#hensa

[hensa]

its finally getting cold out

[you-are-constance]

Day 1 of Ship-Mas: Henry Jekyll/Lisa Carew from Jekyll & Hyde

this is one of the ships that doesnt occupy my brain all the time (unlike someone else i know), but one that i do dearly love. i got to see this show at a community theatre production a few months ago, and their whole dynamic was so cute. there is a reason that this ship has been on my life every year i’ve done this, but there’s also a reason that they’re not higher up on the list

[tentacledteaparty]

Selling these Summer babies for $25 Each! DM me or comment to claim <3

Camp Counselor Bear: OPEN

Movie Night Puppy: CLOSED

Yard Work Bull: OPEN

[a-model-of-propriety]

I find it fascinating to trace the development of Jekyll and Lisa's relationship through the various versions of the musical. On the surface, not much changes; Lisa (or Emma, depending on the version) Carew, fiancée of Henry Jekyll, watches helplessly as he dives deeper into his obsession with his experiments, only discovering the true reason for his isolation when it is too late. Whether we look at the Lisa of the early demo recordings, the Emma of the Broadway productions, or any version in between, her role and her fate remains largely unchanged.

Even so, her relationship with Jekyll, specifically its portrayal in their song(s), underwent arguably the most rewrites of the entire show. While (very early drafts of) some songs, such as "Alive" and "Murder, Murder", appear as early as the very first demo recording in 1986 (and by 1987 Lucy's main songs make their appearances as well), Jekyll and Lisa's main duet of "Take Me As I Am" does not appear until 1994's "Gothic Musical Thriller" album, after which the song does not undergo any significant changes.

In TMAIA's place, the pair sing several different songs, including "Love Has Come of Age", a duet version of "Someone Like You", "The First Time", and several more. In the 1986 demo, half of the songs are duets between Lisa and Jekyll!

Out of all the rewrites and cut songs, why did "Take Me As I Am" manage to stick? And why was it the only true Jekyll/Lisa duet to survive revisions?

Though earlier drafts of Jekyll & Hyde devoted more attention to Lisa and Jekyll's relationship (which I, as resident Lisa fan, thoroughly enjoyed), the extra songs did very little, if anything, to progress the plot or develop the show's major motifs. Most early Jekyll/Lisa duets were generic love duets, serving no other purpose but to tell the audience that Jekyll and Lisa were, in fact, in love with each other. Most of these early duets exist mainly to serve this purpose, bogging down the story because they did nothing to address any other aspect of the story than their love and longing. The songs were, in the grand scheme of the show, redundant.

This is where "Take Me As I Am" stands out from the cut songs. While it still serves the important function of Duet To Show How Much They Love Each Other, TMAIA also speaks to the underlying motif of "known vs. unknown". The reason Lisa and Jekyll love each other, at least when we first meet them, is that they truly know, understand, and accept each other. Only when Jekyll starts hiding (pun intended) things from her does their relationship start to show cracks.

From the very beginning of the show, Jekyll's "need to know" the secrets of humanity is set forth as a driving factor of his character. It is in the pursuit of knowledge that he starts down the destructive road of the plot. His desire to know is central to who he is (and, through him, central to the show). Because "knowing" is central to Jekyll's character, Wildhorn centered his and Lisa's relationship on knowing each other. For Jekyll, Lisa is security. She is the only person that knows him, and he knows that he can depend on her to remain a constant in his life. She won't abandon him, no matter how far he dives into his experiments.

Where Lisa represents knowledge and stability, Lucy represents the unknown that Jekyll dives into as the show progresses. Lucy says herself that "no one knows who [she is]", framing her as the opposite of Lisa. Her life is foreign to Jekyll, and she is the person that inspires Jekyll to experiment on himself. Lisa is the known, but Lucy is the unknown that Jekyll desperately needs to understand.

Without "Take Me As I Am", Lisa loses the "known vs. unknown" significance that makes both her and Lucy more compelling characters. None of the earlier songs (with the possible exception of "If You Only Knew", which I desperately want more productions to include) provide that symbolism, which is why, in the end, TMAIA was the only one that could survive revisions.

[nm-mattuz]

Henry x Lissa is great on paper, but the supports suck ass!

I love the idea of exploring the feelings of guilt of war with her, but it should be discussed with someone else and not just briefly mentioned for some bullshit. (I haven't seen all her supports so please tell me if it does get into that guilty aspect)

The way the S-support happens is straight out of a stereotypical shitty fanfic. They could have done something with what they have in common, like their silliness (the reason I love both of them). For example, Lissa could pull a prank on Henry and they go into a whole ass prank war! Or Henry/Lissa sees the other doing some shenaniganing and joins in on the fun, like Lissa sneaking around at night for some snacks and Henry promises to not tell anyone if she gives him some.

