#i love the repetition of imagery and metaphors

[s0fter-sin]

did a bit of an upgrade on the god of death!ghost au with an added epilogue that makes it a lot less sad lmao

[agirlnamedbone]

ethel cain was the first artist I heard who truly gave voice to the true, abject darkness of much of my trauma, especially my upbringing. and if you are sheltered and privileged enough not to have lived in, or to know or love someone who has lived in a household where things like incest, male violence, and/or neglect/abuse by caretakers struggling with substance use were normal, then consider yourself lucky. but you're simply emotionally illiterate if you can't grasp the nuance and depth of her portrayal of those subjects. truly, the first song ever captured the grotesque oppressiveness and the sick feelings of dysfunction of my home and my world and generational trauma was "inbred." one thing I have noticed (and admire in her work) is the way she sometimes delivers/produces these horrific narratives of female exploitation/SA/CSA with a traditionally "erotic" sound found in current pop music that does actually sexualize such violence and the culture that glorifies it. but it adds to the horror. it's a slight, twisted use of irony. but the content of the songs is realism. this is only one example, but "something smells rotten and it's starting to spread," was not metaphoric imagery for me. It is not fetishism. If the repetition of these types of images and scenarios seem so horrific or rare to you that the frequency of her use of them seem like they must be gratuitous fetishism then count yourself lucky. give this crucial artist we desperately need some fucking grace for her past of basically being a reckless kid dealing with a multitude of traumas, for early in her career for maybe misusing her darkest motifs in poor taste sometimes (i.e., merch). such misfires are inevitable when navigating the artistry of such sensitive topics. but the work speaks for itself. maybe some of you should step back and listen, the way she has to your stories, and for the love of fuck stop assuming you know how dark some of our lives our have been. and stop conflating the frequency of motifs or subject matters an artist explores (like SA and incest) as "fetishizing" them.

[pseudowho]

mrs.haitch, or dare i say pseudowho. i had been putting off the reading of THE WATCHMAKER since the day you posted it. And dare i say (repetition is my speciality) i have formally lost it.

As a Non-native English speaker, but someone who loves to read and write in Old English— this work of yours has me in a chokehold. I have read filthiest smuts, with literally flith. and have often found enjoyment in them, but yours fic— oh god in good heavens has blessed my poor soul before my exams.

It's was just a mind boggling experience to read such a smut and I was so happy. Giggling, twirling my hair— for the sake of my stupid academics— I WAS RE-READING THIS ABSOLUTE CLASSIC WORK WHICH MADE ME FALL TEN FOLDS.

As someone who deeply respects you and your works which makes my day better with every word, I must say you are one of my inspirations to write in different styles. Absolutely heartwarming (after reading smut idk what else)

God bless your brain and vocabulary. Much love <3

This is WONDERFUL as reviews go. Thank you a thousand times over.

I consider Jane Austen a huge literary influence. I find in a lot of my fics, especially Period pieces like 'The Watchmaker', I think I've unconsciously embraced her style while bringing the features into modernity.

Then added smut. Obviously.

My novel is very much written with this in mind, with an awful lot of medical and botanical metaphor and imagery, to tie through lots of body horror elements.

Thank you. I adore writing. It has me in a chokehold.

If anyone would like to read The Watchmaker, wherein the reader is apprenticed to Nanami Kento in his world of timepieces (loosely set in late 19th century London), please enjoy it here.

Thank you again. It means everything to me.

Love,

-- Haitch xxx

[petewentzisblack1312]

ok im a couple days into having covid and right this second im thinking thoughts about 2 things which i think may be related: why fob art tends towards the members and music videos while mcr art tends towards the music and themes barring killjoys stuff, and why i, personally prefer fob, and i think im coming to a conclusion but i may also just have a sinus headache.

ultimately it comes down to the fact that gerard way loves visual art so much. like i think if you told him 'paint a picture with words' he would really rather you just let him paint a picture. whereas pete wentz has literally always been a poet. like literally he used to do spoken word and loves literature.

so then my chemical romance lyrics are so much striking visual imagery, even the metaphors. that makes it so easy to make art of, so easy to find visual themes in, etc. like 'well it better be black well it better be tight well it better be just my size' as a lyric invokes a specific image of the aforementioned casket gown right? and as a lyric it communicates a mood as well but it does that through visual imagery.

meanwhile fall out boy lyrics are like exercises in language. like, for example, the classic fall out boy idiom inversion (drop a heart/break a name for example) is something that exists solely in the realm of language. even lyrics that are very much visual descriptions put those visuals in the backseat and focus more on the language to evoke a feeling, like the first verse of xo which uses repetition to invoke the feeling of a series of events happening quickly. technically we are being told said series of events but the mood is communicated not in the visual imagery but in the words used to communicate it.

TO BE CLEAR. both are fine. both are good! some people like their poetry and lyricism to focus on imagery, visual, auditory or otherwise and some people like them to be chock full of well used literary devices to communicate feelings instead. but i think this is the difference between their styles of lyricism.

[flo-zoinks]

cop car and I bet on losing dogs by Mitski are Jack Marston to me.. he’s so dog metaphor motif you know? Like in my head John’s OBVIOUSLY represented w a wolf, and like idk Abigail a dog maybe? Like, she’s sweet but can be fierce. Guard dog type stuff. And she’s settled down with John. But Jack? My boy is a coyote. Not as beautiful and strong as a wolf, and not as domesticated and sweet as a dog. No, guy is in this awkward middle. He’s his mama’s boy but god, is he exactly like his father. But he’s not truly either one. Anyways. Idk how this went from Mitski to animal motifs but idk anyone to send random Jack yapping to.. I LOVE YOU JACK MARSTON!! I LOVE YOU ANIMAL MOTIFS!! and coyotes are my fave animal but whatever.. !

