman-coded, and shows when the delusion finally breaks at the end of the song. She spends the whole song being like, “no really, I alone can make him better! You’ll see! I know he’s gross, but he’s mine! It’ll be fine I swear! You don’t know anything! Uuuuuum hmm wait actually what the fuck—“
Loml
Oof. THE song. Again the surface reading is about the “conman” who comes in and sells her the lie, but the pain is because all the dreams she writes about are HER dreams and implied that they were the dreams she built with her partner that the conman sold back to her. I could do a deeper dive on this but most of the song is applicable to both relationships, which not only shows the “swirliness” of her writing, but also how they both ultimately did the same thing to her in different shades.
The bridge and the last chorus are kind of fundamental to understanding it all, and her ending it with “you’re the loss of my life” is about, among other things, how falling for this trap blew up the life she built and dreamed of for good. (I could talk about this one forever.) “You shit-talked me under the table, talking rings and talking cradles” to “Our field of dreams engulfed in fire” is a hell of a line and progression, and again, indicative of what the real driving force behind the whole album is. The shit-talking is because he took her dreams (of marriage and children) and hyped it back up to her tenfold whether in a moment of his own delusion or for more nefarious reasons — much like how the man prior kept promising these things but never followed through, which left her vulnerable to someone who appeared to offer them enthusiastically. The field of dreams isn’t just the one with the conman, it’s the one with the longterm relationship she’d built the dream with in the first place, because the conman’s actions are part of the reason the LTR went up in smoke. (Not the reason for the rift, but the consequence of the final break.) And THAT is why it’s the loss of her life, so completely.
When she says “I wish I could un-recall how we almost had it all,” IMO it’s not just the fake future that the conman lures her into, but also (and perhaps mainly) the once-real one she had with her partner and the loss of which that made her susceptible to falling for the con in the first place. There’s honestly so much between the lines in this song that covers every theme and speaks to the grief of seeing the life she imagined slip away, slowly by the first man then annihilated by the second.
I Can Do It With a Broken Heart
The juxtaposition of “He said he’d love me all his life, but that life was too short” and “He said he’d love me for all time, but that time was quite short” sums it up to me (and parallels “loml”), because they are two different situations, but they cut her just the same. In the first, “that life” IMO was the life they’d built with the dreams that went along with it and it was too short because he never followed through, and in the second, the “time” was quite short because it was the frenzy of the whirlwind romance that fizzled as quickly as it began. The life that was too short led to the time that was quite short.
The Smallest Man Who Ever Lived
This is definitely THE conman song. The rage, the shame, the violation, it’s all in there. But the key to it is the bridge and the espionage imagery woven through it. A honeypot scheme is when spies target a mark and seduce them to gain their trust and their privileged information for their homeland. So her likening him to a sleeper cell spy who set her up just to mine her deepest secrets and use them against her is a heavy, loaded statement. And implied: that valuable information she unknowingly held were her longings of marriage and family (the aforementioned shit-talking about rings and cradles she never got to have), and more importantly, those dreams preceded him reentering her life and then beginning his mission on her.
The insinuation then is: she confesses these are her deepest wishes which are now seemingly unattainable in her current situation (e.g. with her partner) -> he convinces her HE will give them to her and make the dreams she pines for come true -> she falls for him and blows up her life to make it happen -> he gets what he wants (thrill of the chase/sex/the idea of her/whatever his intent was) -> he abandons her when he gets what he wants, or rather it isn’t what he wants or can handle -> she’s left a) all alone b) with dreams unfulfilled c) with no answers d) feeling used at having her most sacred wishes used against her.
Again, the song is unquestionably about the way the conman absolutely destroyed her, but he was able to do that because there was this thing she wanted more than anything, that was dying in her previous relationship, that he was able to prey upon to seduce her, then discarded her and her dreams as soon as it was inconvenient for him while absolutely hollowing her inside out. (And again: the devastating thing is that this also applies to other relationships she’s written about, in different ways.)
