#i lied you will see jazz sometimes bc its really cute in a different way than jitter

[sundrykitsch]

smart like harvard arent cha

[meibemeibelline]

part 3 (FINAL) of highlights from that 32k word doc i wrote when i marathoned gazette songs (2012-2018)

PART 1 | PART 2

once again:

This is a combo of thoughts on music, lyrics and other random things I wrote while listening. Not every song will be featured, sorry.

I sometimes directly quote translations and when I do, I’ll specify whose it was. Here are the masterposts of lyrics by Heresiarchy , Defective Tragedy and Trauma Radio

I will write song titles for which there are warnings in bold and all caps

So this part will be a bit different because mental health and The Band became really prominent themes in their music in a way it wasn’t really before, so rather than simply writing about songs as they come, I do (attempt to) connect some dots between songs and albums

Also this is REALLY LONG (~5k words)

If you read any of these posts, thank you <3

CONTENT WARNINGS: murder (In Blossom), reference to abuse (In Blossom), suicide/suicidal thoughts (Kagefumi, Deux/Blemish), reference to PTSD (Incubus). Overall LOTS of discussions about mental health.

buckle up folks it’s gonna be a long one

So I listened to Division according to the limited edition version where the songs got split into the ‘story-like songs’ and the ‘hype songs’. Just while we’re on that, I like to think that Vein is the story part because these songs (the blood) are meant to go TO our hearts, while Artery, which is the ‘raw emotion’, is the heart doing the talking and supplying the oxygen that will do its thing. LIKE HEADBANGING.

“Ibitsu is not the first song they’ve written about changes in the music industry, but it’s quite different from others like 13Stairs[-]1 and Dim Scene. They were quite angry about the state of things, lamenting it. But here, Ruki is writing his and the band’s place in all of that. It’s like in the other two songs he’s like, “wow look at all this rubble. This sucks.” But in Ibitsu he’s writing about how he’s also in that rubble and thinks about what HE feels about it in relation to himself and the GazettE. And I find that quite interesting. Also hell YES imagery – skies as ideals, the world around them collapsing into ruin, the band as a flower amidst the rubble that can’t reach the sky. It sounds like he’s trying to navigate how he’s supposed to move forward when his ideals and what’s happening in the industry oppose each other quite a lot. He doesn’t reach an answer in this song and ends by asking whether it is actually in ruins or whether he’s just afraid of change, I think.” - interestingly, he uses this same imagery in Kuroku Sunda Sora to Zangai to Katahane to write about anxiety and not feeling good enough.

Quick disclaimer on KAGEFUMI: I do want to say first that I’m talking about this purely as a piece of art. Not as in, like, “this is peak romance”, but just as an artwork I can have Opinions™ about, even if they’re possibly in disagreement with that of the creator. “The shadow tag metaphor for a couple committing double suicide meaning that they’re ‘becoming one’ and being together in death is A Lot. There’s an incredibly strong belief in an afterlife where they can be together makes (what Ruki describes) this stronger bond between them that literally lasts or even transcends the boundaries between life and death, rather than a tragic end (unlike Tokyo Shinjuu). Musically, I love this song and think it’s gorgeous, the way it’s sad yet hopeful. We over here with that bittersweet stuff again but lyrically it’s a WILDLY different route than others before it.”

“Yoin is such a heavy end to disc 1. The ending lines, “The sea of loss / Understanding of helplessness / That day we grieved” about the Tohoku earthquake/tsunami and the nuclear disaster is just so ……. And not only that, but how even though people still struggle to survive, people are moving on like it’s a thing of the past. It’s SO heavy.” (Cr: Defective Tragedy)

“I think [Derangement] is about a massive internal struggle between wanting longing for the past, knowing it won’t come back, but also wanting to destroy the past out of self-hatred. There are aspects of the past, perhaps ambition and drive for example, that are good, but other parts that are not. It’s almost like a continuation of Remember the Urge but like…angrier and with more hatred towards his own past rather than only the longing of it. Which is also really interesting.” – this is definitely one of the themes that comes up A LOT from now, ESPECIALLY in Ninth. We’ll get to that.

“IS KAI GOOD??? That man is NOT human. I swear to god his drums in Required Malfunction are INSANE. ANYWAY, this song is about how people cannot be perfect and we all have flaws, especially in the context of relationships. I like that even though people argue and butt heads sometimes, there’s that Japanese verse where he sings “Let’s send a song without stains / to that innocence without lies / so you can swallow those wounds” and the last lines “Because you are always here, I can advance” to mean like…them being together can ultimately make them better and it can be a good relationship (if they work on it, imo). Also, I love the language he uses here – viruses and malfunctions and inputs – a very non-human way to write about human relationships.” (Cr: Trauma Radio)

(Dripping Insanity) “Solitude drenched in red laughs / in the insanity dripping in silence” is SUCH a good line yes hello I appreciate this. (Cr: Heresiarchy)

