#he emulated his heroes down to the flaws and lost track of his origins like AM lost himself in the SoP and Katsuki was lost in his complex

[that-spider-fan-over-there]

Something about Izuku I keep thinking about is how much he's a downright hypocrite and the only reason he isn't called out on it is because he's one for himself and not for others and at the core of it all it boils down to his pending childhood issues and the *vaguely gestures* "relationship" he and Katsuki have- I mean, just out of the top of my head:

Wants to be a strong and dependable hero but is at his weakest when he's alone.

Says to Himiko he would never hurt someone he loves but was the reason Katsuki was forced to dance with death until his own sacrifice. Hell, I'm expecting him to actually accidentally hurt Katsuki (Physically? Emotionally? You decide) next time they talk.

Wants to save people with a smile but barely cracked genuine ones during his battle with Tenko- I can think of two(?), and even then those felt more like a resignation (379 and 412 iirc) than actual smiles.

Being aware Kacchan's a jackass, fine, but the entire "Imitate the people you love/admire" themes, having an attitude when heated or absolutely Done with anyone's BS (makes sense for someone who grew up besides a kid in the Inferiority-Superiority Complex but still) and "This is a battle between All For One and One For All, you can't keep up" is still very much pot calling the kettle black (it's because his "arrogance" is rooted in selflessness and desire to be useful but that's for another day)

Deadass called All For One out for being a lonely man pretending to be a "Demon Lord" yet will not admit he himself thinks a he's just a lonely kid pretending to be a hero; and by the time he seemed to be growing out of it: Paranormal Liberation Front.

"IT'S YOUR POWER, ISN'T IT?!" Cool, nice of him to comfort Shoto and try the same with Touya, now if only he could do the same in regards to himself and OFA-

Wasn't able to connect with Tenko at all and that's why he failed but it's wild to me he'd still the one who even at surface level could relate to):

Spinner, because they're nerds who were ostracized based on Quirks/lack thereof looking for a purpose and were unable to help him because of AFO's interference;

Himiko, because they want to be like others (because they hate themselves at least a little bit) but also show love in a way others wouldn't accept and;

Touya, because they wanted to prove they could be useful to others and be heroes to the point of actively harmed themselves while using their own Quirk.

Hell, when you think about it he related to the crying child but he could've used Literally Anything from his relationship with Katsuki to try and reach Tenko, but of course he didn't, that means he'd have to think about his own issues and yet he saw Tenko's issues no wonder he didn't get the job done-

Also can we talk about him saying he relates to Ochako confronting Himiko but she actually succeeded- Or even Shoto wanting to forgive Endeavor; I keep recalling both Ch. 322 him saying he won't forgive Tenko for anything he did (understandable but still) and Tenko going "And I won't forgive anyone". Connecting these three instances are huge stretches, I know, but really, he hasn't addressed the apology he got- combined narrative punishments for empty platitudes.

Kept saying he needed to improve in his control with OFA: had to get beaten up during his internship and in the Summer Camp for that lesson to stick... Then he heard the words "Control Your Heart" and decided to Not Address It At All.

Supposed to surpass but he's really All Might's successor in every way that counts: Smile so nobody will worry, keep fighting even though you are destroying yourself, be so selfless you'll make your friends desperate enough to make you stop for your own good, hide every single thing you can about yourself, the only difference is in the bed they made: Toshinori lies in omission most of the time, and Izuku thinks he lies in white when almost every other character's in the dark, but as long as there's a dream of bright smiles in the future, who cares they're now forcefully entangled in this nightmare, right?

And these are just the examples I can think of the top of my head, there might be more, but. No wonder we've been "panicking" (let's be real his therapist already scheduled him for Ground Beta atp-) Shoto and Ochako brushed him off by accident in Chapter 425, it's the consequences of his hypocritical ass coming back to bite him-

(I am not hating on him, by the way, it's just something about him I wanted to point out. I like that aspect of his. Makes him more human. But jeez can someone call him out and make him practice what he preaches? XD)

[sevenwaystopeemylife]

Station to Station

Real Talk,

Station to Station is that album I keep getting back to, it has that comfortable sound of darkness and sadness, but also some hope.

This album was made while Bowie was on high on his cocaine addiction (Not the side effects of the cocaine, I’m thinking it must be love)

I recommend people to listen to this album at least 5 times in their lives, at their different emotional stages to catch each and every feeling

Track 1: Station to Station (10:17) The title track of the album. My analysis of this track, probably the longest song I’ve heard in my life as a studio track (not counting live performances)... The track starts off with a train sound, emulating like someone leaving a station and then entering it (Station to Station). The audio fades to a horror piano like audio, showing an evil villain, similar to vaudeville or old 1920s silent horror like Nosferatu, with an uncomfortable sound to evoke fear in the audience. Drums play slowly, with the piano, then a tune players being the opening riff. Enter the Thin White duke, who "throws darts in lover's eyes", who means that he is cynical and lost in character that he won't care about other people, killing his lovers if it means anything.

"Lost in my circle" lost in character, late the same song brings up "Kether to Malkuth", which are references to Kabbalah, where Kether means crown and the first of the 10 "Sephirots" with Malkuth meaning Kingship, as in bottom, the final number 10. Top and bottom basically. Bowie was obsessed with the occult during his fuels.

"Drive like a demon from station to station", going fast, representing cynicalism on the Thin White Duke's character, not caring about his own life in the process.

"Once there were mountains and mountains, and once there were sun birds to soar with" The Duke used to have hope at one point in his life, but something must have happened to cause him to become a cynical person.