[amodernpersephone]

heroine and idol: lyrical analysis by me!

since apparently i have some explaining to do for why i translated heroidol the way i did, here's a line-by-line rundown and interpretation of both the lines and the scenes from the MV relevant to them.

before i go there, i'd like to remind you all that translations are heavily based on interpretation, and i took many creative liberties for this song, but not without reason!

平等だって聞いたのに! (byoudou datte kiita no ni!) -> it was supposed to be fair game!

okay, this like, in its essence, means: i thought there was equality! which makes no sense. 平等 means equality or impartiality. the rest, you can make that out on your own. i translated it as "fair game" because this line was meant to highlight how idols and normal people are in different levels. for normal people, idols are waaaay out of their leagues and an impossible love. for idols, they are the audience, their careers are dedicated them, but they're not allowed to fall in love.

住む世界が違う芸能人 (sumu sekai ga chigau geinoujin) -> celebrities who live in a whole other world

顔面偏差値　比べ凹む (ganmen hensa-chi kurabe hekomu) -> taken at face value, no one can compare

now, this line was actually really funny. hiyori sees lipxlip on TV and remembers that these idols are in a whole other world from her. then, she looks in the mirror, and the line here translates to "no one can compare to their facial deviation". now, facial deviation is a way of judging whether a person is kind and beautiful based on their face. a high deviation is a compliment, etc. she's saying that just based on appearances, no one can compare to how idols look beautiful and kind (including herself, and normal people like her.)

日頃から笑顔を振りまいて (higoro kara egao wo furimaite) -> charming them all with a smile everyday

リアルか？フェイクか？(riaru ka? feiku ka?) -> is it real? is it fake?

騙されそう(汗) (damaserasou) -> it feels like a deception

these three lines are pretty self-explanatory. lipxlip, as idols even in sakuragaoka high school, portray kind and charming personalities that are nowhere near how they are in real life. hiyori contemplates whether the smiles they're giving to their classmates/fans are real or fake, because she knows what lipxlip are like behind that. the final line, she says it "feels like a deception", another way of translating this would be "it feels like i'm being fooled". because unlike the fans who only know lipxlip as princes, and lxl who are truly just some 16-year-olds with a big dream, hiyori stands smack dab in the middle, both as lipxlip's manager and a julieta herself. to the point where even she, someone who knows what lxl are like, feels like she's being fooled. this also highlights her role in lxl's lives, as the keeper of their secret (the secret being their bad personalities LMAO), because despite knowing the truth and despite all the hoops she's going through in this mv, she's one of the few people who knows the truth.

恋なんて多分ダメだろうに (koi nante tabun dame darou ni) -> falling in love is probably not allowed

そのくせフェロモン (sono kuse feromon) -> still, your addictive pheromones

飛ばしてんじゃん (tobashite jan) -> you send them flying everywhere

arguably the funniest line in this whole song. again, this is very obvious. hiyori knows lipxlip, and idols in general, are forbidden from falling in love (be it with a fan, another idol, et cetera) but still, idols make fans fall in love with them (hence why she says they keep letting out pheromones). and these fans, knowing their idols will never reciprocate their feelings, still throw all their love towards them wholeheartedly. because hiyori definitely does know the consequences that come with an idol falling in love (points to heroine tarumono) and the consequences that come with falling for an idol (points to heroine ikusei keikaku). so both like and unlike these girls, hiyori is once again in the middle, someone who can see clearly that feelings towards idols are almost guaranteed for an impossible love, yet sees how beautiful idols are despite that.

女子のみんな近づかんで！(joshi no minna chikazukan de!) -> to every girl out there, stay as far as you can!

感染させんでよ (kansen sasende yo) -> make sure not to catch the infection

あっちいけ (acchi ike) -> get away from me!

from calling their charms pheromones to calling them an infection, hiyori goes on to find more and more creative ways to describe her idols. hiyori here speaks to her fellow julietas and to other girls, telling them to stay far, far, faaaaaar away from lipxlip, because she knows that once you get caught up in their charms and their beauty, it's almost impossible to escape. but then, hiyori goes through a dilemma when faced with the charming prince of east and the gallant prince of west. theyre really sparkly. like really, really, REALLY sparkly. and therein falls the dilemma, hiyori has been telling people not to fall for the idols' wiles but... now that she's in their place, seeing what they're seeing... あっちいけ!

ズルいよ！ズルい！ズルすぎる！！(zurui yo! zurui yo! zuru sugiru!) -> this can't be! that's cheating! it's dishonest and unfair!!