The Alchemy
Not about either the partner or the conman directly, but it (loosely) touches on her finding herself after the whole oven-to-microwave experience and opening herself up to life and love again. #GoodForHer
Clara Bow
This isn’t about the romantic relationships on the surface, but it is about how damaging the entertainment industry and public life are on women, and how women are only valued for their beauty as commodities until they can be discarded and destroyed in the process. Which I think plays into the circumstances that led her to make the decisions that she did years ago, and why she makes the ones she does now. (But also, being valued for physical traits and appeal for the male gaze brings us to…)
The Manuscript
The “original sin” that kicks off all of this. Again, at first light this isn’t about the partner or the conman, but the person it is about is the reason why she has made all the decisions she has ever since in relationships (and that’s Mr. Plaid Shirt Days from “All Too Well”). The realization that her first serious adult relationship is what cemented these patterns, and this view of herself and her worthiness in relationships, is profoundly sad. An older man who valued her for being so mature for her age and implying that the mature activities ahem associated with that were the performance benchmarks in her ability to carry a relationship, only to leave her, was earth shattering. She placed her faith in this person, but then the way he treated her changed her view of love and of herself.
She took his innuendo about “pushing strollers” as a sign of potential commitment, whereas he ultimately meant it as foreplay, and she was too young and naive to know the difference. So not only did she learn from that that this man (and men) didn’t view commitment and family the way she did and that it was something to be toyed with, but she also learned that her value to them among other things was sex. Imagine being an idealistic 20 year old and your boyfriend ten years your senior tells you, “if the sex is anywhere near as good as our dates have been, we’re going to be making babies before you know it,” (e.g. this is relationship is serious) and then he dumps you: does that imply that the sex was not in fact that good? (E.g. that you’re not worthy after all?)
No, obviously from this side of life, it’s because he was a commitment-phobic playboy, even if he did love her, but she couldn’t have known that at 20 and instead internalized that shame. But, it did send her on a path of how she approached sex and love and relationships for over a decade afterwards. And her coming to the realization that that first act of (perhaps unintentional) manipulation is what informed her actions thereafter helped her break the pattern. Her worth to men is not just sex, she has value and her hopes and dreams have value, she doesn’t have to change into a different person to please anyone, because if that is what they want, they won’t ever want her anyway.
It’s been described here on Tumblr by people more eloquent and astute than I as a song that encapsulates the album as this: one did it slow (partner), one did it fast (conman), and one did it first (first love)— and that is haunting. After years of men minimizing her dreams and desires, if not outright using them against her, she’s finally at the point where she can let it all go and move on for good. (There’s a whole other tangent about consent and shame and manipulation, but that’s an entirely different kind of discussion. But it is so devastatingly contrasted with “you said if we had been closer in age maybe it would have been fine, and that made me want to die.”)
THE SUMMATION
This is just my interpretation of it, but in going through the standard album, it feels pretty clear how cohesive the album is about a story of love and loss and grief, then reckoning with what caused it all in the first place that set a person on this path. It’s a formative experience at a young age that was traumatic and led to certain coping mechanisms and a shaping of one’s self-perception, as well as the reaction to external pressures that try to dictate behaviours and influence how one feels one deserves out of love which makes it harder to know when one absolutely deserves more and better. And leaves one struggling to cope with loss when there isn’t anything else to hold onto. Then in light of one’s life blowing up, learning to find oneself in the aftermath all over again.
On another tangent that is somewhat related to the theme of loss, the way she writes about the two main muses on the standard album also ties into how the situations converged to create absolute carnage on her emotional and mental well-being. With one situation, she’s talking about a concrete life that crumbles under the weight of their struggles; with the other, the entire thing is a fantasy that she builds up in her head, and when it comes to fruition it falls far, far short.
If you look at the “microwave” (conman) relationship, you realize that almost everything she writes about it happens before it actually becomes reality, and it’s mostly her imagining how great it’ll be, but with few exceptions, when she writes about what actually occurred, it doesn’t even come close to living up to her expectations. “Fortnight” is an imagined future where she escapes to Florida and his touch finally starts her stalled engine (ahem). “TTPD” is perhaps the most positive retelling of their time together, but even that implies he was better off stoned and when he sobered up he succumbed to his demons all over again, and more importantly she conveys how she also is in extreme distress, barely concealed by the veneer of being infatuated with him. (E.g. saying to that she’ll kill herself if he ever leaves her — the implication is that she is absolutely serious about it when she “felt seen.”) And that the warning bells are going off in her head, but she feels like this person is the only one she can be with (because they’re equally fucked up and the chaos he brings into her life makes her feel alive when she felt so close to death).