“EYYY HAVEN’T HEARD FORBIDDEN BEAVER IN FOREVER. At first I was wondering if this might be judgmental but honestly? I think this is satirical, especially from the line “May the truth you spew on taboos going frantically around / Shred the rhythm of high society”. Like the fact they’re gossiping about a famous woman who has a lot of sex and just TARNISHING her name bc of it, to Ruki, is a load of bullshit. Also, some of the lyrics in the chorus are funny coming from Ruki – “She has a sex addiction / Bang! Bang! / Cute luv machine” – like he does NOT ever write like this and this song is just a huge satirical joke I’m YELLING.” (Cr: Heresiarchy)

“The transition from Malformed Box to Inside Beast >>>>”

“[Inside Beast] is definitely about having a ‘beast’ inside you that’s like all your demons and ugly feelings and to let them all out. He wrote about demons in Derangement, but the way he writes about acceptance is like…empowering and freeing. Not necessarily through words but through the music and just how hard this song slaps.”

“I really love the lyrics of [Until it Burns Out] and its whole thing about valuing the time they have as a band and to be together making music precisely because it’s going to end someday, and it’s going to be their last shot at living their dreams, which is to make music and perform TOGETHER as the GazettE. Like that’s so meaningful, and powerful in the way they just…grab it by the fucking throat. Breaking down the walls that hold them back, TOGETHER, towards the future in which they see their dreams. Like they’re not letting this be the end. They won’t allow it. UGH. UGHHH. The middle eight is so beautiful and I love the lines “The light that colours this irreplaceable scenery / burns the significance of standing here into me / Until the last” like they just love performing SO MUCH UGGGHHH FEELINGS”. (Cr: Trauma Radio)

“[REDO] IS SO GODDAMN SENTIMENTAL I’M IN MY FEELINGSSSSS. Kai being the composer, I can’t help but feel this is him paying homage to jazz, which is the music his mother plays and he loves her so so much. I’m probably reaching but THAT’S JUST HOW I FEEL.”

“EVERBODY SHUT UPPPP IT’S LAST HEAVEN TIMEEEE. It’s so gd gorgeous and sweet. I’M GETTING REALLY EMO WHAT THE FUCKKKK. BRUH. BRUUUUHHH. THIS IS SO BEAUTIFUL //THROWS. SHUT UPPPP. TOO MANY SKY, STAR AND FOREVER REFERENCES FOR THIS TO BE OKAY BITCH. This is Ruki’s love song to the cosmos, wishing to be eternal like the stars but acknowledging that all he can do is chase it knowing his life will end, BUT THAT THEY DON’T HAVE TO GRIEVE BECAUSE THEY WILL MEET AGAIN IN THE AFTERLIFE BECAUSE IN SOME WAY WE /ARE/ ETERNAL. IT’S LOVING AND INNOCENT AND WISTFUL. This song is the goddess to all the GazettE love songs. THANKS FOR COMING TO MY TED TALK. “The distant sky, this infinite moment / I now wish from the visible stars / in this youthful merry-go-round / that continues to turn endlessly / I want to be eternal like you” – is just…such a beautiful image. “Let’s stay like this, having dreams we cannot reach / Long road which leads to the calm hill / I go, leaving my sadness behind / Good night…my beloved / Last heaven of mine” – it’s yearning but it’s the yearning for LIFE. And to leave behind sadness…Ruki very rarely writes about pain like this. And to call the ‘beloved’ his last heaven, the last thing in his life that’s just THE BEST THING THAT’S EVER HAPPENED TO HIM AND THE THING HE WANTS TO BE ETERNAL WITH goodbye………GOODBYE. “Love without shape changing day by day / Close together / we become / one shooting star” – AAAHHH AAAAAAAAAHHHHHHHH. Also, for him to say ‘memento mori’ which means “Remember, you must die” in the middle eight of a song about wanting to be eternal just gives the entire sentiment a new meaning ;-;” (Cr: Trauma Radio)

“There’s a particular sound to Division and Beautiful Deformity (but more in BD). It sounds like rushing water. Loss in particular sounds like this. Like, the sound isn’t just ‘dark’ and ‘heavy’, it moves A LOT and there is sooo much emotionality in the songs on this album. It’s really dynamic.”

“The Stupid Tiny Insect revisits the theme of inner demons. Specifically, in this song it sounds like negative internal self-talk. It’s interesting though, the way that Ruki writes it as an entirely separate being to how he writes inner demons and whatnot in other songs, where it’s either another entity within a person that is part of them OR just…themselves. Here, they are VERY separate, and that probably allows him to feel and express rage instead of helplessness or confusion. I also love the reference to pretending to be okay – “I get high on delusion / And act as if I made them die out / ‘Just like a summer moth to a flame”.” (Cr: Heresiarchy)