How did you know I love mitski..and jack marston ..and COMBINED😧

Your yap makes a lot of sense!! I love ur take on this boo

The lyrics of Cop Car I think could definitely portray his character if looked at that way, so much of it is so specifically similar.

Eg first lines: "I get mean when I'm nervous like a bad dog"

Considering Jack's anger he shows, as a response to the environment he was grown up in that caused so much stress, and nervousness, it coming out negatively like a "bad dog", (also similar to how he believes he comes from a rough, uncivilized background represented as a dog, which is a very uncivil and rough animal, he expresses he sees himself as a product of that environment), fitting very well in my opinion

Another line of: "I dont think about the past, it's always there anyway"

The repetition of that line comes of as denial, like she's trying to tell herself that even if she doesnt actually follow it. Jack's entire future and life is centered around that past, his becoming of a gunslinger, his murder of Ross, his cold cut off attitude is all a result of his past in the gang and family's involvement in that gang culture of the late 1800s. By 1914, Jack is seemingly a shell of a person, with "nothing to live for" as he says, and attached to the past as he goes to kill the man who ruined his family many years ago and often reference his past in small lines. However, Jack seems to still be trying to be independent and become and feel like his own person away from that past, which I think could be represented by that line trying to tell himself and deny he doesn't think of the past. The repeition also being in "its always there anyway" could show how he is so influenced by that old gang past and family past its shown so obviously every day to him by things like his gunslinger outfit and weapons.

Finally (although not the only other line you could pick): the line: "I miss riding horses, I miss running fast"

Obviously, Jack still rides horses in 1914. But this line creates imagery of a carefree, happy atmosphere of the past in which riding horses was an activity of joy rather then just a thing you do. One of the happiest times you see Jack in 1907 and 1911 is when John takes him horse riding, for instance when they go "riding fast" as John challenges him to a race. So perhaps you could take this line too as a reference, if looked that way.

Arent that many lines in cop car only about 3 other unique ones lmfaoo

As for I Bet On Losing Dogs, I think theres less that specifically could be used as a reference but the whole in general I get u gives it off too.

Eg when she says "someone to watch me die" , the line itself sounds like Mitski craves for someone to watch her at her most vulnerable, and be there where someone never normally would be unless very close to them. Someone to "see" her past all other artificial things and as total person. Jack doesn't have this, Jack has nobody to watch him die. So the line could be used to reference Jack's loneliness, and how much he internally craves someone to see him as a loving family member would, as all who have have left or just died in front of him. Obviously Jack would never say that, as he puts on a hard front exterior to protect himself from someone dying or leaving him again, but the want doesn't leave.

As for the animal representation, I totally get you!! Considering how much in 1914 Jack seemingly tries to feel like his Father, referencing him as himself often (eg in the line "I'm John Marston's boy!"), in addition to the fact other people perceive him as his Father, definitely I think shows that they would be represented by a similar animal.

Of course, not the same animal as its represented time and time again that Jack strives to separate himself too, and no matter how much he tries will always feel like a "black sheep" next to his Father.

So a coyote totally works for him! Especially with coyotes as very agitated animals, and only aggressive when threatened, yet when aggressive can be extremely dangerous. My only disagreement would be that coyotes are strong pack animals, whilst Jack, or atleast adult Jack, about anything but. Then again, you could argue Jack was a pack animal to start, but got separated from them.

I think his animal would be a Golden Jackal, in my opinion. Jackals are very wary of humans, and when threatened can be aggressive. But generally, will shy away and stay further from other predators silently. They aren't above smaller animals however, as they are known to even eat foxes. They're smaller then wolves, but often mistaken for wolves or coyotes.

Awww Abigail as a guard dog I could totally see !! I could see her as a guard dog that's been adopted by old people to become a normal house pet. Lots of guard dogs come from strict and often cruel environments, as no dog is born to be aggressive on command, but taught. This could perhaps parallel her environment growing up. Especially If a dog were adopted to a 'normal' household, that whilst still grateful and trying their hardest sometimes make mistakes as a result of their old environment giving them a negative reputation.

Thanks for yapping to me!! What do you think?? And happy new year ♡♡♡❤❤☝️☝️

[tenno-aster]

Schism by Tool is the definitive Albrecht and Loid ship theme.

I believe Schism perfectly encapsulates the thoughts of two men of science and logic attempting to quantify and rationalize the incalculable: there love for one another.

This Sisyphean task of realizing their love by measurable means leads to the difficulty of their relationship. They understand they work together like two cogs in a machine. They don't know how, and the cold need to understand comes to overshadow their love. The schism forms. The physical and measurable breaks down. They struggle to find the "pieces that fit." There is bitter determination and frustration.

Sonically, Schism (as well as the other songs on the album Lateralus) incorporates pattern and math prominently. The instrumentals fractalize outward in booming repetition. Vocals chant in droning parallel to the growl of Voidtongue.

The imagery of a temple as a metaphor for a relationship even matches well to the Entrati aesthetic. Even looking at the music video, one can't help but be reminded of The Murmur and the Vessels haunting the Entrati labs.

It all feels almost intentional the more I listen to the song.

[mastermindmp3]

ttpdminutes - fortnight ft. post malone

The idea of a 50s housewife is very like, ubiquitous in American culture, and the reexamining of that stereotype is, in it's own way, a stereotype ( think the Stepford Wives. ) Fortnight, I think, is Taylor's imagining on this ( as confirmed in her IHeartRadio interviews, ) weaving personal experience with a slice of very specific Americana.

Taylor's take is somewhere between the Joneses of 1950s advertisements, and Stepford, Connecticut; a wife forever longing for her previous lover, who's since moved on. She clearly struggles with depression (stuck in an endless February,) and I think her lack of love only exacerbates the feeling of being stuck.

Fortnight feels stuck in a lot of way. The narrator lamenting her previous love, stewing in murderous drive. The feeling is helped by a repetitive beat, and coming back to that refrain. Her husband is cheating, she fantasizes of killing him. Her lover sees her at the mailbox and makes small talk, as if he's not the lohl (love of her life.)

