#hmm too in it

[boonesfarmsangria]

Orlando Weeks recently released his brilliant new record LOJA. It’s either the ex-Maccabees third solo album or fourth, if you count the children’s book and accompanying Paul Whitehouse-featuring soundtrack he made for The Gritterman in 2017. It’s also his best, pairing the intricate introspection of his previous solo work with the expansive art-rock dynamism that made The Maccabees so exciting. He launched the album with a four-night residence at London’s Copeland Gallery, exhibiting his artwork during the day and playing gigs in the evening. I (still Niall here, still hungover) was originally supposed to speak to him on the second day of the residency but he was swamped and very politely rescheduled at the last minute. We caught up a week a week later instead:

The New Cue #391 June 24: Orlando Weeks

Hello Orlando. Sorry I'm late, I couldn't find the link.

No, I owe you the apology, I cancelled so late last week, so thanks for doing this.

Don't worry about it, I could tell you meant business because you had a pencil behind your ear. You were in the zone. What was going on at that point?

All of it went well and I'm really happy with how it went, but everything took longer, required more time... I totally underestimated things like how long it took to cut all the paper to size, how early I needed to get in each day to make the prints to sell in the evenings. It was the first time I'd done it so it was a lot on the fly and I felt like I was barely keeping up with what I needed to get done and if I was having a conversation with someone where my responsibility to that conversation is to try and give good account and be good company or whatever, then I was gonna fail at that miserably.

Haha. With all that in mind, how did you feel after the run of four days?

I really enjoyed it. I felt like all the aspects could have stood on their own. The exhibition looked as I wanted it to look, the performances worked and made sense, especially in the context of the gallery. The general experience of being there all day and making more work for the event, all of that makes sense to me in terms of contextualising the record and staying busy during the day really works for me in terms of taking some of the onus off the evening. I don't like turning up somewhere and doing the gig and that being the be all and end all of my product that day.

It's a lot of dead hours.

Yeah and it just puts too much pressure on that moment. Even towards the end of Maccabees, I was beginning to try and find ways of getting into getting into those bigger venues, trying to get into them really early in the morning, finding a desk or a room that no one else is going to use and just be busy in there for a bit and it would take some of the weight off the gig in the evening.

Did it work? By the time the gig came around, were you in a different headspace compared to how you would have been if you've just been sitting there for hours waiting to soundcheck?

Definitely. Being a touring musician as a solo proposition, turning up at venues and setting up the merch desk and all the things that used to be fun about the early days of being in a band, I really like. I like being sure that I've met lots of people that work in the venue and said hello, I really like feeling that that is part of what the venue is, not just the backstage and the stage, all those people make the weirdness of sitting on a stage and playing music to people slightly less weird.

The flipside of that is, do you miss anything about doing those big gigs where The Maccabees ended up?

Yeah, there's the rareness of experience. It's not something that lots of people get to do. Towards the end of Maccabees, I was getting this really unpleasant stage fright that meant that I had the adrenaline through the afternoon and into the gig grew, my ability to process the adrenaline would just fail and then during the show, I would become more and more anxious and self-conscious and panic. Then by the time we finished the gig, my emotional drop off was really intense and unpleasant and so I found it really hard to enjoy those big gigs. In retrospect, I would hope to be in a better headspace to really process what that was, if that's possible. I definitely had some of those gigs that were great that I enjoyed but, as a whole, I was really struggling with getting to the end of the gig and not finding it just uncomfortable.

I feel like the new record has a real connect with the music you made in The Maccabees. I really liked the previous two but this one feels like it's got the ambition and expanse that The Maccabees had paired with the arty introspection of what you've done on your solo records. Is that fair?

I think so. There is an element of the first two that were very insular. A Quickening was basically made in Nic Nell's bedroom and then he moved flat and it was another bedroom and a bit of his studio in New Cross and then the second was made in Nathan Jenkin's [aka electronic producer Bullion] studio in Tottenham Hale. We were really nervous about being in confined spaces so everything was done with masks on so it was not a freeing experience. We were very lucky that we were making a record that the point was to try and be uplifting because had that not been the manifesto for it then I think it would have not been such a pleasurable experience because it was great. I really enjoyed it. But with this, there was Fiction back on board, so [Fiction MD] Jim Chancellor championing me and making me feel like 'Why don't you do that? You should!'. I feel very comfortable with Jim. And then also there being a bit of budget, there being enough musicians that I knew that I'd worked with, toured with, played with, watched, become friends, whatever, that I could put together a band. And I'd written songs that I thought would suit that.