“IN BLOSSOM is pretty fucking brilliant lyrically imo. It reminds me a lot of 32 Koukei no Pistol in that a protagonist who was abused/neglected by the parents kills them, and in the latter’s case only, also themselves. Some other differences: In Blossom is WAY angrier (and a lot more loaded) and the protagonist is trying to ‘make their own life’ (even if the way they choose to do that DOESN’T WORK), whereas the narrator in 32 Calibre Pistol was mostly lamenting that they’ve ‘lost their way’ and deep-down were wishing for their family to be happy together. I can’t say WHY that is. But it’s interesting that in In Blossom, the abuse just…DESTROYED their concept of family that they used to believe in entirely, and the fact they cannot separate themselves from their abusers neither by dying nor killing them is A Lot. So, they try to free themselves and ‘get hope’ by killing their abusers as revenge (“Die away, along with these wounds I’d counted”), but it doesn’t bring them happiness or heal them (“Even if I slash so much it’s unparalleled by the wounds I’d counted, it still starts to ache / It doesn’t even fight off the decay, much less heal me”). It’s very much saying that despite pain, revenge is not the answer. I also love the line “They adorn vividly – have blossomed beautifully / The sun that has started to set makes sure of it” to describe the wounds as the narrator kills their abusers and their loss of sanity as they do so.” (Cr: Heresiarchy)

“To Dazzling Darkness is about that moment when a concert is over and the lights start to come on. It’s so gorgeous. This is sort of like, the other side of Until it Burns Out. If UIBO is about the band then TDD is about the fans, and the band’s place in the world. I love the imagery in the first verse – darkness is usually associated with bad things, but here darkness is peace, escapism and unity that are part of the happiness of a concert, while the light symbolises the continuation of life. The scenery here is the same scenery in UIBO, which is the scenery of a concert that this band cherishes. There’s also the acknowledgement that time is fleeting and nothing is forever. Like, this is really the other side of the coin and I love it.”

“Dogma defines their new (2015) sound so well, which is HEAVY AND DIRTY AS FUCK. Like, it is SO conceptual and experimental and the painting is just GORGEOUS. I love the harpsichord in this song – as the predecessor of the piano, it was used in a lot of churches and religious music in the Baroque period (1600-1750ish), so using it here in a song where the band is likened to idols (the religious type) is super cool. And to combine it with these really low and heavy guitars just gives the DARKEST image.

And there’s so much going on in the lyrics – MANY MOTIFS, MANY MEANINGS. They bring back the concept of darkness as a symbol for escape from harsh life and of unity during concerts. As for death, Reita has an iconic quote where he said something along the lines of: “we often say in lives ‘to die’, but what we actually mean is to live. Live and be free”. I see death for GazettE as a kind of transformation – and end, yet also a beginning to become something or someone new.

Ruki hasn’t really mentioned god since Ogre in Dim, in which he basically wrote “idk if God exists but I don’t really care – all I need is me”. But here he likens the band to an idol of worship. We as the fans worship the GazettE, and they are also gods to us, their followers, in the sense that they provide us with life and unity (referred to here as death and darkness, respectively). The GazettE as a band brings darkness and death to the world (with their own meanings, of course).

This is also a song about the band breaking away from current gods and dogmas of the music industry, and from its greed. I also love the line, “The rite I must face is cloaked in darkness and isolation” – this process of their journey to finding their truth is lonely, and no one but them can do it for themselves. To do so also isolates them from everything they once knew. It’s them navigating what is expected of them by the masses and those they work with vs doing what they want without getting shunned for it.” (Cr: Defective Tragedy)

 “DAWN IS ABOUT REDISCOVERING THEMSELVES. I love the number of metaphors he brings back in this song – 13 stairs, death, merry-go-rounds and again dogma. Death here is about the transformation of them as a band, which occurs at the top of the 13 stairs to the gallows. And I find that so interesting because he uses the image of gallows (eg: 13 Stairs[-]1 and Forbidden Beaver) as like…an actual Death that means the end of a genre or a person’s reputation, but here it’s a place of transformation. In Last Heaven, the merry-go-round is a symbol of life – it comes back here but this time it’s red instead of blue (youthful) and is paired with the image of a mad banquet with emotions running wild (ie concerts). Basically, this is about the band’s life and, like, their life being about concerts. My favourite part is “Overcoming a period of confusion, I took those stirring emotions / And hung them up high on the 13 stairs” because there’s also the line “I’ve already had a lethal dose of misfortune / The ruined gallows towers above me” -> WE WENT THROUGH SOME SHIT BUT WE FOUND OURSELVES AND SURPRISE BITCH, BET YOU THOUGHT YOU’D SEEN THE LAST OF ME.” (Cr1: Heresiarchy, Cr2: Defective Tragedy)

Not from my notes directly but I feel like the difference between Bizarre to Juuyonsai no Knife (ie the only two songs about Real juvenile criminals) is a REALLY good representation of how Ruki’s lyrics have changed over the years. He went from taking perspectives of people who perpetrators of violence (to write horror stories, imo, but also to generally Explore their minds through art) to making comments about society and how systems affect people in real life. Not to say he doesn’t write about killers anymore or that social commentary is NEW for him, but just…a big change in what’s PROMINENT.