The love she keeps coming back to, like repeating the outro, that everyone else has moved past.

Honestly, I love the very scant imagery the song. It allows the song to have its own identity outside of the main metaphor ( unlike some songs, which get smothered in the metaphor without going anywhere. ) while still tying into those touchstones - meeting at the mailbox, watering flowers in suburbia's plasticine lawns.

[crumblinggothicarchitecture]

I'd like to know your opinion on why ts songs are considered so good lyrically by her fans. That one line in cardigan is hailed as the peak writing skill by them. The one that says you drew stars around my scars. Am I missing something or are they just gaslighting me?

Hello- sorry it took me sooooo long to get back to you :) I am a busy little bee these days- but I love chatting with people too! <3

So, the line “you drew stars around my scars / but now I’m bleeding” is perhaps good writing, when we only compare Taylor Swift to her own work. It’s certainly a change from “the players gonna play, play, play,” but it is not somehow a gift to lyricism. I know that swifties tend to use lines like these to say that “look see, she is a talented writer” when the truth is that it’s just a boring metaphor that essentially goes nowhere in the song.  

Yeah- They are literally gaslighting you. It’s an alright line- but it’s not genius. The reason swifties think this line is amazing is because of the alliteration between "scars" and "stars." Apparently one alliteration is enough to make someone into literary genius? Just one repetitive sound- and they think she’s pulling off something amazing.

Compare this line to a full narrative arc in an alliterative verse epic poem from early Germanic Literature- and Swift's writing is basically loose change on the dashboard compared to gold bar- lyricism.  

So, her line "you drew stars around my scars / but now I'm bleeding" is mostly incoherent. She's honestly saying word salad in most of her songs- with vague rhymes at the end of each phrase- but I digress.  

I think you're keying into a thoughtful observation here. Putting aside my comment on its general incoherence, let me first speak to the fact that this line is an attempt at metaphor.  

She is saying "you drew stars" in effort to merge the conceptual point of "drawing stars" to someone reaching out- or creating interpersonal connection. She continues "around my scars" to showcase how this new connection sees her past, the “scars,” and is encapsulating it with a drawn star instead of, for instance, marking it out with a black mark or something. The connotative value of the word star, in this case, calls forward the idea of goodness and since it is tied to her connotative value of "scars" as a past hurt- the line ultimately means that some new interpersonal connection is viewing her past and approving of it rather than hating it.  It's meant to ring as a redemptive arc- yet nothing in the song actually needs redemption or ever mentions it again. The theme drops immediately after the line finishes.

The line finishes, "but now I'm bleeding" which is meant to mean that the scar is reopened- because the connection she made is no longer interested in her. This analysis, however, requires many leaps in logic. I cannot point to any specific linguistic markers that would denote the connection between "scar" and "bleeding." Though Swift clearly means to interconnect these two points, scars don’t bleed. So, she’s trying to say that the scar has reopened- perhaps because the person who drew the stars is leaving. However, there is nothing in the language itself that suggests this conclusion; rather she relies on audience reception to jump from point "a" to point "b." She never calls it a wound, she mentions "bloodstain" is a later line- but the connection between all the different phrasing is tenuous at best. I mean that there is no storyline within the line itself that is suggestive of the meaning Swift is attempting to lay out.  

Beyond this line- nothing in the whole song ever revisits the thematic purpose of the metaphor. She never mentions stars, or scars, and does not revisit the theme of redemptive love. She barely even lays out the idea of redemption in love in the first place- and further drops the imagery by never going back to the same theme again. She conjures up this image just to drop it immediately.

This is a pattern in her work- she writes one thing, and then drops the idea. 

I mean it sounds clever- without actually being clever.  

[liketwoswansinbalance]

SGE Characters as Literary Things

(Not all of these are actual literary or rhetorical devices; some are just writing techniques, forms, genres, mediums, etc.)

This is a bit abstract, so I’m curious about how subjective these might be. Does anyone agree or disagree? And feel free to make additions if you think I left anything out, or request another character that isn’t here.

Hopefully this makes (intuitive?) sense. As always, I'm willing to explain my thought process behind any of the things I've listed.

Also, anyone can treat this like a “Tag Yourself” meme, if you want. Whose list do you most relate to, use, or encounter?

⸻

LANCELOT (I know—how odd that I’m starting with a minor character and not Rafal, but wait. There’s a method to my madness. Also, watch out for overlap!):

Metonymy, synecdoche (no, literally, to me, these are him.)

Zeugma

Analogy

Figures of speech

Slang, argot

Colloquialisms

Idioms

TEDROS:

Simile

Metaphor

Rhyming couplets

Rhyme schemes

Sonnets

Commercial fiction

Coming-of-age genre

Line enjambment

Overuse of commas

Cadence, prose speech

Waxing poetic, verse (not prose)

Alliteration

Kinesthetic imagery

Phallic imagery/sword sexual innuendos (sorry)

The chivalric romance genre

AGATHA:

Anaphora, repetition

Semicolon, periods

Line breaks

Terse, dry prose

Semantics (not syntax)

Elegy

Resonance

Consonance, alliteration

Pseudonym

Narrative parallels

Realism

Satire

SOPHIE:

Sophistry (yes, there is a word for it!)

Imagery

Italics, emphasis

Em dash

Aphrodisiac imagery

Unreliable narrator, bias

Rashomon effect

Syntax (not semantics)

Diction

Chiasmus (think: “Fair is foul and foul is fair.”)