“Down Bad” is the most explicit about being in love, but she’s also left completely confused and disoriented by him disappearing, wondering if any of it was real and the seeds of violation creep into her consciousness (“did you really beam me up in a cloud of sparkling dust just to do experiments on?” “Waking up in blood.”). “But Daddy” is her imagining she can tell everyone to fuck off for telling her what to do with her life. “Fresh Out The Slammer” is her fantasizing about this man while feeling trapped in her relationship — but never in the song is she actually reunited with him; she’s using him as the projection of all the things she’ll make right after being wronged by her partner. “Guilty As Sin?” Is very obviously about her fantasizing about sleeping with him, but again it’s such a minefield for her because it hasn’t happened yet; they’ve only just reconnected. “I Can Fix Him” is the only song other than “TTPD” that shows them actually together, and it’s the one where she keeps saying, essentially, “I know he’s gross but I can rehabilitate him into an upstanding person, trust me,” until the mic drop at the end of the song where it finally hits her that no, she can’t, because this is who he is, not the person she’s built him up to be.
“Loml” is when it all comes crashing down, and the song emphasizes everything he did and told her, e.g. that she’s the love of his life, but she doesn’t return the sentiment in the song about their time together. Because now that it’s past tense, she knows it wasn’t actually love. (And says as much in the album epilogue poem.) “Broken Heart” is her reeling in the aftermath, but again, it’s “he said,” not “I loved.” And then there’s “The Smallest Man,” where she eviscerates him: he also pursued an idea of her but didn’t care much for the real her in front of him (who else is gonna know me?), he love bombed her only to hurt her (crushing her dreams), he was constantly stoned (and not just in the funny munchies kind of way), and he wasn’t even a good lover (despite the fantasy she’d created before). That last point is especially striking because she spent albums singing about the importance of and pleasure in (sexual) intimacy in the relationship with her partner (sometimes to both their own detriment) and how it was at times the only way they could connect, but in this case, the idea she hyped up and acted on in her head about this lover never panned out in practice. She spells it out in the epilogue: it wasn’t a love affair, it was a mutual manic phase.
In contrast, there’s a lot more tangible action in the “oven” (partner) parts of the album, showing how hard she tried to make the relationship work in real life instead of just in her head. All of “So Long, London” is her detailing how she tried to break through to him and support him, even when he rejected it and pushed her away, thinking she could carry them both until they ultimately sank, but she did it because she “loved this place for so long.” (The place? Not just the city, but the home and perhaps most importantly, him.) In “Slammer” she stayed with him even as things disintegrated for “one hour of sunshine.” (E.g. holding onto the rarer good times even as they were fewer and further between, hoping things would eventually turn around.) And like in “London,” she held on despite people in her life pleading with her that it was hurting her. (Which is also echoed in “Slammer.”) In “Guilty” her boredom is “bone deep” because the passion that once drove their relationship (and papered over their problems) has finally gone out too, so there’s nothing left to hold onto, leading to her fantasizing about the new suitor, which makes her realize her relationship has passed the point of no return. “Loml” is about the conman on the surface, but the undercurrent of all the things she says about him is that he was co-opting the dreams that she was clinging onto for dear life in the previous relationship, which is why the con is so painful; the field of dreams he sets ablaze isn’t just the fake painting he sold to her, but the original artifact (her life with her partner) too.
All the physical and emotional labour she puts into the relationship with her partner ends up reflected in the fantasizing she does in the one with the conman, which is why it is so confusing in the moment and so lethal when he leaves her without any answers. She wants to get married and start a family with her partner which keeps getting stalled; the conman mock-proposes which makes her think he’s immediately serious (“TTPD,” “loml”). She feels caged by having to hide with her partner and shrink herself; the conman promises he’ll stand by her side publicly and let her shine (“Smallest Man”). She sinks into a deep depression in her loneliness as the relationship with her partner careens off a cliff; the conman convinces her they’re meant for each other in a them-against-the-world way (“Down Bad”). The intimacy (in all senses of the word) in her relationship with her partner fizzles; the conman stokes the fire by sending her secret messages and reigniting passion (“Guilty”). She spent years trying to help her partner to no avail; the conman makes her think she has the power to reform him (“loml”). She feels misunderstood by her partner; the conman acts like he’s the (only) one who truly gets her (“TTPD,” “loml”).