My initial idea of the record was I wanted to try and make a band in a room record and it isn't that. That was something that Maccabees strived to do and didn't achieve. One of the records that I've listened to in the last like four or five years that I think does it amazingly and is an incredible record that I return to a lot is the Caroline debut record. They're rare things, especially when it's a lot of people.

Tell me about getting some of the guests involved. You've got a band you’ve put together behind you, and also Katy J Pearson, Rhian from Wet Leg and Tony Njoku on it. It might not be a band in a room record but it feels like an album where you are sparking off other people.

Yeah, and I think there is a difference between those two things. There is a huge amount of collaboration and successful collaboration to my mind on the record, which is different to a band in a room record. I'd gone away with the initial recordings and I felt like we hadn't nailed the band in the room record so it was then trying to think, 'Right, so if it's not going to be that, I made the rules, I made the manifesto, it's mine to break, it's mine to change and I want it to be the best version of whatever it's going to be' and then starting thing 'Okay, so My Love Is needs something else' and I think Katy has one of the great voices in terms of emotive voices and I think it works well with my voice. I felt like I had a favour in the chamber with Rhian because even though I'd said no to it, she'd asked if I'd be in a Wet Leg video so I knew her well enough to ask a favour or at least see if she liked the song. Tony Njoku I'd played with, he'd come and supported me a couple of times. We have mutual friends and I know him well enough to just ask him directly and send him some music. Olly, I'd seen Caroline and the record became something that I listened to a lot and I'd seen Caroline at Latitude. So there were enough people and enough time that I could approach people and let them have some time with the decision. It feels like a collaborative record.

By the end of the Maccabees, you lot were becoming notoriously slow. I think the last record featured in Q previews for the coming year two years in a row. Have you got better at working quicker o have you carried that into your solo career?

I mean, the reason Maccabees sounded like Maccabees was because the process took as long as it did. The sifting that had to happen, that's just as long as it took. Without those various, necessary Maccabee hoops to jump through, I can make decisions quickly, I can work as late as I want to or get up as early as I want to. I think Maccabees always had a really good work ethic, especially the last two records, everyone worked hard, I just think if you're in a group generally, that's just the kind of natural law.

You’ve been solo now for going on seven years. What have you learned about yourself over that period?

In relation to Maccabees, I can feel much fonder about all that time and I have a much nicer, easier time with all those people which is a very nice thing that time gives. I really love the process still, I really like starting with no songs and then slowly getting building a record. In terms of my work, I don't think I've changed very drastically. I just really like doing it. I count it, I mind about it still, like I find the responsibility of it... when I hear myself saying these things, it sounds so flat!

It doesn't!

I genuinely think the mission is to try and find ways of keeping that as long as possible. When I was saying that it sounded flat it's just because I'm so comfortable with that as my MO. I'm doing everything I can to justify to myself and to enough people to find its relevance that's a legitimate thing for me to try and sustain.

Does it feel weird or funny to you that you and [other Maccabees offshoot] 86TVs are releasing music at the same time?

I think it probably would have felt weird if it was happening straight away, I also think that what we're making is pretty different and the way we are framing it is different. I'm so pleased for the boys that, from when I speak to them and from what I see from their output, they're having a very good time doing it and they've been very sweet when they've spoken to me.

I tried playing the two tracks over one another to see if I could get an idea of what The Maccabees would sound like in 2024 but it sounded awful.

Hahaha, good! I'm quite relieved that it didn't end up that satanic messages started coming through.

I should've asked this at the beginning of this conversation but where are you at the moment?

I'm in Lisbon.

You’ve lived there for a few years now. Does it feel like home yet?

Yeah, definitely.

What are the main things you love about living there?

I find it hard to explain but I feel very new here. I lived in London almost all my life. Apart from a few years in Brighton when I was coming back a lot anyway, I was in London for almost 40 years so your fingerprint is everywhere, there is so much of your history in and so many eras of your history embedded in everything. It was so rare that I would go to somewhere that I hadn't been to before that I hadn't had a night there before or I hadn't seen countless gigs there. I'm habitual anyway so if all of my days are spent at a desk either writing songs or doing drawing or whatever, and any desk will do, then in the evenings, I'm less interested in going and doing a new thing or seeing anything or walking down the street and being like 'That's it's the first time I've done it' and here I feel like that all the time. And this is not to do with being noticed by someone that might have known the Maccabees but I'm inconspicuous here, I'm not bumping into people, I'm not coming across old haunts, I'm fresh here.