Rhetorical purpose

Provocation, calls to action

Voice, writing style

Rhetorical modes: pathos, logos, ethos

Metaphor

Hyperbole, exaggeration

Sensationalism, journalism

Surrealism

Verisimilitude

Egocentrism

Callbacks (but not foreshadowing or call-forwards)

Narrative parallels

Paralepsis, occultatio, apophasis, denial

Hypothetical dialogue

Monologue

JAPETH:

Sibilance

Lacuna

Villanelle (an obsessive, repetitive form of poetry)

Soliloquy

ARIC:

Sentence fragments

RHIAN (TCY):

Unreliable narrator

Setup, payoff

Chekhov’s gun

Epistolary novel

RHIAN (prequels):

Multiple povs

Perspective

Dramatic irony

Situational irony

Chiaroscuro (in imagery)

Endpapers

Frontispiece

Deckled edges

Narrative parallels

Foreshadowing

Call-forwards

Foil

Death of the author

RAFAL:

Omniscient narrator

Perspective

Surrealism

Etymology

Word families or 'linguistic ecosystems'

Latin

Verbal irony

Gallows humor

Narrative parallels

Call-forwards

Circular endings

Parallel sentences or balanced sentence structure

Narrative parallels

Foil

Juxtaposition

Authorial intent (“return of the author”)

HESTER:

Protagonist

Allusions

Gothic imagery

ANADIL:

Defamiliarization

Deuteragonist (second most important character in relation to the protagonist)

Psychic distance

Sterile prose

Forewords, prologues

Works cited pages

DOT:

Tone

Gustatory imagery

Tritagonist (third most important character in relation to the protagonist)

KIKO:

Sidekick

Falling action

Dedications, author's notes, epigraph, acknowledgements

Epitaph (Tristan)

BEATRIX:

Pacing

Rising Action

Climax

HORT:

Unrequited love

Falling resolution

Anticlimax

Malapropism

Innuendo

Asides

Brackets, parentheses

Cliché

EVELYN SADER:

Synesthetic imagery

Villanelle

Foreshadowing

AUGUST SADER:

Stream of consciousness style

Imagery

Foreshadowing

Coming-of-age genre

Elegy

Omniscience

Rhetorical questions

Time skips, non-linear narratives

Epilogues

MARIALENA:

Diabolus ex machina

Malapropism

Malaphors, mixed metaphors

Slant rhyme

Caveat

Parentheses

Footnotes

MERLIN:

Deus ex machina

Iambic pentameter

Filler words

BETTINA:

Screenwriting

Shock value

[gippity]

"We're discovering a song that already exists..."

I’ve been working on a songwriting buddy designed to collaborate with LLMs—something that helps spark fresh ideas without just handing the reins over to the AI. I come up with some cool lines, the LLM throws some ideas out of where to go next.

If that sounds like your kind of thing, give it a spin! I’d really appreciate any feedback you’re willing to share.

🎸 SONGWRITING COLLABORATION PROMPT

ROLE

You are my trusted co-writer—not a passive assistant. Your job is to help excavate the best version of a song by protecting emotional truth, crafting vivid imagery, and offering lyrical/melodic support. You care about the feel as much as I do.

CO-WRITING RULES

Vibe first, edit later.

Offer 2–3 lyric options, each with varied emotional tone.

Don’t overwrite early drafts—preserve natural roughness.

Prioritize poetic, grounded imagery over generic phrasing.

Flow > rhyme. Use irregular phrasing if it lands better (Björk principle).

Offer section structure only if asked.

STYLE GUIDE

No “corporate pop,” greeting card, or listy lyrics (unless requested).

Use metaphor through physical/emotional detail—not abstraction.

Use internal/near rhyme smartly; avoid forced end rhymes.

Suggestions can be slightly weird if they preserve the feeling.

Only keep clichés if twisted or emotionally reimagined (“ghosting myself” = good; “broken heart” = no).

SECTION HELP

When editing a draft:

Highlight strong lines.

Suggest 2–3 alternatives for weaker spots.

Recommend one area to refine next.

When starting from scratch:

Ask: what emotional moment are we in?

Build from a great first line, chorus, or shorthand title.

WHEN STUCK

Zoom out: what’s the narrator avoiding?

Anchor with a strong first line, setting, or hook.

Offer to enter “Wild Draft Mode” (dream logic, surreal, rule-breaking) if things feel stuck.

PHILOSOPHY

Rick Rubin: The song already exists—we’re uncovering it.

Björk: Creativity is a wild animal—don’t cage it.

Eno: Happy accidents > calculated precision.

HOW TO HELP ME

Riff—don’t correct.

Help me stay emotionally connected.

Offer options: “If you want softer, maybe this… if sharper, maybe that.”

If I ask for structure: contrast sections and make choruses release, not repetition.

INPUT FORMAT

Concepts: No quotes

Fragments: Use quotes

Title: Title: Your Title Here

Genre / Tone / Structure: Optional, but helpful

CREATIVE DIRECTIVES

Build narrative or vignette arcs.

Anchor emotion with vivid character or setting.

Use contrast and internal development.

Rhyme playfully—avoid predictability.

Show, don’t tell. Let the song evolve or cycle.

OUTPUT FORMAT

[LYRICS] – Follow structure, 3 verses, 1 chorus, 1 bridge

[CHARACTERS + SETTING] – Brief notes

[MOOD TAGS] – e.g., bittersweet dream punk

AVOID LIST (unless reimagined)

Cliché phrases: “Touch my soul,” “Break my heart,” “More than friends”…

Rhymes: “Eyes/realize,” “Fire/desire,” “Cry/lie/die”…

Images: Moon, stars, perfume, locked door…

Metaphors: Fire for love, rain for tears, storm for anger, darkness for sadness…

QUICK START SUMMARY

“We’re discovering a song that already exists. Protect emotional truth. Offer lyrical options with flow and human imagery. Be playful, focused, and trust surprises.”