In short: there’s nothing that the conman does or says that isn’t a direct response to what her partner did first, and it’s even worse because the conman knew how much her partner’s actions hurt her and he used that privileged information to paint a picture of what he could give her, but in doing so in some ways aimed at her heart with even deadlier accuracy. (I’ve likened it to him borrowing someone else’s life for his own joyride, until he crashes the rental car and flees the scene.) It’s why in the aftermath, the difference in emotions are so different: she feels nothing but rage and violation towards the conman for getting in her head and using her, whereas her feelings towards her partner are more complicated. There’s anger (at her lost youth and being taken for granted), but there’s also sorrow (at their lost life and future), disappointment (that he never could step up the way he’d promised or she’d needed), even compassion (towards his struggles) and a tiny measure of appreciation (for the good times they did share).
When you look at the bigger picture, the story the album paints is just so painfully normal. You have two people (Taylor and her partner) who once loved each other deeply, and despite warning signs early on telling them they have fundamentally different needs and ways of living their lives they fight like hell to make it work (the epilogue) until those warning signs become grenades that destroy their home (“My Boy,” “London,” “Slammer,” arguably “loml”). Having already been through at least one rough patch/break/breakup that she felt almost destroyed her (harkening back to Midnights on “You’re Losing Me,” “The Great War” and “Hits Different”), the final and fatal downward spiral of the relationship (“YLM,” “London”) and the grief over losing that future sends her into a tailspin, just at the time where a flame from the past (the conman) reenters her life and tells her all the things she’s been longing to hear and feel (“TTPD,” “Down Bad,” “Guilty,” “loml”) and, crucially, missing from the relationship that was once her entire life.
So in her panic, she falls prey to the (empty) promises of the past lover (“loml,” “Smallest Man”) and decides he’s actually what will save her from the free fall, because the alternative (that she will end up in a situation she doesn’t think she can survive) is too painful to bear. When she finally acts on these circumstances (leaves her partner/runs to the conman), she snaps, acting on pure emotion and adrenaline (“But Daddy”), but before she knows it, the new lover abandons her, and she’s left to reckon with the fallout of the episode and process everything that has happened (“Down Bad,” “loml”) — with the conman, with her partner, with the choices made in her adult life personally and professionally which leads her back to the moment she feels set her down that road at the start.
The TL;DR of this unintentionally long essay is that the reason the conman affair was so serious was precisely because it was meant to fulfill the promise of what was her life with her partner. To me, a large part of the story is that she projected that life onto the conman (or he projected her life back to her for his own purposes) because she wasn’t ready to deal with that massive grief and the life raft he offered felt like the only alternative to an even darker end. Whether the conman actually believed what he told her, or he went along with it or encouraged it because it served his purpose, we’ll never know, just like we’ll never know the finer details of what went on (nor should we). But no matter what, the album is just an extreme deep dive into all the ways grief can consume us, and whether it’s a long, drawn-out death or a sudden, inexplicable one, it can turn a person’s life into such a trainwreck that they act in ways unfathomable to even them, let alone the people around them. It can also unleash repressed trauma and mental illness that can crater your sense of self. And when those situations are compounded? It makes for a nearly impossible type of breakdown to unpack. (Which is why you might need a 31 song album to process it.)
#What if i told you I’m back lol#Time for me to finally just post the thing after it’s been sitting in my drafts for so long so I can rid myself of it lol#Writing letters addressed to the fire#the tortured poets department#Consider this a treat before Eras comes back for its swan song leg idk#Would you believe that as long as this is#i deleted quite a few chunks of it from the original draft i sent to a friend(s) in the interest of ~propriety~#Because they were a little too rambly and um— ~speculative~/personal/etc and we are flying too close to the sun#And i tried to be as tactful and more or less stick to things we can point to in the music and such#So hope people catch my drift lmao but also iykyk i guess#I have so many other themes I want to talk about but I never have any time#I have so much more i want to say and yet#wavesoutbeingtossed: The Anthology#Also if things get weird i will turn off reblogs/delete the post tbd#This is not an invitation to get into muse ranting or debate in my inbox and I ask that you please respect my boundaries :)#Midnights#lover#folklore#evermore
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ive been thinking about the red string superstition recently and also sol bufo always and it makes me sick how uncannily caldwell tanner has made sol to perfectly target me personally
(+ cropped versions !)