“Interesting that Wasteland is next, which is about Justice on the Internet. I know Ruki has always been really critical of the internet and the kind of social processes that occur online (see: Nakigahara) and here it’s about morality and justice, but more importantly the way it’s about crowd mindsets and CONTROL. And he just summarises it SO WELL in the first verse: “The thousand eyes that can kill even God / Transform into rebels that lust for control / If the time comes when right and wrong disappear / It will all end with a blood-red moon”. There’s also the line “Innocence gives way to sinful judgment” ie the innocent go along with their ways or it’s the innocent (the weak, as he says later) that are scrutinised. And I think about this a lot considering…some other fandoms I’m in >.>” (Cr: Defective Tragedy)

(INCUBUS) “The song is a lot of wondering what they did to deserve their trauma and how they want the dreams/nightmares to go away. I do like that at the end of the song they come to the conclusion that they cannot change what happened and decide “fuck the why”, accepting they didn’t deserve it. Even though the narrator is still stuck in the maze (of trauma), the letting go of asking why it happened is like, a really important step in healing. Because it’s the end of self-blame. So, I hope narrator can heal :( “

(DEUX) “My dumbass never realised this but the music of Deux itself has DUALITY. Metal with solo piano. IT REALLY TOOK ME FIVE YEARS TO REALISE THAT HUH. It’s about two conflicting selves (which to me sound more like intrusive thoughts, considering Blemish’s VERY LOUD “These days I’m better dead”) and the effect that has on like, your emotionality and how it leads to loneliness. His use of nightmares in this song is fascinating – the Japanese word he uses (sakayume) is like…a reverse dream, like if a child has a nightmare you tell them it’s a sakayume so it means what happened in their dream definitely won’t happen AND something good will happen instead. And this is something Ruki prays for.”

(Ominous) “The imagery is really dark in this – “A prayer crushed under wreckage / Reflects in your eyes as you start to fly / I see you in the sky thick with shadows / Spinning around with nightmares” – there’s a desperate attempt to fly and get better and do Well but still they’re surrounded by darkness and nightmares, unable to escape. “Don’t forget that a heart cannot die / Don’t forget that dreams aren’t predictions of the future” –There’s hopefulness in a heart not dying yet a very strong despair when he says dreams don’t predict the future, not even reverse dreams. “It steals away my still-unformed future, and whenever I step forth / I can’t see a thing in that shadowed sky / My screaming can’t save anything / when I’m killing myself with sadness” – oh that hurts, that hurts A LOT. He wants to fly but he can’t. This is just SO MUCH. And they didn’t even have an instrumental outro, IT JUST ENDS WITH ACCEPTANCE OF HOPELESSNESS AND DEPRESSION.” (Cr: Heresiarchy)

“The drums in Goddess uggghhh UGGGHHH. AND THE GUITAR TOOOOOO. Lyrically, this is really a mid-point between depression and healing. It’s A Lot. He writes about his suffering, wanting to make something of his mistakes and his sins and actually WANTING TO LIVE. But it’s so sad that in the end he still feels really helpless – the subtle changes between “I want to become the stars that fill the silence” vs “I can’t become the stars that fill the silence”. But I think that on some level he knows what the next step is. He wishes in the last two lines, “If only I could share my grief that can’t be put to words / If only I could face reality and live accepting my crippling despair”. THAT’S THE FIRST STEP!!!! THAT’S A STEP!!!! TO HEALING!!!! “These bleak thoughts are my sacrifice that will one day begin to thaw into a selfless, smiling heart” – this line is fucking LOADED. Like, he sacrifices his bleak thoughts by expressing them and by making art out of his pain in hopes that he will be able to acknowledge and accept his suffering and his pain as a means to heal, as a way of allowing him to have a selfless and smiling heart. Like, this is SO much of what his art is about and what it has been for SUCH a long time it makes me so emotional that this is what he’s saying about his own lyrics.” I realise too that the goddess is likely the same goddess from Blemish. I’m still unsure what to make of it because Blemish ends in Ruki writing he doesn’t wants to be reborn, and not abandoned. But here he ends with wanting to heal. Wanting to move on and live.

WHICH BRINGS ME TO UNDYING.

“WHEN HE BROUGHT BACK “SLEEP, COUNT ME DOWN AGAIN” >>> God, this song is so powerful. THERE ARE SO MANY CALL-BACKS TO DOGMA. I SHOULD’VE KNOWN THIS BUT STILL. BITCH WHAT THE FUCK. It’s a direct continuation of Ominous (“I won’t arise from this”). I think in this song he’s becoming that figure that is flying in Ominous, and the one that is surrounded by nightmares and shadows – the first verses are about how the future is drenched in misfortune yet we must continue to live (and suffer, but WE CAN AT LEAST BE A BIT HOPEFUL). Ruki says this YET HE IS STILL DREAMING, EVEN AS THE END COMES (“My heart starts to disappear along with the spirit of my words / And though it knew the end was near / It dreamt of things it shouldn’t want / And even now I am still—“). There’s also his mentions of sins again that he continues to drown in :( But overall, this song is really about living despite all the pain, which is really meaningful after Dogma ended on such a note of hopelessness. There’s so much power in this song.” (Cr: Heresiarchy)