惚れても責任取れないじゃん (horete mo sekinin torenaijan) -> you won't take responsibility for their feelings for you!

now we reach the point i am often told i mistranslated or misinterpreted. in this scene, hiyori is being held by a prince, portrayed by aizo. the first line is just the word ズルい (zurui) in various degrees, which in simple terms, means unfair or sly or crafty or however you might perceive it. i used a bunch of adjectives because i don't like repeating words but the essence is still the same. hiyori, in these scenes, isn't playing the mob girl from before, she's in the place of someone familiar to all julietas — as julieta herself. she's in the position most fans imagine themselves as, lipxlip's princess whom they promised the moon and stars for. while she's visibly blushing and flustered by the affection, hiyori is singing about how dishonest lipxlip are — how these princes aren't true and this love isn't real (both the fantasy she's experiencing now and the fantasies experienced by every julieta before and after her). here's a talking point, most are dissatisfied with my translation for horete mo sekinin torenaijan because if you launch it into google translate, it would say something like "i can't take responsibility even if i fall in love with you" which is a very zing moment for a lot of people. this translation isn't exactly accurate though. let's pick it apart: (惚れて) horete means to fall in love, to be charmed, attracted, to grow feelings for, et cetera. the line about taking responsibility however, doesn't point to hiyori, but points to lipxlip instead. and this line isn't specifically from hiyori's point of view either. the line is expressing that lipxlip, as idols, have people falling for them left and right, but can't and won't take responsibility for the feelings people have for them — because that's their job, as idols. to have people fall for them and keep falling for them, to hide their true selves and make people enamored with the illusion. putting the first and second line together, if i were to translate this conversationally: “it's extremely unfair, you can't be held responsible for those who fall in love with you.”

but, if idols are doing it intentionally, that means they can be held responsible for those feelings, right? wrong. like hiyori says in the beginning, everyone who gets caught by their pheromones can't escape, and despite her warnings, people will still fall in love with them — knowing exactly that they're never going to return that love.

ヤバいよ！ヤバい！ヤバすぎる！！(yabai yo! yabai! yaba sugiru!!) -> too much! it's dangerous! so risky and insane!!

あざとさ　すなわち“アイドル力” (azatosa sunawachi “aidoru ryoku”) -> cunning is the “power of idols”

again, the first line is just ヤバい (yabai) in different forms, a lot of adjectives for the same point: falling for idols like lipxlip is a dangerous type of love. why? because the power of idols, their fame and their support, comes from how cunning they can be, exactly what the second line says. hiyori, in these scenes with the prince of east and west, is thrashing between how she perceives lipxlip as idols and how she perceives them as people. as romeos, they're perfect, ideal, charming, gentle, everything once would expect from princes, from idols. she's viewing them from the rose-tinted glasses everyone else sees them in. except...

仕方ないけど… (shikatanai kedo...) -> still, it can't be helped

認めざるを得ませんね (mitomezaru wo emasen ne) -> i need to accept, this is how it is.

hiyori wakes up. unlike most julieta who live in the idealization of lipxlip, hiyori wakes up and she thinks: this is just how it is. as someone who knows lxl behind the scenes, someone who knows they're working for their dream just like she is, she needs to accept that the people who fall for their princely selves, the girls who look to them in search for romeo, is all part of the idol life. that's just how it is, and this is how it's supposed to be.

落ち込んだりもする芸能人 (ochikondari mo suru geinoujin) -> celebrities who get depressed sometimes

中身は普通の人間かも (nakami wa futsuu no ningen kamo) -> they're probably just normal people inside

once again, hiyori sees another side of the idols everyone loves. beyond the illusion of perfect princes, lipxlip, no, shibasaki aizo and someya yujiro, are just normal people deep down. they're human, they get sad when there's bad news, they fight when their pissed off, they argue and bicker and cry and laugh just like hiyori or any other julieta would. they're not ideal, nor perfect, hiyori would know, being the closest person their age to know who they are in truth — but they're idols and idols still, both in hiyori's eyes and every julieta's. the only great difference is: hiyori has the chance to break the illusion for herself, because she knows lipxlip aren't just idols, they're people too.

私にはスルーを決め込むの (watashi wa suruu kimekomu no) -> though i go unnoticed and ignored

リアルか？フェイクか？(riaru ka? feiku ka?) -> is it real? is it fake?