#naddpod#ba2mia#ba2umia#solum bufo#swag daniels#calliope petrichor#calder kilde#alexandrite#posts by me dot com#okay..... SECRET TAGS RAMBLE!#so basically this superstition is like ... i think a chinese/buddhist/taoist superstition?#ive taken some creative liberties with it... but its mostly accurate to how its been told to me?#but of course theres lots of variations! some more abt bad luck; some say to tie it on the doorknob#etc etc ... lots a variations#i was also rlly interested in the .... weird illogic? of the thing?#like the red attracts and repels spirits at the same time#so thats something i was thinking about with too. red is assocuated with both swag and alexandrite. which to me was kinda reflecting like#i think what murph said . swags place in the wild is in a way. an extension of what he learned from the network#mothership s inextractivle from sol and swags lives. they will always be held doen by it. thats the spirit that will follow them forever#that they choose to hold on too! as much pain as it brought ... some of the experience was worth it#and anyway. theres somethingwrong w me that the minute someone brought up this superstition my brain went#'ohhh just like sol!' < needs to touch grass moment#but i CANT BELIEVE. CALDWELL DID THE RED STRING. AND ITS LITERALLY A MOURNING RITUAL#caldwell keeps accodentally makig that frog ASIAN. to MEEEE!!!!!!#but. anyway. idk. ive always hced sol kept the piece of yarn and it makes me kinda .... what if y let the malicious spirits follow you.#and haunt you. what if its the closest you can get to keeping the person still around#and sol and swag obviously have so much about homes .... so!#(ok. weve reached the pt where maybe nobodys reading? so confession is this is sort of a well. ive just been doodling this comic everyday#after a wake. and it was sort of inspired after realising i was even a bit sad about it maybe. so. idk its about sol but also?#i guess the projection doesnt end at him being asian. hehe. is what i mean. LOL. okay secret tags over . buried lore. dont look here folks)
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🦈💗
#dreamworks trolls#broppy#branch x poppy#trolls branch#trolls poppy#mermaid au#mermay#wonder what he's so mad about lol#also i should draw branch with his hair down? wet?? again he looks good with it xD#idk if you can tell but he is glowing at bit ( its so much more glowy on my tablet jffkl )#idk how to fucking background i tried ok#guess im just rambling in the tags today#trolls#fanart#my art#chibi#cute
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hot opinions straight off the stove! 🥘🔥
#mostly referring to jokes against t1ds but t2ds can be included as well#type 1 diabetes#type 2 diabetes#type 1 diabetic#type 2 diabetic#type 1 problems#t1d#t1diabetes#t1diabetic#t1d problems#t2d#diabetes#opinions#opinion#hot take#emily rambles#not art#meme#idk i guess its a meme#lol
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given that Draxum had an entire gigantic room full of weapons in canon, i lowkey feel like he would at least own a sword cane
#bambi's rambling#rottmnt#rottmnt baron draxum#of course using it is a different story because they're pretty impractical but like#when do we ever see this man fight with weapons#almost never. and yet his house has an entire room of them#(i know his house kinda blew up in canon but shhhhh i'm ignoring that lol)#i think its safe to guess that he just collects them#or maybe he gets a lot of weapons as gifts for some reason idk#but yeah even if he never uses it i feel like he would have a sword cane lying around somewhere
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Jonathan doesn't give a shit about, to actively dislikes Steve. Steve thinks that he, Robin, Jonathan, and Nancy should hang out after the Upside Down is dealt with. That's an interesting dynamic to have!! I want to see this explored more! Want to see this one-sided camaraderie play out. It'd be fun, confusing, and heartbreaking.
#steve harrington#Jonathan byers#stranger things#does this count as#stonathan#finda's rambles#i guess i have jon byers on the brain lol#onesided enemies is so fun to me and im disappointed its not explored more for stonathan#like this is canonically how they think of each other
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i didnt read the last chapters since i discovered it was the end (but i was spoiled by tumblr lol)... i didnt want to believe it... i want to still look forward to new chapters of No Home :(
For the last few years eunyung and haejoon have been my companions. I healed a little while following the story of eunyung, feeling like its ok to be angry and wanting revenge on your family and the society that continues to want to keep you in a "house" where you are mistreated. How the world isnt made for children at all, the absolute unfairness of it all. That you can choose to keep going, and if you do so its ok to keep your distance with what hurts you.
I healed too with haejoon, who came to terms with the fact that he will always be overcome with sadness and grief from time to time, and when that happens he can only let himself feel and wait for it to pass, and try to look forward to the next day.