“Vacant doesn’t necessarily sound like a romantic relationship breaking down as much as it is about making a mistake and being unable to fix it between you and someone else (or other people), even if Ruki said he wrote it with a band’s image in mind. But the gist is is that there is yet again a struggle within the self (“Self-condemnation distorts the answer / And I lose sight of what I should be / Because of those unconscious actions / I can’t even dream”). The line “In the pain of not being able to tie back the undone thread / The traces left by stopping time keep piling up” really got to me – being stuck in time and constantly wishing for something that was and being hurt by the fact it’s gone is something I personally relate to. But even as the narrator is stuck in time, their grip on the past is loosening – they are forgetting, memories fade, and they lose their strength (“Vacant, you are withering”).” (Cr: Heresiarchy)

(Faling) ““Together, embracing the same pain: it’s only temporary / Don’t forget that this is not the end / So come on, let’s open our eyes and fall / We just believe in ourselves to die / Sometimes it’s okay to be broken” THIS MEANS SO FUCKING MUCH AFTER THE AMOUNT OF TIMES RUKI ENDED DOGMA SONGS WITH HOPELESSNESS AND AT BEST “WE HAVE TO KEEP LIVING AND SUFFERING AND BEING IN PAIN” BUT IN FALLING, PAIN IS TEMPORARY. PAIN IS TEMPORARY. WE WILL HEAL, BITCH. WE WILL GET BETTER, BITCH.” (Cr: Defective Tragedy)

Can’t find my notes bc it’s somewhere else in my Tumblr drafts but basically: I consider Mortal, Utsusemi and Sono Kore wa Moroku like a Depression Trilogy™ in Ninth. Mortal is about depression, loneliness and loss but like, tying it to a singular person or event in which the narrator felt grief. Utsusemi is about loneliness and depression as well, AND RUKI USES THE CICADA SHELL METAPHOR, WHICH IS THE SAME AS CRUCIFY SORROW (ALSO ABOUT DEPRESSION, BUT SOMEONE ELSE’S). But then, Sono Koe wa Moroku is THE turning point and where he first mentions (in this album) and actual DESIRE to heal and like, ON HIS OWN. IT’S ABOUT BEING STRONG FOR HIMSELF AND THAT MAKES ME SO EMOTIONAL. And as I mentioned before, Falling also ends on a hopeful note about sadness not lasting forever – it’s like he’s prefacing the album with the fact sadness IS temporary and that there IS a turning point.

“Babylon’s Taboo is interesting…so apparently Babylon is a figure of western imperialism and capitalism in the Rastafari movement (an afro-centric anti-capitalist and anti-imperialist movement from Jamaica). The narrator is COMPLETELY aware of the oppression and injustice that goes on around him but confesses to doing nothing. I interpreted this as complacency to violence, which Ruki has written about before. Also, he describes a starry sky (which I presume represents wealth and happiness) as a lie, and that they are actually black eyes that watch and look down upon you. In the context of anti-capitalism, my interpretation is that the ‘guaranteed fate’ he writes about is the life-long struggle to attain wealth and happiness – we are doomed to dedicate our lives to this, futilely, to no end. and there’s nothing we can do about it. Another line that stood out to me most is “all I need is sanity but uncertainty will do”. this, along with the rest of the song, implies that the narrator is PRETTY DAMN SURE that we’re all fucked so like....HAHA COOL.” (Cr: Defective Tragedy)

(Two of a Kind) Okay so…another motif I noticed in this album is an I and a You. And I know this sounds weird considering almost EVERY SINGLE GAZETTE SONG uses first and second pronouns, but mental health is SUCH a prominent, overarching theme in a way no album concept has been before, hence why I’m saying this. Two of a Kind is really solidifying this for me, but they appear in almost every song (but the You is known as ‘she’ in The Mortal). This pair are connected in an extremely emotionally intimate way. For one, they share pain and understand each other’s pain. Secondly, the narrator falls into depression after they’re gone. A part of me thinks it could be a past self and a current self, considering Ruki’s said this album involved the Most introspection from him and Falling writes about sins and past mistakes again. So, it could be a way of separating a past and current self – a past self that was perhaps lost, and made mistakes, but ultimately creates his current self.

But it could also be another person, as this You figure is also a source of light – someone Ruki shares his wounds with, in Two of a Kind. If it’s another person, it may also make sense that the depression and loneliness written about in The Mortal and Utsusemi is triggered by someone extremely close leaving him. Either way, it is this understanding and connection between the I and the You that also bring hope for the future and I REALLY love the way that hope is conveyed in the chorus of Two of a Kind. There’s so much light in it compared to the parts of the song where ruki calls himself filthy and ugly, and when he writes about negative feelings that never go away and bleed into this other person. but i think this other person understands it, and that’s why he can move on.