これはガチめ(汗) (kore wa gachime) -> this is getting serious

i don't have much to say about these lyrics. they're pretty straightforward, it's just a funny parallel between the "princes" in hiyori's dream who shower her with love and attention and how aizo and yujiro barely even look at her. it's also nice to note how she's the one trying to help lipxlip (by offering them their favorite drinks) because that's gonna be relevant later. as for the second line, hiyori doubts whether lipxlip are truly ignoring her or not (once again relevant later)

私の存在モブだろうに (watashi no sonzai mobu darou ni) -> to them, i'm just another one in the mob

たまに優しいの少し恐怖 (tama ni yasashii no sukoshi kyoufu) -> sometimes their kindness can be a little scary

and we're back in the romeoverse. here, hiyori is playing the mob girl again, and when she stumbles, she's helped by the princes. this is a direct parallel to the previous scene (told you it would be relevant) of how hiyori is ignored by aizo and yujiro in real life, yet treated so kindly by their counterpart princes. take note of hiyori's words here, she's applying the same logic she did to the previous verse: lipxlip are normal people, they get sad, they have bad days, and most of all, they're not as perfect or sweet as the fans want them to be. she knows this because she's been with them for a long time, she's seen them, not as a julieta, not as a classmate, but as their manager and friend. EXCEPT. hiyori right now isn't in her role as their manager. she's playing the mob girl who eventually becomes the princess. she's in the place of julieta herself. hence her words: she's just a mob character, someone in the background not meant to be noticed, just as it is in reality, so being treated kindly by lipxlip's prince selves is more than a little jarring.

分かってても照れちゃうの (wakattetemo terechau no) -> i know this, still, it's so embarassing

絶対からかってる (zettai karakatteru) -> they're definitely teasing me!

あっちいけ (acchi ike) -> get away from me!

continuation of the previous lyrics: hiyori is well aware of how lipxlip are really like, she knows they're not these princes and you would know that as well because i've repeated it god knows how many times. that's why she feels embarassed, the kindness of the princes of east and west may not be fake, but the princes themselves are. knowing this, it's definitely not real, right? once again, she falls into the dilemma: aizo and yujiro are definitely not romeo. they aren't the princes who these julieta see them as. but right now, she isn't with aizo and yujiro, is she? she's with the gallant and charming princes whose whole purpose is to woo the hearts of thousands. she's not their manager right now, she's a mob girl who gains the fancy of the princes while stumbling around with her groceries. so this is what every other girl who loves lipxlip sees. oh, did i mention they're really sparkly? oh. wait. no. JUST GO AWAY ALREADY!!

セコいよ！セコい！セコすぎる！！(sekoi yo! sekoi! seko sugiru!) -> that's sly! so petty! it's cheap and crafty!!

責任取る気もないくせに！(sekinin toru ki mo nai kuse ni!) -> you won't even take responsibility!

again, repetitive adjectives, etc. セコい is the root word here, meaning sly and crafty, which hiyori uses to refer to her idols over and over again. she's really dishing it out. as for the second line, she's once again speaking of how lipxlip — and idols as a whole — always have people falling for them yet they have no responsibility to return that love. it's a very warped point of view, because hiyori is holding the love fans have for their idols in the same standard as a normal love. i mean, i get it. she doesn't have a lot of good examples of fans who DON'T have parasocial relationships with their oshi (cough. chuutan. cough) once again, she pins the blame on aizo and yujiro, who she has described multiple times in the song as people who are deceptive, and are fooling their fans. of course, this emotional response isn't unwarranted, because hiyori is starting to understand what those julieta feel, she's been in the position of them for more than half this song. she KNOWS how easy and wonderful it feels to fall for a sparkly, beautiful idealization and she knows just as much how easy and painful it feels for that illusion to shatter.

強いよ！強い！強すぎる！！(tsuyoi yo! tsuyoi! tsuyo sugiru!!) -> so powerful! too potent! it's incredibly strong!!

計算？　すなわち“アイドル力” (keisan? sunawachi “aidoru ryoku”) -> calculating? ...is the “power of idols”

i'm just gonna guess she's describing their pheromones in the first line bc it's rly funny. anyway, let's focus on the second line. hiyori calls idols, lipxlip specifically, calculating, but then she balks and realizes this is the true idol power: how to make people fall for them without revealing their true nature. how to have people constantly supporting them for the illusion of a mutual love. as a julieta, as someone who supports lipxlip, it's a lot to say idols are tricking you, that what they see is nothing more than an illusion. but as lipxlip's manager, she understands, or at least she should, that this is just how idols are.

マジ悔しいけど… (maji kuyashii kedo...) -> it's so frustrating but...