Honestly this manwha was the best ever. I couldnt read this manhwa as a form of escapism because it was too real. It pulled strings in my heart i didnt know i had, made me question a lot of things about myself, about others, about my relationship with others. It made me have painful discussion with a few people. Following this manhwa, most of the time, was really unpleasant lol. I hated then loved eunyoung, I liked and then disliked haejoon (yeah sorry haejoon, i think you can be really cruel and stupid and i wanted to strangle you a few times in the last arcs (i would NOT be friend with that guy lol) -thats why this character is so amazing). But i felt so much while reading it i wouldnt trade it for anything. It was funny, it was dumb, it was deep, it was enraging and healing, but most of all it was sincere. The most sincere depiction of what being a person in a deeply flawed society is, and how there's happiness even while surviving.
It was so frustrating to see the manhwa go in a direction i didnt want it to go ! I wanted it to become my cozy refuge, where every problems are magically solved, where haejoon and eunyung ends up understanding and loving each other in a cliché way, where theres a new home with my *fave charas* and its a series of feel-good interactions. Instead the problems kept pilling up, most of them didnt have a satisfactory conclusion, eunyung and haejoon kept hurting each other and distancing themselves. Haejoon just cut contact with his father without knowing what were his nefarious motives or without this guy facing any consequences, we dont know if eunyung's parents will keep bothering eunyung unchecked, we dont know if they're going to be happy and rich, or if, realistically, as orphans without generational wealth and deep traumas, they're going to end up in a shitty life situation.
And i couldnt thank wanan enough for this. They didnt take the easy way, the feel-good way, the way that would have given them a probably bigger fandom so a bigger source of money. I'm amazed by how they managed to hold this whole story so perfectly. Not a single misstep. Everything they draw was where it should have been, every action from the characters were understandable (and frustrating lol), the fucking subtlety of the developing relationships, no deus ex machina and no miserabilism. I didnt always agree with wanan's ethic or what i perceived of it (i think stealing or being violent is ok depending on the context, i dont think working hard to earn money is a virtue) but i respect how they choose to present it. I didnt talk about the other characters because honestly they didnt move me as much (except marie), but i love them so much too. I felt sad that eunyung and haejoon didnt become best friend 5ever (or even lovers hehe) but honestly, understandable lol. If i was one of them i WOULDNT become close with the other at all, so its kinda amazing they could still find this level of mutual understanding.
In short, wanan is an amazing story teller.
And an amazing image-composist (have no idea how to say this in english). The artstyle doesnt look like much, but this gave wanan a wide graphic range to convey emotions that wouldnt have been possible with a more sophisticated style i think -how will i forget the red swirlings mixing with eunyung skin ? The expressions, the choice of colors, the choice in showing something in particular without giving a clear explanation on why (often haejoon's surprised or contemplative face, which made me re-read chapters a few times to try to understand what was happening in his big head). It didnt feel like wanan thought their readers were stupid, nor did they play the fake-deep style. It was perfectly balanced.
And so even if i didnt read it, i have no doubt the end will be the same. Im so sad they decided to end this manhwa, but i know prolonging it would have been greedy and that ultimately, the manhwa would have suffer for it. Some authors do that : they have a popular series going on, and for whatever reason they keep writing new chapters without a clear goal and so the story becomes diluted, messy, useless. I love when they do this, because i can say goodbye to a story progressively as my interest in it wans, without feeling sadness or loss. But it makes me not think of the story at all in the future, since everything that was good about it became buried in new shitty chapters. Because wanan didnt do that, i know that i would think of no home for a long while, maybe forever,
,like i really lost companions when no home ended actually. Because it really, really hurts, knowing i wont be seeing new faces of the no home characters anymore. I know it sounds probably stupid ; i feel genuine grief here lol. I want to know what will happen to them, if they are alright, if they found a place in the world... if there is something to look forward after all, and i really dread not having answers every monday anymore. and the fandom is so small i cant comfort myself by re-entering the no home world every week or whatever... does anyone else feel this way ToT ? maybe i should participate myself but well,, i wouldnt know where to begin...