“Abhor God is a REALLY dark and heavy take on MOVING FORWARD. Like there’s so much rage in the way he writes about killing his lust, pride and anxiety and stringing up his nightmares in a noose, yet so much power in how he moves forward and sings victory with his music and his art. This is likely connected to Ninth Odd Smell and Uragiru Bero - where he writes about the band’s history and his imposter syndrome as an artist despite the band never going to die just because of that. He contrasts ‘too fast to live’ and ‘too young to die’ like, he’s really in a sort of purgatory where he’s constantly making too many mistakes to be happy but has too much to do for him to give up. So it’s here that he chooses to keep going no matter how weak the beat is. Imagery-wise this feels like.....continuing to live not because you have happiness to look forward to but just out of sheer willpower. Like it’s just so angry. Angry at the world, at yourself, but carrying that anger to try to be better and move forward.”

“And Unfinished is about the fans being his reasons to live and IT MAKES ME VERY EMOTIONAL THAT THIS IS HOW THE ALBUM ENDS!!!!!!! WITH HOPE!!!!! AND MOVING FORWARD!!!!! THEY LITERALLY ENDED THEIR ALBUM THAT’S ABOUT THEM ‘MAKING THEIR MARK ON THEIR WORLD’ WITH LIGHT AND HOPE AFTER LIKE TWO STRAIGHT ALBUMS OF /DEPRESSION/. EVERYBODY GO HOME WE LOVE HEALING IN THIS HOUSE.”

AND THAT’S THE END FOLKS!!!! if you made it here thank you so much for reading my ramblings and i appreciate u so so much <3 i hope you learned something new about the gazette’s music (i sure did - it’s why i went on this marathon in the first place!!) and again i have a list of posts i might write (which will definitely be shorter than these) so! yeah! anyway!! it’s past 11pm and i have no more brain cells. thanks again love ya have a good day/night <3 <3

[sergeanttpoliteness]

idk if you’re taking requests or anything, if you aren’t ignore this, but if you are I would die for a classic, upside down spider-man kiss with the loml spider-noir. poor guy would probably be very surprised at first but suddenly its his favorite thing to do. thanks I love you and your work!!

AND➝ mayhaps…. a first kiss with noir? if u have time! 

sorry for answering so late nonnies! i feel so bad about that, i promise i wasn’t ignoring y’all. same goes to the few other requests i have in my inbox right now! 

——-

➹ inconvenient feelings➹ (spider-noir x reader)

word count: 2.5k

a/n: can you tell i had no idea what to call this lol. i didn’t edit either bc… oof. i’ve been struggling a lot with writer’s block (nothing new, honestly lmaoo) lately and someone close to me recently passed away and i haven’t quite… been able to wrap my head around it?? i don’t know, not to be a little bitch but this week consisted of a lot of school stuff, emotions, and anxiety so thanks @ the people who requested this bc i needed to write some wholesome stuff. also thx at my bestie for helping me out w ideas, ily broz. anyway, there’s some minimum ripeter x reader although it’s solely platonic! hope you all have a lovely week (:

taglist: @marvelousmorales

It’s not convenient. Convenient was that one person with the pretty smile whose eyes seemed to possess an affinity to him that one time at a jazz club, or the singer with the honey voice and smooth runs more soothing than the late night singing of a mother to her child. A poor goon who smooched his fist whilst it collided with his face could even fit the designation, really— but what mattered, the simple component they shared, was that all three were just a speck in a sea with no end; an eternal blue void with only more possibilities hiding in the pitch-black depths neither he nor the light’s fingertips could touch. They were safe. Uncomplicated.

Peter stared out the window, at a completely distinct world, far from a city in a vintage film: the ongoing the mechanical song of speeding cars, the newer and taller lit up buildings, the blinking golden lights, identical to a field of a thousand miniscule suns. This was not convenient. It’s… so different— like day and night, water and fire. This meant to swim out of the ocean he belonged to and reach for a foreign land, to run after a mere drop of water when a whole fucking body existed behind him. It’s not safe. It’s complicated.

Your sleepy eyes roamed the same page for the fifth time with no precise purpose, more disoriented than a newcomer in a large city until they traveled and spotted their true destination: Peter’s own sight deeply engulfed in the view outside, the twisting of his brows every now and then filling your mind with wonder and curiosity at what could possibly be running through that brain of his. You could’ve continued with the ogling like the damn creep you were (seriously, you gotta stop it with that, you told yourself), but you slipped and made a mistake— the most laughably absurd misstep— worse than trying to take a picture of a stranger and then, to your utmost terror, the flash going off— which wouldn’t have occurred in the first place if you’d paid your electricity bills on time. Your apartment wouldn’t have been plunged into darkness, and you wouldn’t have, without thinking, your head clearly not in its right place at the moment, slightly tilted your phone and directed your phone’s flashlight right at the side of his face. You quickly pulled the beam of light away, as if that would work; however, his gaze drifted to you. “Sorry.” You blurted out, acting casual and pretending to focus on the journal on your lap. “You were so quiet, I thought you had fallen asleep.” You lied.

“No, I’m awake.” He said, furrowing his brows to himself— of course you already knew that. You mumbled a small ‘good’, holding the notebook close to your face, like a child staring through the window of a pet shop at some puppies, shining the ‘smartphone’, he’d learned, over the pages. You bit your lip, your shoulders shaking with your surfacing laughter.