Constant surprise.

Constant surprise, lots of moments where I cannot believe my luck. The way that Lisbon sits, the hills mean where a sunrise happens or sets, if you're just one road over, everything is weirdly more colourful or the way that that light bounces, I'm so seduced by it. I keep thinking the newness will wear thin and it doesn't.

How far do you look forward, what's your mind on now?

Weirdly, today was the first day I sat down and started just playing piano and thinking about what I'd really like to do next. I really want to write something that Bill Ryder-Jones wants to produce or sing on or play guitar on. It's something we've talked about on and off for a long time. Even if we just did one song. I just sent him a video link for the McAlmont & Butler song the other day, just as like a 'mmm?'. I started trying to think how to write a pop song that he would enjoy. And then the other thing is I want to try and find other places in the UK or in Europe where I can take the Copeland gallery framework and put it into another place and be in a place for a few days and do play some music and exhibit some work.

Nice one man, thanks for your time.

Amazing, thank you again

[squoobest]

LET'S GET ONE THING CLEAR, I can brush my teeth all by myself OK?

[rissaito]

“don’t cry, my child”

i was thinking about how venti canonically refers to the people of mondstadt as his “children” and how kaeya is included in that… then the brainrot took over and then i thought, what if when kaeya was a little kid and he felt lonely sometimes, venti would decide to shapeshift back into his little wind sprite form to comfort him…

[egophiliac]

this started as a reply to someone (a million years ago) (I am so sorry) and then very quickly got out of control, as these things do. so...uhhh....here's everyone else at Playful Land!

sorry

[vivipokedex]

#0293 - #0295

Whismur, Loudred, Exploud

[chiricat]

assorted wips again

1. anchan space buns!!

2. emo arisato twins + ryomina and akiham

3. mzen x p3

4. suzalulu sketch dump

5. suzalulu + souyo (eng voice actor joke)

[cheeekycharchar]

AN ANGEL ON A MISSION

I just realized what Michael Sheen's face was doing during the end credits and OMFG he is beyond amazing! *o*

I already did an indepth analysis on why Aziraphale acted the way he did after that heart wrenching kiss scene.. but it wasn't until @charlotteharlatan post about the Nightingale song on the car's radio could have been that got my brain into a tizzy.

"Many people, meeting Aziraphale for the first time, formed three impressions: that he was English, that he was intelligent, and that he was gayer than a tree full of monkeys on nitrous oxide. Two of these were wrong."

Many people paint Aziraphale as this gullible innocent character but don't forget.. he is highly intelligent. Completely traumatized by his past abusive relationship with Heaven but intelligent.

When Metatron told him of their Second Coming plan.. how quickly he put things together before stepping onto that elevator. He turns toward Crowley to give him one last look and heads up to Heaven.

And for the next minute.. we watch as Michael Sheen micro-contorts his expression through the stages of grief.

Shock from hearing Heaven's plans for the Second Coming. Anger for realizing what he was just tricked into doing. Despair for what he gave up when he thought he was making the right choice. And then reorganizing his thoughts and acceptance of his current situation. And that final smirk.. ;) oh.. OH! That is the face of an Angel on a mission against Heaven. And he's already made up his mind. Stop Heaven's plans (again). Get revenge on them for forcing him into this situation. And of course, to get his Crowley back.

GO S3 is gonna be INSANE :D

[engagedtobefree]

The more I think about it, the more romantic it is that Creature got Lisa Michael's dick. I imagine his thoughts as, "If that's the dick she wants, that's the dick she's gonna get" and then he went and got it for her. It's almost equivalent to coming home with a bouquet of flowers, just longer-lasting and more useful

[lithth]

so no one was gonna tell me that grelle has a CANON BELLY PIERCING??

[salamispots]

drew some creatures at the amnh :0

[confessedlyfannish]

Writing Prompt #14

"You foolish, stupid child," Vlad hisses, pinning Danny to the wall. Danny's eyes turn green as he wraps both his fists around the one Vlad has clenched in his collar, his feet dangling in the air. Vlad leans in, his own eyes burning red.

"When, exactly, did you plan on telling me your biological father was Bruce Wayne?" he says furiously.