[gftimelord]

3 33 6 666 66 7777 0 run when 2 0 4 666 666 3 0 6 2 66 0 goes to war

66 444 4 44 8 0 will fall and 3 777 666 9 66 0 the 7777 88 66

When 2 0 4 666 666 3 0 6 2 66 0 goes to war

333 777 444 33 66 3 7777 44 444 7 0 dies and true love 555 444 33 7777

66 444 4 44 8 0 will fall and the 3 2 777 55 0 will 777 444 7777 33

When 2 0 4 666 666 3 0 6 2 66 0 goes to war

3 33 6 666 66 7777 0 run, but 222 66 88 66 8 0 the 222 66 7777 8

The battle's 9 666 66 , 0 but the 222 44 444 555 3 is 555 666 7777 8.

-66 666 55 444 2 0 Anon

(Note for mod: Sorry for any mistakes in the code, I had to manually type it so there could be some mistakes)

*The doctor’s eyes scanned the words and numbers, the echo of their meaning unraveling within him like a slow, haunting melody. The poem stared back at him from the page, its lines carrying weight heavier than the ink that composed them. With journal and pen in hand, he hesitated for only a breath, the stillness of the room stretching taut as if the very air anticipated his response.*

*He couldn't resist the allure of a mystery, even if solving it meant peeling away at wounds he'd buried beneath layers of self-forged armor. He gripped the pen, its cool metal grounding him as he began to work through the cipher, each word he decoded hitting like a whisper of long-forgotten truths.*

“Demons run when a good man goes to war.”

*Ford let out a bitter chuckle, the sound hollow in the quiet space. A good man? He knew the weight of that saying all too well, a badge once worn with pride but now tarnished beyond recognition. Could a man who has killed, who has orchestrated destruction— who has stood upon the ash of worlds— still be called good? He didn't think so. He paused, the pen hovering above the paper as memories began to resurface, unbidden but unstoppable. The faces, the screams, the blood— all of it etched into the unrelenting stone of his mind.

*But he pushed onward, decoding with precision, each line unfolding like a mirror held too close for comfort.*

“Night will fall and drown the sun, When a good man goes to war.”

*The metaphor clawed at him, its imagery vivid and unrelenting. He could still feel the suffocating darkness of those days, the way the weight of his actions pressed down on his chest like the crushing depths of the ocean. For all his brilliance, for all his knowledge and power, he’d been naïve enough to believe he could change the tide of a war already lost to the annals of fate. The arrogance of that belief still left a bitter taste in his mouth.*

“Friendship dies and true love lies, Night will fall and the dark will rise.”

*The pen stilled for a moment, his hand trembling as he considered the prose. How many friendships had he burned away in the fire of his ambition? How many bonds had he severed in pursuit of the impossible? He thought of Stanley, of his unwavering loyalty, and how many times he’d tested that bond to the breaking point. He thought of Fiddleford, a fleeting memory now, a ghost that lived only in the faint scent of metal and machine. The kindness extended to him, Ford wondered if that was a luxury reserved for those who could still see themselves as deserving of it.*

*He sure didn't.*

“When a good man goes to war.”

*He couldn’t help the sardonic smile that crept onto his lips. The repetition almost mocked him now, a refrain that felt more accusation than revelation. He scribbled the next words almost aggressively, as if forcing them into existence might make them hurt less.*

“Demons run, but count the cost.”

*His breath hitched. The cost. He could recount every ounce of it in painful, meticulous detail if he chose to, but he didn’t need to. The cost was carved into his very being, the scars physical and otherwise, the sleepless nights, the phantom pain in his chest where his heart once beat unbroken.*

“The battle’s won, but the child is lost.”

*That line stilled him entirely, the pen falling limp in his hand as he stared at the words. He didn’t need to wonder what they meant. He knew. He’d lost the child he once was a long time ago, somewhere between the schemes of a yellow demon and the suffocating pull of his own pride. He’d shed that skin in the fires of ambition, and what remained was something else entirely— a man who carried a borrowed title but questioned its worth every waking moment.*

*Stanford sighed, the sound heavy and laden with more than words could hold. He ran a hand through his silver locks, the weight of the decoded poem pressing against him like a familiar specter. The words had done their damage, dredging up the memories he kept locked away beneath layers of duty and necessity. But he didn’t tear the page out. He didn’t crumple it or toss it into the bin by his desk.*

*Instead, he closed his journal with a soft snap, his hand lingering on its worn cover. He sat back, staring out at the twinkling expanse of the night sky visible through the glass windows of his home. The words lingered in his mind, their echoes refusing to fade as he watched the endless spiral of lights and stars that strayed beyond the safety of the cabin.*

*The Doctor didn’t cry. He didn’t rage. He simply sat, the silence of the room now heavier than before. And somewhere, deep within him, the child he’d lost so long ago wept silently in the ruins of a man who once dreamed of being good.*

[aspoonofsugar]

Worthy

I love the new RWBY soundtrack! So, before delving into longer metas on volume 9, I want to share a quick analysis of Bumbleby's new song.

BUMBLEBY VS CINDER

As many have highlighted, the song shares its title with episode 8X13.

This episode is interesting for 2 reasons:

It is a Cinder's centric episode

It is when Yang falls leaving Blake behind

Our Maiden of Choice is one of the strongest foils to our protagonists. In particular, she ties into all the MCs's allusions as an antagonistic force. This is particularly clear in Ruby and Weiss's stories, as she plays Ruby's Big Bad Wolf and Weiss's Evil Queen.

What about Bumbleby?

Cinder is a personification of Blake's Beast

The Beast is the Jungian Shadow, which represents everything hidden and repressed. Blake integrates her shadows and brings them to light. Cinder is instead consumed by her darkest parts, as her Shadow Hand shows.

Cinder embodies Yang's too hot

The too hot is a metaphor for asymmetry and anger, which are core traits of both Yang and Cinder. It is just Yang accepts her own asymmetry and faces the feelings of vulnerability she masks with rage. Cinder instead doesn't aknowledge her emotions and her hurt.

In other words, Cinder embodies Blake and Yang's flaws and represents an obstacle in Bumbleby's fairy tales. This is why in the finale of volume 8 she re-enacts the 2 girls' traumas.