みんなと一緒トキメクじゃん/// (minna to issho ni tokimeku jan///) -> i'm just as excited as everyone else///

now, once again, hiyori wakes up. back to being lipxlip's classmate and manager, no longer the part-time mob girl and full-time julieta. this is a bit of a realization moment for hiyori. throughout the whole song, she's gone through a variety of emotions — she goes from feeling like she's being deceived by lipxlip just like everyone else to understanding that these idols are still human to thinking that the idols profit off their fans' parasocial love, without even trying to return their feelings. she's twisted between the letting herself fall for the illusion of being loved by two beautiful princes or waking up with the recollection of lipxlip's true selves. these idols aren't perfect, and unlike everyone else, she knows it, 100%. that makes it all the more frustrating, right? because these princes in her daydreams are ideal, but the idols of her reality aren't. but despite all the dilemmas she's experienced, all the resistance to the sparkles, she's just as happy to be fooled by the princes as everyone else.

誰でもできる事じゃない�� (dare demo dekiru koto janai shi) -> this isn't something just anyone can do

絶対努力しないとだし (zettai doryoku shinai to da shi) -> you need to put in the effort and hardwork

選ばれし人間なんでしょ！？(erabare shi ningen nan desho!?) -> you must be the chosen one!?

あぁあああああ (A~aaaaaaa!)

and we're back to manager hiyori. the following lyrics are pretty easy to understand, it's the opposite of the rest of the mv. before, we were seeing hiyori in the place of a julieta, being wooed and loved by the princes of east and west. now, we see hiyori in the place of lipxlip's manager, and she sees the parts that she missed while looking only as a julieta. it's really freaking hard to be an idol. it's not always so sparkly and beautiful, it's not always being showered by affection from fans, these idols work hard to make their performances reach their audience's hearts. it's not just something that can be started and ended, it's not just about making people fall in love, because...

these fans are choosing to support their oshi. they're choosing to love their idols. they're enjoying being treated like princesses, even if it's an impossible, parasocial love. that's what it means to support an idol.

and the chorus repeats, this time, with both the princes holding hiyori. she sings the first chorus: idols really are so unfair! they're can't even be held responsible for the people who fall in love with them. idols really are so sly! they're cunning, but that's exactly an idol's power! and then, hiyori wakes up. she wakes up to her reality of lxl, not as the ideal princes, but the idols she's responsible for. the heroine and her idols (badum tss) . but there's a key difference, the way inori minase sings the final part: still, it can't be helped, that's just how it is! she's happy! she wakes up from her daydream, and she's happy! lxl are a little freaked out, but their manager is happy! why? because she's gotten over her dilemma from before, is it real? is it fake? are you really supposed to fall in love with idols? she's accepted that the princes in her daydreams are part of the illusion, and just like everyone else, she's charmed by their beauty and perfection too. but reality is nothing like that, aizo and yujiro are nothing like that. but the sparkly illusion is still fun to enjoy, isn't it? even if she knows the reality behind it.

that's what idols are meant for, after all.

in conclusion: i won't try to dissuade anyone from thinking this song is romantic by nature, that's on you and your preferences, i won't even try. but from the lyrics' perspective and my own, the song is about love, yes, just as all the omoi ai songs are about a person's thoughts on love. this is hiyori's thoughts on the difference between the love between a fan and an idol, and romantic love. if you've ever met hiyori, you know her mind runs on shoujo manga stereotypes. she has always been looking for her prince. she's found them in different forms in her songs: asuka's kindness, nagisa's genuineness, and in this song, the princes of east and west's affection. but hiyori herself knows well enough to break this illusion. personally, for the most part of this song, hiyori's words felt hypocritical to me. she criticized idols who made their fans fall in love with them, despite knowing this was an idol's job. this was their goal in the first place. in the end, she does realize that it's simply like that. and she learns to separate her views on lipxlip's idol selves and their real ones. whether you perceive them as romantic or not, i will never deny that hiyori's unwavering support for lipxlip as idols, and her friendship with aizo and yujiro, is one of the most important facets of her character. in simpler terms, this was a song about hiyori coming into terms with being both lipxlip's manager, aizo and yujiro's friend, and a julieta, through and through.

[sleptting]

hello :)

Hyoujun hensa inai no jinsei Hyoujou koroshite kusatta hinsei Hora hora kizukeba mata Tada tada sugiyuku hibi

Hyougen yoku mo hibon na sai mo Manzen to ikitecha nanmo nan nai no Yada yada atashi wa yada Nageke do kawaranu mama

Ukeire gatai shinjou wo nejikomu no ga ai nan da

Atashi wa JAKKUPOTTO SADDO GAARU Wakariaenu mama ten to sen de ENDOROORU egaku hibi no naka Dare ni mo ienai manma kakaeta omoi koso kachi ga arun da Sagashiteita kotae datte mirai mitai ni te no naka ni

Seiron bakka ja chootsumannai Jinsei wa isshu no JOOKU nan da HAROO HAROO ki no muku mama Sono oto naraseba hora