Danny's hands drop in surprise. "W-What?" he gasps.

Vlad drops him unceremoniously and he lands on the floor in a heap. Vlad claws at the air in frustration.

"Don't lie to me, boy." Vlad says, omitting his often used possessive "my" in front of "boy".

"How do you know that?" Danny asks warily, propping himself up. He watches Vlad push a shaking hand through his hair. The man looks down at him before dropping in an ungainly squat beside him.

"Of all the sperm donors, Bruce Wayne, Daniel? Really?" The man asks, despairingly.

"I didn't exactly choose him, Vlad."

"No, I suppose you didn't."

"Seriously," Danny says, watching the man rock back on his heels as a growing pit forms in his stomach. "How did you know about him?"

Vlad's mouth twists bitterly. "Because he now knows about you."

"What do you—"

"Vladdy! Danno! What are the two of you doing on the floor?" Jack flops down beside them, a tray of freshly prepared fudge in his hands. "We having a heart-to-heart boys? Let me in on this!"

"Jack," Vlad says. "If you truly want to have a heart-to-heart with your son, I suggest you tell him the real reason I've come over today."

Jack's face falls.

"Vlad," Maddie says from behind him. "Thank you for coming. We're grateful for all you've done, but I think we can handle it from here."

"Madeline," Vlad says, rushing to his feet. "I must insist—"

"And I must insist you see yourself out," Maddie smiles tightly. "You know where the door is, don't you?"

"Mads," Jack says gently, looking between the two.

"I can show him out," Danny says, getting up as well.

"That's alright, Danny," Maddie says. "Why don't you go get your sister? We need to have a talk...as a family."

Danny glances at Vlad.

"Now, Danny," Maddie says. Danny heads for the stairs, pit growing ever larger.

--

The next time they meet it is Danny who has Vlad pinned, the gaudy chandelier above him shaking with the force of his rage.

"You should've told me," Danny growls.

"I thought your parents had you informed," Vlad says, utterly unbothered by the teen cracking what is thankfully not a load-bearing wall of his mansion. "Honestly Daniel, we could throw around allegations of deception on both sides, particularly mine as I assume you've known for quite some time now, if not the entire time, about your father hmm?"

Danny's eyes flick away in an obvious tell.

"Yes, I thought as much. But rather than whinging about being blindsided, I suggest we focus our energy on the solution."

Danny drops Vlad, barely biting back a snarl when the man lands gracefully on both feet.

"Which is?" Danny asks.

"First of all, your well-meaning but frankly moronic parents seem to believe that they can make a case for your custody without the assistance of my legal team. It is in both of our best interests to dissuade them of this."

"They don't like feeling indebted, Mom in particular."

"Well, to be crude for a moment Daniel, tough shit. Yes," Vlad says in response to Danny's widening eyes, "I said it. Bruce Wayne has the best of the best on his payroll and your parent's rinky-dink attorney from the local practice won't stand a chance against Friedman & Sons. Especially once he establishes paternity."

"He can do that?" Danny asks. "I mean I'm almost eighteen, can't I just refuse?"

"The keyword here, Daniel, is almost. As in, you are not. The judge can take your wishes into consideration, but I suspect Wayne will make a case for an unsafe living environment alongside his paternity to win his petition for full custody."

"Un-unsafe living environment?" Danny sputters. Vlad eyes the boy dryly before gesturing to all of him, currently clad in silver and black hazmat. Danny drops the transformation with a wince.

"In fact, I suspect that's the main reason the man filed in the first place," Vlad continues. "Lord knows he doesn't need anymore heirs to fight over his fortune once he passes—"

"Jesus, Vlad,"

"—so I believe he did some digging and found your home to be, well, wanting. On paper, Daniel, your parents sound eccentric at best, dangerous at worst. Pull the right strings, and hospital records just fall into laps. He probably thinks he's rescuing you." Vlad sneers. "If only he knew how quick you are to spit in the face of one offering you a comfortable and wealthy home."

"Fuck off," Danny says. "Is that what this is about? If you can't have me, no one can?"

Vlad rolls his eyes. "Come now, Daniel. Are you really intending to keep up this pretense?"

"What are you talking about?"

"We agreed a long time ago that no matter the nature of our quarrel, we would leave the Justice League out of it," Vlad says, taking a menacing step forward. "You think I, running in the circles I do, would have no knowledge of Bruce Wayne's alter-ego?" He takes another step, voice rising. "I have avoided drawing The Batman's attention for years, no matter how often our paths crossed. I stayed under his radar for decades, and now, BECAUSE OF YOU, I AM ABOUT TO BE RUINED."