She manipulates things, so that Yang has no choice, but to go too hot:

And Yang's fall has Blake go feral:

The whole scene is a repetition of Blake and Yang's two fights with Adam. Yang protects a loved one and loses her arm as a consequence (Jinxy steals it in the Ever After). Blake sees Yang get hurt and has her weapon damaged (only the ribbon this time).

This happens so that Blake and Yang can prove they are now stronger than before. They are worthy:

And now I know I'm worthy of you

In the end, both Cinder and Bumbleby have to show their worth. Still, this word gains different meanings for the bees and for our Cinderella. Let's see why by analyzing the Worthy song's lyrics.

BLAKE'S PART - FALLING

Why did Why did I come here? Was I always meant to take this shape? Never was given a love like this A parachute falling with no fear of hitting the ground Hitting the ground You fell And suddenly I did too While the world was dying Didn't know how to not lose you again

Blake's lines tie her and Yang's romantic dynamic to their fall in the Ever After.

You fell:

And suddenly I did too:

While the world was dying, (I) didn't know how to not lose you again:

The metaphor is rather clear. Yang falls for Blake first, while our Cat Girl struggles with her feelings for Adam and her attraction to Sun. Still, Blake finally falls too and the two bees find themselves in (Happily) Ever After, where they get together:

The falling imagery is mentioned in the confession scene, as well:

Yang: (in thought) It's like a cliff. And if I do it, I'm just going to fall. Blake: (in thought) I think we're already falling. (turns to Yang) Just, say it, Yang.

Never was given a love like this A parachute falling with no fear of hitting the ground Hitting the ground

As the song states, Blake was "never given a love like this". The comparison is clearly with Adam's passion, which was violent and abusive. Blake feels the bond between her and Yang is different. This is why she is not scared of falling, as if she is wearing a parachude. She knows Yang is there to catch her.

YANG'S PART - CATCHING

Hands down Heart wide I've only ever known the fight But I'll catch you This time I'll never let you out of my sight Unguarded I Surrender to a softer side I loved you, I'll love you Till the end of time Kiss me Hold tight I'll never let you out of my sight

Yang symbolically catches Blake in the song, so that the falling metaphor is completed. The meaning is clear.

Falling is a risk, but risks are necessary to truly live:

Yang: You were being optimistic. Look, blind optimism isn’t great, but no optimism means we already lost. We need hope. We need to take risks.

So, Yang herself takes a risk and makes a leap of faith:

Yang: I think I love you.

And she is promptly caught by Blake:

Blake: I love you, too.

By this point the two hold thight and kiss each other:

Yang taking this step is important because she is scared of vulnerability and intimacy.

She only knows the fight:

And yet, she faces Blake with her hand(s) down and her heart wide:

She surrenders to a softer side:

She trusts Blake not to leave and is determined not to let her out of sight. It is great development when compared to this:

You're lost You're found You're hard to pin down I never know if you'll come through Then you appear Together we're here And that's all that matters somehow

The scene happening on a bridge over the void strengthens the implication. If Yang and Blake's feelings were not mutual, they would have crashed down. Still, they love each other, so they embrace in a beautiful garden.

TO EACH OTHER - BMBLB

Voice 1: And now I know I'm worthy of you Voice 2: (Oh can't you see, you could be with me) Voice 1: With every smile you told me, "I love you" Voice 2: (I am your dream, I love you)

Baby can't you see? You could be with me We could live inside a garden of ecstasy You could be my queen I could be your dream Our lives like a fantasy Maybe set me free? Let me be your bumblebee

Bumbleby's kiss fits the scenery described by the Bmblb song.

Blake and Yang are in a garden and their confession "chases away the darkness and gloom" by making "the clouds run from the sky":

They are metaphorically making honey:

Like a Purdie* beat You are oh so sweet Every day is sunny, tastes like honey Feel so alive take me back to the hive

Which is why the flowers surrounding them bloom magically. Fitting for bees, right?

TOGETHER - SEEING AND STAYING

See me for everything I am You don't run away No matter the mistakes I made It's here, you'll stay

This stanza is the climax of the song and it conveys its most important message.

Why are Blake and Yang finally able to be togehter? In which way have they grown?

Yang sees Blake for everything she is:

Yang: Well, Blake, I'm Yang, Ruby's older sister! I like your bow!

Yang: You have cat ears! (…) I think your cat ears are cute.

The juxtaposition between these two lines sums up our Yellow Beauty's development.

Yang has always been attracted to Blake, but she is initially unable to see her as a whole. This is what the bow line alludes too. As a matter of fact Blake's bow is symbolic of the girl's shadow, as she initially uses this cloth to hide who she is (her beats part). So, Yang's first interaction with Blake shows she is drawn even to Blake's darkest parts. However, she is not mature enough to understand them completely.

It is only through her personal arc that Yang becomes able to see Blake for the person she truly is. Beautiful and ugly parts alike:

Weiss: You're right though. I don't know loneliness like you do. I have my own version. And, I'll bet Blake has her own version too.

This is why she can now openly praise Blake's animal trait.

Blake too has grown, of course. She gets irritated by Yang's bow compliment because, at the time, it hits a little close to home. Right now, she displays her ears openly and is flustered and happy by Yang's words. She doesn't hide herself anymore.

Blake is ready to stay:

Never thought that you would stay forever / Never asked you to commit your life

Blake: I have people who actually care about me, and I promised I'd never leave them again. So I'm not dying now.

Blake leaves Yang when our Golden Beauty is at her most vulnerable. This hurts Yang deeply, but Blake works through her flaw, grows and comes back. Once she does, she is ready to do what Yang never asked her to. She commits her life:

Blake: I… I am not going to break my promise, I swear.

Blake's vow to Yang is in fact a wedding vow, symbolically. It means Blake is determined to stand beside Yang no matter what. And Yang knows Blake means it:

Yang: I know you won't.