Seishin souba wa choofuantei Antei na saku to ka honto taikutsu sa Mite mite atashi no naka Kokoro no okusoko ni aru

Kuroku yodonda suisou ni utsuru no wa bishou datta

JAKKUPOTTO SADDO GAARU Wakariaezu tomo shin no zou no BIITO wo tsuyoku hibikasete Munebari seisei doudou shoumen toppa de machigaerun da Kakushimotta niawanai NAIFU itan yue no sai sentan

Hii fuu mii yoo Ii muu naa yaa

Nee sensei koko muhou chitai Anata iwaku sude ni sutarekareta anekumeene Kusaki haezu jinrui no sumenaku natta CHIIPU de KICCHU na shouwakusei

Nee sensei anata baka janai no Ima da tagiru kanjou wo shiranai no Korikatamatten nara obenkyou Koko de muku de muchi de mui na sanbi wo misetsukeru wa

Soredemo JAKKUPOTTO SADDO GAARU Wakariaeru ka na donna fuan mo taida mo mina kakaeta mama Dare ni mo ienai manma jibun no manma de kachiagarun da Sagashiteita kotae datte mirai mitai ni te no naka ni atta

[444namesplus]

Abalemmehegge Abbabasappal Abbaborhedarradt Abbagekhehonno Abbalassanawa Abbatennevedtvassan Abosgannadt Addamabotton Adoboddo Afafemme Affagellendommoto Afonavan Agarramonnohor Agaslebo Aggafebaffaspas Aggapebtfaggabtno Aggavagollolommo Ahanharras Ahebeden Ahewereddenagt Aholloslekhen Akhagostagga Akhapaddarseppel Alappalroloddol Alladeffedtbappa Allapodthorro Alobtgenne Alololos Alorronsa Amebtfawan Amewesrolsoffo Ammafonnormetas Ammalasneffebtdor Ammapefowolorro Ammatongendedde Amoserre Anabottobeppe Anaggamokhoser Annadadthagtseppedt Annahersewe Annamossofonnol Annaroggoseho Annasatekhe Apakhassopaggas Apeballan Apogaso Appasedo Appatarranteffefobbor Aropabbaltassa Arraledderellegtbappan Arravosmes Asaddamabba Aseggehebtmor Asewebtmomelledt Assanannateggebeffer Assasanar Atallatoldol Atete Atokhobtlelgegge Attahedtros Avata Avedtgeddedtgorron Avorrogoggor Awabevo Awarerevobt

Bafe Baggalorvedt Baggatammal Bakhanepagga Balrebbegtlosso Bapparvedtsol Barrangelle Bawabeddebtrassas Bawasadtdeffe Bebtpebt Beggesvehagga Belmowota Bepedt Bobtdonno Boddogtfebtdol Bodekhen Bodthelle Bogabbadt Bogaldobbobt Bokhonbofforotto Bome Bonnomoddor Dabttar Dattatadda Dave Dedelle Deggengarral Dekhespeddegtno Dennenadt Dofenterre Dorromegegt Doser Ebbefammaloman Ebbepeva Ebberakhabtnenollor Ebbesassadttogt Ebokholeggenva Edabtdabt Edattalpe Eddetavo Efappagtnobbogtragt Effebawapaffafegge Effedollosalgattan Effedommobtbarvenne Effelabbarfedttobbogt Effesofforre Egefommopessen Egellelgedtden Eggetedabba Egoron Ehamenfassadt Ehellerpottos Ehesommor Ehewegelle Ehofedder Ekhedaggardopporto Ekhefelebbesnol Ekheforadda Ekhehottopen Ekhenopponeppe Ekhetowobtfaso Ekhevohan Elammarfal Ellerehonge Elogthowo Emedtran Emmebannagtbeddegt Emmevelogt Emottobttegtpodt Enawatatta Ennehedthowo Ennelebbepas Ennesobtsowolgo Enoffove Epewemobbo Eppebentemollo Eppefohe Eppeheda Eppemawadtbette Eppevattagewe Eraffadtbarral Eredel Ereffeva Erobttenne Errefeppefonfelledt Erretoddolabt Eseboddonve Esepoddor Essebessevebbedt Esseferredeggetewe Essefolabtba Essemava Essemebbedebt Etagttanpaffa Etanlewefekhen Eteggepa Etoffobol Etoffoparraloffo Etonnogtverrerlorro Ettedegtra Ettenammavasla Ettenassavakhagt Ettetewebtsollo Evalosvossor Evapparnalgenne Ewerodtrarra Ewesossofar Fabtdannale Fadtfagt Fakhadessebollon Fawahemekhe Feddegtsen Fekhesobt Felnetawa Femmenhamman Fennerfeffe Feppelove Fervo Fesnodt Feweto Fobbosrel Folawago Folgonno Fomewe Fontalpawan Fossodtreme Gabbalmenfo Gaddahappal Gadtmepebbe Gagtmore Galfe Gammalfobt Ganno Gassanmefar Gebtvammadtnobbo Gedderfe Geddesebtredde Gekhergerredtfemme Gennenmekhesagga Gewegthoppol Goddofawavo Godtve Goffosror Goggonvo Gonnovaffadtpas Gorrototappabt Gorsotol Gottorvohoppo Govebbe Hadtrarrarfa Hannagtgattabt Heffepabba Hekhelnonnosal Helaggagt Hensa Heppedallanette Hettefevarra Hewelrommogtbogt Hobbonbokholnor Hoddona Holle Hollopollol Honberrevor Honsaffa Hoslabtmollogt Labtmobbotappagt Lallamor Lannalleppe Laran Larennematta Larraverta Lessegtral Letterfaggadtletten Levebbesma Levegtnappan Lewebeffera Lewegtsoren Leweldonol Loddosfabbal Loggofadal Lorpabbahonnos Mabefferagga Mabtgaggadthaddas Madowota Magoffol Male Malewendadda Mappadtgopa Mardennedt Mawatesoppo Mebappa Medagt Meddemosbenne Medoppore Megttedderlerregt Mellelsoggo Memmebtnorrorvarra Mepar Merarragobbos Mobollosmos Mobtmeffernebt Modaho Mohoddobt Mollondaddatebbe Moppomo Mosge Mosvo Nafe Naggabokhobtvegt Naggagtlares Nahettebt Nakharparallar Nallanna Narlelle Nase Nassapobbodonnobt Nassaporro Nedodt Negallar Neloggovappa Nemalheffebt Nerrebthalo Nerremono Noddofemmenes Nomel Nottobttawabtfan Nowodtvappantemmegt