With a creak and a groan, the chandelier drops, landing between them with a crash. Danny coughs from the dust as Vlad takes a heaving, calming breath.

"Then why get involved at all?" Danny asks, staring at the ground.

Vlad sighs, clapping his hands twice. Several ghosts dressed in service uniforms fly out the woodwork, gathering up bits of chandelier as others begin to mop.

"Because, little badger," Vlad says, walking away from the mess. "If we lose this, he'll have you in the palm of his hands. Which is infinitely worse."

Entering the kitchen, he pulls an open bottle of white out of the kitchen fridge and pours himself a glass, throwing a Fiji water to Danny who takes it for the peace offering it is.

"He won't."

"Won't what, Daniel? Please speak in full sentences."

"Won't have me," Danny says, letting a thin coat of frost spread over the bottle. He tips the freezing cold water into his mouth and wipes his face with his sleeve, mostly to see Vlad grimace.

"Why, because you'll run away if he wins? Until you turn eighteen? I won't have you fail to complete your education because of a cockamamie scheme, Daniel—"

"Because I have a solution, Vlad, one that doesn't involve the courts or running away."

"And what is that, exactly, Daniel?"

--

"You're going to leave my family alone."

"Danny," Mr. Wayne says, blinking in surprise at the boy on his doorstep and miles away from Illinois.

"I mean it," Danny says firmly. "You're going to drop your petition and whatever smear campaign you were planning on and leave the Fentons alone."

"Danny...why don't you come inside?"

Danny takes a step back from the manor's large doors. "You want a relationship with me? Brute force isn't the answer."

Bruce takes in the teenager, lanky but almost to his eye level. His eyes are clear and sharp, his demeanor forcibly calm.

"I debated whether going through the court was the right thing to do," Bruce says slowly, matching calm with calm. "But I wanted to be above board."

"Because my adoption wasn't?" Danny says, arms crossed. "Yeah, I'm aware. Kinda hard to adopt a kid that doesn't legally exist. And I know what you're going to say, the Fentons should've reported me to the system, but they didn't do it because I begged them not to. Because I didn't want my biological parents to find me."

"Danny..."

"You can swing your dick around and get your way, exactly the way I thought you would do things," Danny says, "Or you can have a relationship with me on my terms. A relationship where I don't despise you because you took me away from the people who've loved me no matter their faults."

"You're asking me to choose your happiness over your safety." Bruce says carefully.

"That's bullshit," Danny says. "I had a lab accident when I was fourteen and went directly against my parents' instructions. They trusted me, and I made a mistake."

"It's not a matter of trust. You were a child, Danny, and you almost died." Bruce says, not bothering to feign ignorance. Footsteps echo behind him.

"Bruce?" A voice calls. "Is that..?"

"Your son did die," Danny says. "He took a flight with your credit card to Ethiopia and got blown up. I bet you trusted him too."

Bruce reels back as a hand lands on his shoulder, the other on the door.

"Whoa, whoa, uh, Danny, right? I'm Tim, I'm—"

"I know who you are," Danny says, clenching his fists. Powering through the hurt he is causing. "I didn't come here to point out what a total hypocrite you are. I just want you to back off. And if you give me your number, we can text and I'll come to Gotham for Thanksgiving or the ski chalet in Vermont or your villa in where-the-fuck-ever and you can be Uncle Bruce that I maybe even tolerate being around once in a while. Just leave my family alone."

"Bruce, what is he talking about?" Tim asks. "Back off of what?"

"Your Dad is suing my parents for full custody," Danny says when it becomes clear Bruce isn't answering.

"What?" Tim hisses, turning to Bruce. "That isn't what we talked about!"

"Danny. I..."

"Here," Danny says, thrusting an index card forward that he's scrawled his phone number and email onto. On the other side is the past participle conjugation for 'venir'. "I won't answer until you drop the custody petition. Which I expect you to do by tomorrow morning."

"Done," Tim says, stepping past Bruce and taking the card. "Give me about noon to get it all squared away with the lawyers. Do you have a hotel? A way home? I'd be happy to reimburse your flight and accommodation."

"Overstepping already."

"Fair enough," Tim says coolly, raising his hands. "Our lawyers will reach out when it's settled."