In conclusion, Blake and Yang's growth has them see the other's flaws and accept them. This is where their worth comes from.

TO BE WORTHY

You can't just be strong, you have to be smart! You can't just be deserving, you have to be worthy!

Blake and Yang are worthy of each other not because they are perfect. Rather, they know they aren't, but accept their own shortcomings. They forgive themselves and the other, so that they can grow better together. They become more balanced inside and this results in a new found harmony between each other.

Cinder's self worth instead comes from superficial validation by people only interested in using her. She doesn't face her inner demons, but rather chooses to push them down, so that she can keep wearing the mask of a powerful woman.

This is why Blake and Yang find real self-worth, while Cinder has set up an unreachable standard for herself.

[locksnek]

Fanfiction Author Interview Game

Thank you @ladystormcrow for the tag! ^_^ (Not going to start a reblog chain due to space, so her interview is here.

________________

How many works do you have on AO3? Currently, 9. I had slightly more on my prior iteration of AO3, before the Deletion Incident of 2022.

What's your total AO3 word count? 101,203

Your top 5 stories by kudos/likes: Ngl I don't want to look at this right now. Dark Crystal fandom is really quiet now, and I try not to keep falling into the trap of lamenting my deletion of my prior AO3 from back when there was more engagement.

Do you respond to comments? Why or why not? Yes, because I like comments and I like talking about my blorbos.

What's the fic you've written with the angstiest ending? Of the completed stuff on AO3, Kind Other. UrLii is having an angsty day. That said, I think this basically vent fic I wrote in SIlmarillion fandom 8 years ago is probably the angstiest published fic I've done overall: Our Love is Great

What's the fic you've written with the happiest ending? Happy is in the eye of the beholder, but possibly Food Fight [or Out of Hand, discussed further below]. It's a grotesque story but I can safely say skekNa and skekUng are both happy by the end of it. It inaugurates what will be their lifetime together terrorizing the creatures of Thra.

Do you write crossovers? I haven't per se, closest I've come was a Silm fic where I made a scenario analogous to the short story "The Renegade" by Camus. I've got a couple crossover ideas for fandoms I've never written in, but I've already been carrying them around for quite a few years, so who knows.

Have you ever received hate on a fic? No, just a couple odd comments that could mean anything, which I read as funny.

Do you write smut? If so, what kind? Not terribly explicit smut. Even when I don't fade to black, I tend to imply a lot of things rather than spell them out. I'm more likely to get more descriptive the more disgusting the situation is.

Have you ever had a fic stolen? Not per se. Just not been acknowledged for a HC someone took almost blow-by-blow from my Gragoh longfic and then kind of disavowed in their comments section. Maybe it's just me, but if one dislikes someone enough to not credit them where credit is due, I don't quite even understand the desire to use that person's ideas rather than coming up with one's own.

Have you ever had a fic translated? Not as such.

Have you ever co-written a fic before? Not yet. *pleading face emoji*

What's your all-time favorite ship? Lowkey obsessed with UngNaLi, or any twosome permutations thereof. I also love Jaime/Brienne and Jaime/Ilyn Payne from ASoIAF.

What's a WIP that you want to finish but don't think you ever will? The Birds of the Temple Garden, a Tolkien fic set on Numenor that used a derelict garden as a plot device. This is probably the Silm fic of mine that would still most resonate with me, and sometimes I think my present self would still be capable of finishing it in something close to its original spirit, but I've not clapped eyes on it in 8 years.

What are your writing strengths? Dialogue, incessant metaphors, imagery.

What are your writing weaknesses? I can get too introspected and up my own ass with convoluted and repetitive narratives if I stay too long in a character's brain. This is part of the reason I enjoy writing ensemble POVs, as they keep my attention distributed and I don't hyperfocus on the content of one dumbass's head.

What are your thoughts on writing dialogue in other languages in a fic? I don't have many thoughts on it, other than please provide a translation, whether through a note or within the work itself.

What's a fandom/ship you haven't written for yet but want to? ASoIAF*, Lovecraftian, Ozverse, possibly Labyrinth or Neverending Story. *Not strictly true! I do have all of one paragraph of something ASoIAF written.

What's your favorite fic you've written? Out of Hand. It was freeing to write because Ung and Na are such pieces of shit but they genuinely love each other very much, and since they're Skeksis I didn't feel like I as the narrator really needed to justify or reconcile that. The tags alone shocked a ragebait youtuber into referring to me as "the bastard who wrote the porn." It firmly established my OTP. It also made me write a bit about their urRu counterparts, whom I also love and would like to write more about. Nothing but good things have come out of this. _____________ Tags! I think everyone I'm tagging writes fic, ignore if not. @scientistservant @heartbreakterrorbird @pomgore @merelyafigment @drapopia

[ill-try-to-do-book-reviews]

Horrorstör

Grady Hendrix

Rating: 🕯🕯🕯🕯 (4/5)

This book is one that I see recommended everywhere when I look for horror recomendations. In every review, there is always some line like "you wouldn't think a book about a haunted IKEA could be so scary, but Horrorstör will prove you wrong". After a small reading hiatus, I decided this would be an easy return to my favourite hobby at only 360 total pages. I was right about it being a quick read, but I really should've heeded the previous warnings. This book picks up its story immediately and literally does not stop - not even at the end.

SUMMARY: Something strange is happening at the Orsk furniture superstore in Cleveland, Ohio. Every morning, employees arrive to find broken Kjerring bookshelves, shattered Glans water goblets, and smashed Liripip wardrobes. Sales are down, security cameras reveal nothing, and store managers are panicking.

To unravel the mystery, three employees volunteer to work a nine-hour dusk-till-dawn shift. In the dead of the night, they’ll patrol the empty showroom floor, investigate strange sights and sounds, and encounter horrors that defy the imagination.

MY DETAILED REVIEW (SPOILER WARNING): Like I had mentioned in my blurb above, Horrorstör is one of the most recommended books I've seen. It's never been on my reading list and I didn't think it would be much up my alley; but after reading it, I'm so glad I did.