Obbobabbatohabt Obbobaforpe Obbonabtborro Obobbodthagtlobbodt Obodthassa Obommomo Oddonarrafabt Oddopassagtsakhal Oddotebbepeshor Oddotoffobtrodt Oddovemmerhofformar Odera Odoffodtre Offododtsabt Offogamawal Offogeddegalla Offonaggarabbas Offonormenhor Ofodennebtfabt Ofotava Ogeffefoffo Ogeme Oggoforroman Oggolosammaltor Oggonommobtgammal Oggoposa Ogodekheser Ohebeffegorro Ohodehe Ohoharallar Okhoboddonlollos Oladdalron Olakhalloles Ollolovottolsassa Ollotobthenneme Olobbodtnemmelfegt Olobborlegt Olobeppemogt Omattabe Ommobarto Ommofeggehappalho Ommoharebbel Ommotasboddo Omofen Omommodtlarmallan Onefoddofoppon Onewegarrangol Onnomoppohoppobtgettebt Onnosegtdellegarra Onnovasatta Onohabt Onowoman Opafadt Opagtmerradt Opanfagga Opanfowon Oppomattatabt Oppomedderel Oppovewesewebt Oreffespagatta Orevelbakha Orrobappanollofelle Orrofottonbanfe Osawabtgoffon Osawavellenso Osebbelgas Oseddenterobbogt Osedttobboto Oseggedoddogo Osersen Ossodofaffa Otabotto Otalefassa Otamommonsa Otobelbo Ottodallaspakha Ottogannasovegt Ottohamon Ovegtho Ovelgen Owomossopodthor Pabbasnowodtvo Paddalera Paddarohesse Paggagttoddotol Pallanhostodt Pammarsobbol Peggelowor Pelledtpette Pene Pernanpottobt Perrelvo Perrerrollodt Podtgamma Pohopossobt Possodtsemoppor Potessegt Pottogtbattalvedt Powobe Raddarosheffen Radtgoperre Ragtnottorebt Rallarlel Rallatokhonorro Raradawa Rebbebas Relegt Relleloher Relpagtgannar Robbodtrewetar Rofa Rorrogokhon Sabtdakhan Salrepallas Sappabtfaffasappadt Sassaseddedt Seban Seddego Sega Selhorrodt Soddobtnoggomowobt Sotelfogt Taddase Tagttonra Takhagoloffon Tammadtpeppegt Tebbegtma Tedtponnome Terrenabbas Tesekhegt Tessegtnalpobbon Toposa Tordo Tottobtsewe Vabade Vabbalfennebt Vadaven Vaddabtnelawa Vaddasobbolsobbo Vappabtsedtga Varrarsalla Vebbemonnogt Vebo Vebtpogoddo Veggerbonnobt Vekhebabtgo Velhebther Vemmedarrasebt Vesdodt Vestabtme Voffolegtbo Voleffegtfewe

[mxinevitable]

RIP HENSA

The script load of sim Settlements 2 was too much to bear so we did a fresh install everyone meet Violetta she's a fresh merc whose party got torn to bits coming from central mass and we are running the current wander build of life in the ruins.