"Great. Bye." Danny says, turning to leave. He waits until he hears the manor door close behind him before pulling out his cell phone.

Ring!

Ring!

"Hello?"

"It's done."

"What's done? Again, little badger, full sentences, I beg of you."

[the-one-with-spider-brainrot]

draw these two being a cute couple

Hey fun fact, I ship them as well so have a sketch dump of them actually

[sarasade]

One of the most generally useful things to come out of Hbomberguy's plagiarism video and Todd in the Shadows' similar video on misinformation is how they bring transparency to the internet phenomenon of "I made up a guy to get mad at".

Seriously, I've seen people make up a lot of stupid shit on the internet over the years and it's often just a manipulative attempt to paint a group of marginalized people in a bad light.

That's the TL;DR version of this post. 

ANYWAY here is the long version

Those videos are mostly about James Somerton's plagiarism of other queer people's work. However I'd like to talk about that 20-30% of Somerton's original writing- and oh boy. It's mostly about complaining about White Straight Women and misgendering well-known trans creators such as Rebecca Sugar and calling Becky Albertalli a straight woman while it's pretty common knowledge that she was forced to out herself as bi because she received so much harassment over "being a cishet woman who appropriates LGBT+ stories".

One thing that irks me especially is how in his Killing Stalking and Gay Shipping videos Somerton brings up how straight women/ teen girl shippers exploit gay men for their personal sexual fantasies. This gets brought up several times in his videos.

Being all up and arms about Somerton being a "White Cis Gay Who Hates Women and Queer People tm" is not that useful because the kind of rhetoric he's using is extremely common in fandom and LGBT+ spaces on Tumblr, TikTok and Twitter. We really don't need to bring Somerton's identity to this since he is in no way an unique example.

It's hypocritical to make this about an individual person when I've seen A TON of posts, tweets and videos where queer people talk about these Sinister Straight Women who are supposedly out there fetishizing and exploiting queer men. It's pretty clear to me that this is just an excuse to shit on women and queer people for having any sexual interests. At worst these comments are spreading misinformation about BL, a form of media that has been excessively studied by both Asian feminists and Asian queer women.

This all sounds really familiar and I think it's good that people are calling it out as what it is: misogyny and transphobia. I'd also point out the potentially racist motives behind being this hypervigilant about Asian media.

People can absolutely be misogynist regardless of gender or orientation. I really don't know why we need to create some kind of made up enemy to get mad at. I actually think it's almost sinister how "anti-fujoshi" people call Slash shippers and fujoshi misogynists or claim that they have internalised misogyny while being dismissive about women's interests and creative pursuits under Japanese obscenity laws, China's censorship, book bans in American schools and various other disadvances that are part of being a queer and/or female creator.

I think we shouldn't be naive about the bad faith actors who want to turn queer people against each other. For example Fujoshi.info mentions anti-gender (TERF, GC etc) movement using this kind of rhetoric as well.

Anyway if you want to read more:

- about the false info around BL fandom fujoshi.info

-There is the scholar Thomas Baudinette who studies gay media in Japan. Here is a podcast with him and the scholar Khursten Santos

-James Welker is a BL scholar as well. Here is a podcast interview about the new international BL article collection he edited.

-I've already talked about this Youtube channel by KrisPNatz and his great Killing Stalking video that actually engages with the themes of the manhwa

- There is also HR Coleman's thesis DO NOT FEED THE FETISHIZERS: BOYS LOVE FANS RESISTANCE AND CHALLENGE OF PERCEIVED REPUTATION where she interviews 36 BL fans and actually breaks down why fetishization has become such a huge talking point in the fandom discourse. Spoilers, it's mostly about young queer people and women being worried that they will get judged and pathologized for their interest in anything sexual.

-Great podcast about Danmei and censorship with Liang Ge

[moeggoi]

sacrifice

day 3 souyo week '24 @souyoweek2020

[hinamie]

ik i've done like 5 panel redraws from 265 alone but this is the last one promise

[bluewolfangel01]

Lucifer: "Mc what are you doing?"

Mc: "nothing."

Lucifer: ...

Lucifer: "Beel, explain."

Beel: "They asked to sit on my shoulders to be tall."

Lucifer: "I see now. And why is it that you wanted to be tall Mc?"

Mc: "A strange innate desire for height and the high ground."

Lucifer: 😑

Lucifer: "And you agreed to this why Beel?"

Beel: "They made me food." 🥺