"Got to keep searching and searching" Meaning, somewhere inside the black heart of the White Duke, he has a glimmer of hope, and apparently the hope is his love, which is the only thing he has control over, as he goes "Drink to the men who protect you and I," and ending with the "It's not the side effects of the cocaine, I'm thinking it must be love".

He, however belives he doesn't deserve said love, as he took it for granted "It's too late to be grateful"

"The European cannon is here", sung later, is a sign that Bowie is sick of Los Angeles and the culture there, and wants to go back to Europe (which he fulfils as his next 3 albums, Low, Heroes, and Lodger are recorded in France, West Germany, and Switzerland mostly).

"Should I believe that I've been stricken? Does my face show some kind of glow?" The Thin White Duke has a realization that he is corrupt, and love is what lets him realize, the glow meaning him being pale, as the character is a fascist, which are often known for their racism.

The repetition of the lyrics over and over again, is a madness mantra showing the character completely lost in character, and still in love. The cocaine tampering with him.

Track 2: Golden Years (4: 03)

This track deals with a thought of a person convincing a young lady (presumbly) who has since crossed despair to please regain hope.

The narrator acting like some kind of guardian angel, telling her to please please not lose hope. ("I'll stick with you baby for a thousand years")

The narrator, possibly the Thin White Duke from a time before, meeting his love, telling her that not to lose hope, and to be with him, as they'll always be together "I'll stick with you baby for a thousand years Nothing's gonna touch you in these golden years, gold"...

The song has a Funk-R&B feeling, showing traces of his previous album Young Americans, the feeling could be a case of him flirting with the girl in a concert, telling her in concert that she should not lose hope, and get over despair, and join his hand and be with him. Like an idol,

Track 3: Word on a Wing (6:04)

This song, is according to Bowie, the only song on the album he meant sincerily.

"In this age of grand illusion You walked into my life out of my dreams"

The lyric describes that in a low period, the narrator himself reached high and above.

"Sweet name, you're born once again for me", meaning he still loves, and loves that she returns each time to him, explaining the born once again part.

The chorus, is a prayer,

"Lord, I kneel and offer you my word on a wing", word on a wing, angels have wings, prayers are words to a deity, angels are the Mercury of Lords, angels deliver the message to the Lord through the prayer, hence the "word on a wing".

"Does my prayer fit in with your scheme of things?" The narrator questioning if everything was a lie, and just a test for him from the Lord.

The rest of this track brings up going back to "the scheme of things" as there's always a plan, and hopefully something to prevent it from screwing one up.

Track 4: TVC15 (5: 35)

The background of this song, was during a drug episode, Bowie and Iggy Pop were high, that Iggy thought that his girlfriend was getting sucked into the television.

The song talks about a holographic television "He's quadraphonic, he's a,he's got more channels So hologramic, oh my T V C one five"

"She saw my T V C one five, baby's gone, she She crawled right in," The narrators girlfriend crawled inside the television,

" "Maybe if I pray every, each night I sit there pleading

"Send back my dream test baby, She's my main feature""

Basically, the song deals with the narrator's girlfriend being trapped in a television, and him pleading the tv to give him back his main feature.

The narrator just gives up, and wants to go inside the tv now with "one of these nights I may just jump down that rainbow, be with my baby, then"

The narrator ponders memories that could happen if his wish comes true "we'll spend some time together"

"transition, transmission, transition, transmission" those 2 words repeated twice, represents the madness mantra of the narrator talking about the tv turnining on, and yet the process sounds mundain, transition, changing the channel or mode, transmission, actually airing a hologram or turning on the televion. Yet it sounds pretty alien.

Track 5: Stay (6:16)

The track, like Station to Station opens with a one minute rock solo.

The song deals with a relapse, where the singer, after a relapse pleads to be given a stay, "Stay - that's what I meant to say or do something, but what I never say is stay this time I really meant to so bad this time"

The singer, apoligizing for what he did for whatever he did.

The singer, then calls out the person who's leaving him with a , "Heart wrecker, heart wrecker, make me delight, right is so vague when it brings someone new. This time tomorrow I'll know what to do. I know it's happened to you"

He'll try again, and again until she or he returns to his life, but possibly causing another relapse due to how the singer speaks.

The rest of the song is a solo, showing apathy and giving up while talking, letting the music speak the rest of the song.

Track 6: Wild is the Wind (6: 06)

This song was originally recorded by Johnny Mathis for the 1957 film Wild is the Wind.

David Bowie covered this sing in 1976 for Station to Station.

The cover changes the meaning into an obessive song, showing Bowie's obsession with the love.

Using the Association Fallacy, Bowie brings up that "his Love is Wild, and wild is the wind", meaning that his love is wild, and wild is windy, meaning his love is windy, like it blows around people, spreading.

He brings up, how he's full of love, that it causes his life to develop, "With your kiss my life begins"...

He brings up, that they're like animals in the wild wind, with "For we're like creatures of the wind, and wild is the wind"

Overall, this song changes from a theme of a film to an obessive song about a man who's obessed with love, using symblism and associations to prove his point.

Is love truly wild? And wind always wild? Is a fan a wild machine? A person can control a fan, the strength, actually unplugging it.

The logic is flawed, as wind isn't always wild, and that means love isn't always like wind, meaning you cannot force love on other people.

Overall, this album is one of my influences, and I overall hope people listen to this album, as it helped me throughout last year and summer, with my current relapse into certain substances and how Bowie was under cocaine during the recording and does not remember anything.