About level seven right now she's a slowpoke bruiser specializing in bladed melee (machete currently) and automatic weapons. There's a lot of changes away from SS2 so we are going slow! Got myself a little planned run.

The cool thing is the changes to the settlements system which.. SS2 led to resource bloat and I was pulling like 20k caps from taxes, had so much scrap I never wanted for anything, etc. Like my little stashes at settlements became armories. Whisky takes an approach that really oriented scavenging and foraging into it. I'm running around looking for specific stuff like a ladle so I can build a cooking station.

You need just a small amount of resources to build stuff, but it's particular. Lumping a ton of junk items like tools together means a lot of stuff is just more useful to me. I absolutely love slowly picking through an old house to get cookware and booze for a bar I want to build.

I'm super into the settler built settlements mod tho and spent a good amount of time foraging and scavenging to leave the supplies at sunshine. No residents yet but I'm excited to see em do it.

Since I'm scrounging and doing a fair amount of cooking to heal I'm spending time just like sitting watching the sunrise somewhere. Too dangerous to go anywhere for a bit. Gotta chill with dogmeat and codsworth.

Can't handle first steps yet cos we won't be able to get past the super mutants and synths which is actually fine because I want to get in with the BoS BEFORE I become general because we will play the long game

[xpuppykittyzx]

updated my sona's ref! base by @hensa

[lynx-jynx]

Art by Hensa

Ask me if I do this every day, I said “Often”

Wild by nightfall ♥ Mackenzie Noir ♥

[a-model-of-propriety]

Seph Seph Seph! I know we haven’t spoken in a while but my one-letter-away mutual asked for writing prompts, so would you mind doing some fluffy Hensa stuff!

Hi Soph!! tysm for the prompt bestie <333

—

Jekyll looked up as the door clicked shut.

“Success?” he asked Lisa.

“Yep,” she said. “It’s taking longer and longer ever since Creechur started talking — always asking questions, nowadays — but he settled down without too much trouble tonight.”

“I’m glad. To be honest, I still can’t believe how quickly he’s learning.”

“Me neither. And he’s already learning how to read, can you believe that?”

“He is?” Jekyll asked. “I hadn’t heard about that part.”

“We started working on it the other day. Before too long he’ll be a regular bookworm, mark my words.”

Jekyll chuckled. “I don’t doubt that.”

Both he and Lisa fell into comfortable silence as they got ready for bed. Only once they were both sitting up in bed, winding down for the night, did Jekyll continue their conversation.

“I’ve never understood how you and Creechur bonded so quickly,” he commented. “I mean, he’s a sweet… kid? but I still haven’t gotten used to suddenly seeing him around the house. But you don’t seem fazed by his appearance at all!”

Lisa set down her book on the nightstand and turned towards him. “Well, I definitely had to adjust to taking care of him,” she said thoughtfully. “You know that better than anyone. But honestly? It wasn’t all that different than getting used to Edward.”

“Really?”

Lisa nodded. “I don’t think you realize it — after all, you’ve got a rather different perspective than me — but Edward’s appearance can be pretty unsettling. I chalk it up to the ‘uncanny valley’ effect due to him being, well, not quite human. When Victor and Creechur first started staying with us, I just told myself ‘if I could get used to Edward, I can get used to him.’ And, well, here we are!”

She turned around to retrieve her book and resume her reading as Jekyll settled into a more comfortable sleeping position. He hadn’t noticed any of that before, but now that she mentioned it, it made sense that she became so close to Creechur. In any case, he was just grateful he didn’t have to take care of him and Victor on his own.

[luxar92]

Hensa

I really like this character!. Belongs to http:.//twitter.com/superhensa

Posted using PostyBirb

[the-soul-detectives]

JENSA JENSA HENSA JENSA JENSA JENSA TYSM

DRAW STINA AND JENSI HOLDING HANDS OR DOING COUPLE STUFF PLEASE PLEASE ON MY KNEES

Local horse girl ditches elvin history to smooch her boyfriend more at six

[pixelsmasher]

💖Mini-Hen💖

She’s only about an inch and a half tall but full of love :o

Mini  Hensa draw by @hensa Here

[artsysnake]

I was so happy to see @hensa post art a couple weeks ago, I had to draw her new cutie Lexie as quickly as my art-blocky little hands would allow me 💜

I hope life’s going well for you, boo! Thank you for always being such an inspiration to me!! Luv you!!!