“Oh, man, this one’s so dumb.” You snickered before running your finger up the paper, clearing your throat. “October 8th, 1999. Today I came back from my camping trip with Peter, Ben, and May. We ate a lot of s'mores— Uncle Ben makes the best! We also told some scary ghost stories, and I even made Pete scream. It was awesome. You will not believe what happened!” You read the last sentence with a dramatic tone, similar to that of a terrible news headline from a sketchy website, making yourself more comfortable on the L shaped bench seat and leaning into Peter’s side.

Peter tensed at first, but slowly, he pushed himself to relax after you rested your head on his shoulder, a quiet voice in the back of his head speaking against his desires, echoing the terrifying thought that he could get used to this. “I don’t know, enlighten me: what happened?” He asked, amused. You lifted your finger, eyebrows raising gradually, building up the suspense. He waited, and waited, and waited, until, finally—

“I have to go eat dinner. I’ll tell you later.” You finished with an unhumorous voice and a poker face. Yet again, he awaited in silence, interested. Man, you took this suspense thing quite seriously— wait.

“And?”

“That’s it.”

“That’s it?!” He looked down at you and you nodded. “Oh, c'mon! You just gonna leave the reader hanging like that?”

You shrugged, wearing a shit-eating grin, loving his genuine disappointment as you flicked the page. “Sometimes that’s just the way it is.”

“Oh, what malarkey!” He laughed softly. You crinkled your nose— malarkey. What a dork.

You resumed scanning the barely discernible handwriting, the corner of your mouth tugging upwards. “Alright, this one does have an ending.” You sat up, rolling your shoulders back only to go back to your position of hunching over the journal. “April 3rd, 2000. I’m sorry I’ve been gone for so long, I forgot I had this journal. Something crazy happened.”

“The end.”

“Shut up.” You shushed him, shaking your head. “'I hung out with Peter today. We rode our bikes, had a race down the hill near my house, and I also got a butterfly to land on my finger. Man, I love insects!’ …and I still do.” You smiled and he glanced down at you, his mouth twitching. A peculiar glow in his chest grew, fueled him after he recognized that you felt comfortable enough to share this part of you with him; an insight on the stories that carved you into the person that you were today, the being that made every classy, pearly white grin and musical prodigy so boring, so undesirable.

You shuffled on your bum to turn and face Peter, continuing, “We came back home to play some more. We were sitting in front of the TV when, suddenly, he said my name, and like a normal person would, I looked at him…” You inclined forward, voice quieting, looking up at him.

“You won’t believe what happened.”

His eyes darted heavenward and he groaned. “Oh, lord.”

“He kissed me!” You cried out, with as much emotion that past you spilled onto the paper with the five exclamation marks and the three times you underlined the sentence. You slammed the notebook shut and let out a strangled clamor. “I still remember it very clearly. It was just a peck, but he fucking… smashed his mouth into mine, it hurt so much and my lip started bleeding and everything.” You giggled, abashed, rubbing your eyes.

Peter’s brows rose with surprise, pondering how an alternate seven-year-old version of him from another universe had more balls than him. He had to admit, though, the scene playing in his head was more entertaining than unfortunate. “And what’d you do?” He questioned, his mouth twitching.

“He was just curious and wanted to see what kissing someone was like, so we promised we wouldn’t talk about it ever again. He was so embarrassed, though, and felt so bad for making me bleed that he almost started crying.” You recalled, chuckling as you eyed the cursed diary one last time and placed it beside you. “What an idiot. I miss him.” You sighed, peering up at him, grinning. “What was your first kiss like, huh?”

It was comical, almost, the raging blush that trickled his face, the greyish tint screaming for the world’s attention. It was just a Peter Parker thing, you guessed: blushing like there was no tomorrow. “Uh, my first kiss?” You nodded. “Well… it happened when I was eighteen.”

You put the side of your head against the wall, eyes going round, your inquisitiveness close to that of a kid listening to a grandparent’s story. “Was it romantic?” You wanted to know everything: who the person was, the place, the context. Did he enjoy it? Did he make the move? And if so, then was there a chance that, maybe…

Unlike you, he did not have much interest in the subject; he stuttered, searching for a way to move on from the memory before he imploded. “I don’t, I don’t think anyone’s first kiss is romantic.”

You squinted at him, noticing his obvious attempt at dodging the question, but chose to spare him. Just for a few milliseconds, though. “Have you ever had… a perfect kiss?” You said, unsure of how to word such a silly question. He shook his head and you hummed, silently taking in a quick breath, your gaze moving to your right. “Have you thought about what you want it to be like?”

Should he say it? He wanted to. He really did. But he couldn’t, even if his eyes almost flickered down to your lips. “Who thinks about that?” He muttered. Perhaps he had. Perhaps he’d been guilty of having the thought slither into his mind once or twice— possibly more than just that. Perhaps it’d pestered his mind as of recent, like that damn small scratch on his glasses that won’t go away no matter how many times he tried to wipe it away as if that would even help. Perhaps it returned as you unconsciously licked your lips and raised your shoulder, a bashful grin growing on your face.