And saying that ! I'm almost never on this blog, i dont really have socmed accounts, i dont participate in fandoms at all. But I spent a looot of time reading and watching people who does -without being connected or interacting with posts or fanfics at all. AND i really want to thank you all for giving me so much material to chew, posts that made me think, fics that made me smile, drawings that inspired me, witnessing interactions that made me laugh. I was and i probably will continue to be a ghost on socmed, but i really want you to know that you had an impact on me and i was looking forward to your new posts (and will continue to!).
the "every no home chapter is a test of my willingness to Not blow my own brains out" and explosion eunhae monday of @skiptoyuri
the regular nohome posters which makes me happy to check tumblr regularly @shimamitsulover @lesbianpegbar @luckyswamps @tomoyoo @cloudbends @t0a2ter @solcarow @dragon-of-timeless-blue
the awesome artists who keep producing bangers nohome art @gohaejoon @maxsolosur @jjd5426 @bnnuycafe @ct-bunny @lentl-soup @fartaycat @jjd5426 @prokkoli @moxymaxing @ginangtan
the nohome posters that i enjoyed running into @pleuvoire @homolobotomized @podoro-vines @fmet @welpuu @revertrate @obstinaterixatrix @kulluto
the artists that made me interested in checking no home @cienfll @craysmo @ant-eaters @idledee @fruiitlins @froqpi-art @201918b @tinfishmeal @ohrsoh @30mingirlfriend
thanks @ditherslam for the awesome fanfics, obviously i read them all and they're some of my favourites. youre an amazing writer and i cant wait for the next chap of "your atoms"!!
thanks @homeless202 for being an insatiable nohome poster for a while (and @grannykombucha !)
im forgetting a lot of others but i really wanted to thank you all for your time, energy, work. i never interacted with your posts or with you but i really want to convey how cool it is that you all contribute to make no home a more well-known manhwa and the fandom alive
thank youuuu (hope the @ are ok tell me if its bothersome ill delete it)
and really, really, thank you wanan ! waaaa i want to cry
#no home wanan#no home#no home manhwa#kind of strange wanan wil never know how muvh their story mean to me and probably lot of others they'll never meet#im really rambling but it felt strange to not post anything while ive been luring in this fandom for so many years#and thought about no home a few hours every day at least#it feels like a goodbye letter but i really know ill still think about no home for years to come lol#i kinda want wanan to make omake with the chara being silly and happy...#i want to know if eunyung and haejoon stay close T.T#please dont let time and distance make you apathetic#will eunyung inherit his father debts??#i have no idea how it works in south korea#i hope he finds a way to really have no ties with bis family anymore#and so nothing will come bite him in the ass in the future#haejoon being a model student and what is expected of society and having his uncle i guess hes one step ahead#well#except the mental illnesses#but eunyung i worry so much about him#please be happy in the future T.T#ah i should made another post its too much tags
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Something really great about the persona 2 cast is that they all individually fucking SUCK to talk to casually. Every single one of them. They are all infuriating. We have:
Tatsuya, who will stare at you blankly if you try to initiate conversation (IS) and will dip without saying a word afterward (EP)
Batsuya, who will scoff and brush you off/otherwise act dismissive
Eikichi, who might honestly be the best to talk to in the IS crew and that is not saying much, who WILL talk extremely loudly over you (probably not on purpose?) and will not be paying particularly close attention to the conversation beyond whatever he wants to say (gets points for talking about his gf. gets points taken away for constantly talking about his gf)
Lisa, who will automatically assume bad faith and will be rude to you the entire conversation unless you manage to defuse her temper (good luck)
Jun, who is uncommunicative at BEST and requires an encyclopedic knowledge of flowers, metaphor and body language just to get a HINT on what he’s thinking, and who will be extremely polite but completely unhelpful. If you tried asking him what he wants for dinner I guarantee it will be the longest 30 minutes of your life as he goes “oh I have no opinion :) whatever you want. :))” EXCEPT HE DOES HAVE OPINIONS. He has SO MANY OPINIONS. He is Expecting you to be able to pick up on his “obvious” clues. He will be passive aggressive if you don’t. (Jun babygirl you suck so bad I love u)
Maya, who is a delight but will very quickly become grating if you try to talk to her about anything serious as she hits you with the white suburban mom's "how to live a happy, healthy life" lifecoach slogans. You can’t even mention, like, stepping in a puddle or something without her hitting you with the positivity beam.
Yukino is great actually. 10/10. She’s fabulous we love her. Incredible conversationalist, chill and fun and easy to get along with. But she’s from Persona One, she doesn’t Count.
Ulala, who WILL bring up her relationship problems in every conversation within 10 minutes at least once. Any longer and she will start talking about Maya.
Do I even need to explain Baofu. Have you seen him.
And finally, Katsuya, who is a cop and a kiss ass and Very Obvious about these things. Also he can't talk to women. He can barely talk to men. Help Him.