“I have, when I’m bored. An upside down kiss with a cute guy.” You admitted, your eyes narrowing afterward, only just now realizing how bizarre the idea was once you said it aloud. Your impatience throbbed in your head so badly you didn’t mind the embarrassment as much, though. You really were doing this, huh? “I think I found the cute guy.” You hinted, your heartbeat pounding in your throat.

He understood the insinuation, of course he did. But what better way to run from your feelings than close his trembling hand into a fist, pretend to be clueless, and act like an idiot?

“Who’s the lucky fella?”

Didn’t think he was so stupid, you grumbled in your head, masking your faint irritation. You pressed your lips together, sight on your cushions. “Someone I like quite a lot.” You vaguely said, voice distant. “Though I don’t think you’d understand— you’re not one to fall in love, no?”

It was half a joke but half a real question, one with solely one right answer you yearned to hear from him if you got lucky enough. Peter blinked nervously, fear burning in his stomach, clenching his insides as his tongue dared to break free from his control, from his cowardly spell. “Lately I’ve had someone in mind.” He breathed out, close to breaking out in a sweat. He watched how your eyes dimly lit up, hesitance impeding the light from fully glowing.

“Really? And who is this ‘someone’?”

“It’s a secret.”

“Tell me.”

“Not now.” He gulped. You pouted, begging with your eyes. “N-no.”

“Are you ever gonna make a move?”

Peter drew his lower lip between his teeth, feeling dizzy just by thinking about it; the downfall of the relationship once the distance became too much, once the malaise with no cure finally rotted the adoration, infested the heart, decayed it. “No.” Same answer. Same bedeviled word that boomed in his head whenever his emotions were close to getting the best of him.

“Why haven’t you done it yet?” You whispered, not caring anymore about how obvious you were

being. He frowned. Why hadn’t he done it yet?

“I don’t know if I should.”

“Why not?”

Why not? His own thoughts repeated, betraying him. The confusion unlatched the cage, released all the questions and doubts about his reasons and dread. They crowded his brain, rang in his ears. “It’s… it’d be too hard to keep the relationship alive.” He retold more to himself and the storm of interrogations than you.

Your brows snapped together, your own fear knocking on the door again. “Is it not worth it to try, though?” It’s what you’d told yourself: the antidote to unfreeze your limbs and wave goodbye at the concern hanging in there, because… was it not?

In the overwhelming haziness, he finally looked at you. It’s what he needed to come upon a realization, a truth he knew all along but crumbled and threw away. Everything hushed, one single, final phrase in the quiet of it all.

Convenient wasn’t what he wanted.

“It is.” He said under his breath.

You heard him, and your eyes twinkled. “Well, then make the move.”

He couldn’t help it anymore. His eyes found your lips.

“I will.”

You stared at each other for a moment, anticipation never more warming than right then as it fluttered in your chest. To your biggest disappointment, he broke eye contact and stood up. “Close your eyes for a moment.” He ordered, his face indistinguishable in the dark now that he was further away.

“Creepy, but okay.” You huffed, your eyelids fluttering shut. “You better not be running away right now, you’d break my poor ol’ heart.”

“Don’t worry, that’s not the case.” You heard him say. You trusted him, which could’ve been a terrible choice. The total silence that followed didn’t put you to ease at all, honestly. Maybe you annoyed him so much with your questions that he was about to murder you, and if that’s what was happening, you were quite sad, to say the least.

Your eyelids were itching to open and you lifted a brow, straining your ears to distinguish any sign of his presence. “What the hell are you doing?”

“You’re not gonna believe what’s about to happen.”

You snorted at his reference, but his voice was… oddly close. You opened your eyes, and— “Oh, fuck!” You yelped and jumped back in your seat. Damn right you weren’t gonna believe what was about to happen, for Peter dangled from the ceiling right in front of you, upside down.

“Is it too much of a strange idea? I was going to simply stick to the ceiling upside down, but then I thought… that’d be… worse.” He clumsily explained. You looked up at the web he hung from, laughing in disbelief.

“What the hell are you doing?” You repeated, but you weren’t mad— your large smile backed that up. You couldn’t figure out if it was a blush creeping up his face or if it was from the fact that he was upside down. Both, maybe.

“I’m making a move.”

You giggled, glad you confessed what you considered to be a perfect type of kiss to him or else you wouldn’t had witnessed how absolutely ridiculous he looked right now. “So you’re willing to help me check 'kissing someone upside down’ off my bucket list?” You smirked.

He grinned. “It would be my pleasure.”

You bit your lip, placing both hands on his head. “Alright, then.“ 

You leaned forward, the tip of your nose brushing against his chin. You softly kissed the area below his bottom lip to tease him, but he didn’t want to wait any longer. Not after so long. Quickly, he enclosed your own bottom lip with his mouth, lastly fully aware that inconvenient truly was magnificent.