And yet they all work wonderfully as a group. They are so annoying I love them
#long post#Nanjo and Elly don't count btw#hi I fucking adore them#I missed them <3 Suou Brothers crawling back into my brain#Persona 3-5 have a very charming casts that are easy to like immediately. Persona 1 & 2 are filled with the most annoying bitches alive#exaggeration obviously. not by that much tho#persona 2s cast in particular is very charming. when they're TOGETHER. Individually? Wellllll...#hmm something about p2s cast in particular feels less. gimmicky? I guess? than the newer persona games#which isn't to say that those casts are worse or that the p2 cast ISN'T gimmicky because they are#but idk. you kind of always know how Ryuji or Ken or Yukiko will react to a situation. but the p2 cast may surprise you#again: doesn't make any of the later casts bad! I absolutely adore them. That you can predict them is evidence of strong character writing!#The p2 cast just feels a little more fleshed out is all. probably because the lack of social links means they're able to progress#throughout the story and change without worrying about conflicting with a link yanno?#I love social links though I think they're a great edition!#They need their kinks ironed out a bit but Yosuke has already proved that they are absolutely capable of working hand in hand with the#development of characters in the story as well#and theyre still fun even when they don't impact the story. I like getting to know side#characters too! (Naoki and Ei and Ai and Daisuke and Kou and the old lady and Akinari and-)#tag ramble#persona 2#tatsuya suou#eikichi mishina#lisa silverman#jun kurosu#maya amano#yukino mayuzumi#ulala serizawa#baofu#katsuya suou#Also um. hi. Its been a while lol
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“I could never choose a favorite between all the Gravity Falls AUs, I love them all equally!”
[Later]
“I do not care for Reverse Falls.”
#I don't care for Reverse Falls or Transcendence tbh- but I have more of a distaste for Reverse Falls#I didn't like Transcendence because I find it confusing but Reverse Falls… I have a bone to pick with that one#its such a cool concept you could be running with; but every time I ever saw it back in the day I ALWAYS saw someone sexualizing the twins#it was almost impossible to go through that tag without someone being weird about those two and if made my brain wanna explode#DONT GET ME STARTED ON WILL#I HATE THAT BLUE TRIANGLE#Bill Cipher had so much potential in that AU; Whats the opposite of chaos? ORDER. Make him just as deranged as he usually is-#but in a scary and meticulously organized way!!! it couldve been so cool!!! I don't want that winey blue baby!!! bring me back my yellow guy#anyone wild tag rant over I'm gonna go doodle and eat pizza I guess lol#prince rambles in this chilies tonight
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"I adore you // love you too baby" YOU COOKED SO GOOD ACTUALLY, love the characterization details in ur works!!
HEY ANON LOL DO YOU WANT ME TO CRY??? DO YOU WANT TO SEE ME CRYING MY EYES OUT?!?!
but hm hi. 🤚 hello thank you for speaking about that hello hiiii 🤚 can I talk for a second about it pls 🤚
about endo never truly learning the idea of being lowkey about anything. about him being intense in every aspect of his life, about loving and being infatuated so deeply by everything he even dares to care about.
about how being in a secret relationship would hold him back so much. and he'd be pissed about it but he would understand it so well because he doesn't want to give up on fighting and also he doesn't want to give up on you. so it's whatever, he will try it. for the sake of having fun without hurting what you have, he will try it.
I wrote that part specifically by the idea of his s/o being aware of who the relationship is with. you gotta know that he adores the ground you walk, that he's obsessed with being around you, just like he's with other things, and that just means he loves you. its kinda fucked up. but when he says those stuff you can only hear "I love you" and honestly, takes a while to get used to it, but what else can you ask?
it's about the idea of helping him through it too, you know? constant reminder that when the infatuation is gone, there's still love. when the fights aren't fun or when shit happens, things get messy, there's still your love. :)
#highest of all compliments for my writing i will literally cry#anon im so sorry for using your ask to gush about this i was thinking abt it and i didnt know how to post#come back pls i hope you dont mind ilu this was honestly so sweet. im kinda here trying to repay the compliment hope its okay LOL#DO I TAG THIS!?!?!?? IDK im just rambling but i guess i put some effort into thinking it all day so#yamato endo x reader#yamato endo x you#wind breaker x reader#e.txt#mine#inbox.txt#im about to start writing mini series of smaus abt my thoughts abt this man#this is not fun (its i love it)#thats how i see him btw hii 🤚 he's obsessed with you#that doesnt mean he will always be loving but its always abt u :)))
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