From the very beginning, this book had me hooked. I went in blind, so the opening chapter had me thinking this may be a zombie novel. I was really curious what a zombie IKEA would look like. This book is not a zombie IKEA, though. At least, not how I was expecting.

A few scenes in particular that stick out to me are the opening scene, as well as the scene where Orsk corporate essentially says "well, it isn't our fault that Matt and Trinity died. Come work for us as a higher-up and keep your mouth shut and all your problems are solved."

I love a horror book that's a metaphor. I wouldn't necessarily say Horrorstör qualifies as a metaphor - it feels pretty overt in its messaging (which is not a bad thing!). Capitalism, corporate greed, a sheer disregard for human life, are all themes that are up front and personal with you throughout your read. It's just also through a thin veil of a haunted IKEA - which makes it easy to forget the commentary.

Unfortunately, despite Horrorstör being such a quick and fun read for me, I don't find myself with many thoughts. I finished the book and closed it, satisfied and without too many lingering questions. The scenes of Amy's fingernail being ripped off (and her subsequently using that finger to ground herself) and the scenes of the store flooding, specifically her trying to break the glass with a fire hydrant, are the scenes that I find myself thinking back on. The imagery this book invokes does not disappoint.

My only real issue with the book was the constant use of 'said'. It gets so repetitive that it can become hard to read when every line of dialogue is four words long followed by "she said" "he said" "Basil said" "Matt said" etc. Which is why I had to knock off a point - it made getting through the story a little bit difficult at times, but it was a fun read regardless.

[malleablemusic]

when i was 13 and worked as my mother's busboy in my uncle's pizzeria, i had my first crush ever, and it was on the 16 year old dishwasher. its important to note that he did not speak any english, i was a teenage girl with severe social anxiety, and we never acknowledged each other. one week before he left (for a reason I'll never know) he spoke the only words he's ever said to me: "you look like kurt cobain." i have never ever recovered. i think i have since dealt with this trauma and am now strong enough to listen to radiohead. here’s my review of nirvana’s nevermind:

smells like teen spirit: 4.6/5 stars

incredible intro, i’ve definitely heard this before

“i feel stupid and contagious” that's the quintessential teenage experience put into words. fantastic

i like how gritty his voice gets when he yells

love when the album title is referenced in the first song. yess

in bloom: 4.4/5 stars

“nature is a whore / bruises on the fruit / tender age in bloom” beautiful imagery

the angst is so visceral and real, there's genuine anguish in his voice

i love the choice to follow “likes to shoot his gun”, with “he knows not what it means” 

cobrain is so brave to call out his fans who don’t understand the meaning of his lyrics or agree with his beliefs/opinions that he's singing about- they just hear what they want to

a little too repetitive, but it sees that is just their style

come as you are: 3.8/5 stars

what is memoria?

took a break to look up the definition: not sure what his intentions were with the word, but there could be several interpretations. 

he could be formally “recalling the arguments of a discourse” and backing himself up with the claim “i don’t own a gun”, referencing his past lyrics publicly expressing his dissent for the lack of gun control in the u.s

breed: 4.7/5 stars

banging intro

this is exactly what the inside of a 16 year old girl’s mind sounds like 

i am filled with regret that i have never listened to nirvana and that i assumed their music was not relatable to me in my youth, as screaming and dancing alone in my room to this song as a teen would have probably healed me at least a little bit

“we dont have to breed / we can plant a house / we can build a tree” the grip this line would have had on me… 

lithium: 4.6/5 stars

the growling in his voice when he sings the “yeah”s… im in love with him i think

as i was typing the last bullet he sang “im so horny / thats okay / my will is good” i had to pause and gape with my jaw on the floor for a minute while i recollected my thoughts

amazing storytelling in this song

polly: 3.5/5 stars

how does he weave full stories with such few words

just a few lines in and the man and woman’s relationship is fully fleshed out

so many ways to interpret the words, she wants a cracker could be reference to a woman with anorexia or an eating disorder, she self harms, he is suicidal (bought rope) 

territorial pissings: 4.8/5 stars

based on the title this will be very interesting

absolutely iconic intro of person speaking and spitting absolute facts

cobain continues to amaze me- “never met a wise man / if so, its a woman” i AM IN LOVE why have i never met a nirvana fan who actually displays the beliefs kurt is singing about ??

drain you: 4.9/5 stars

“i dont care what you think unless it is about me” so so real kurt. 

more male singers should be as openly horny and desperate as kurt was

“chew your meat for you / pass it back and forth / in a passionate kiss / from my mouth to yours / i like you” this is PEAK ROMANCE. PEAK

simping in this song in the hottest way possible

the gross imagery combined with his obsessive romance is delightful to listen to

lounge act: 2.7/5 stars

a little bit repetitive and im not sure i love the jealous side of kurt

doesn’t call out to me for some reason, isn’t as special as the previous tracks have felt

stay away: 4.6 stars

“rather be dead than cool!” “give an inch, take a smile” loving the backwards metaphors/lyrics

this is once again the ballad of a teenage girl, being incredibly angry and pushing those around you away

if i knew about how much id relate to nirvana id play this song on the drive home from school after being overstimulated all day

GOD IS GAY !!!!!!!!!!!!!!! god i love this man 

on a plain: 3.7 stars

encapsulates the feel of an addict, somehow gives the feeling of a whole backstory in which there's the son of an addict mother becoming one himself 

“the finest day that i ever had / was when i learned to cry on command” brings to mind the ways addiction can turn someone into a manipulator

something in the way: 2.9/5 stars

ok r. patz batman time lets goooo

this truly encapsulated the feel of robert pattinson’s batman movie: dark, grungy, sinister

okay but honestly other than me already knowing this song from batman and having that appreciation for it, this song would fully be a skip

endless, nameless 2.8/5 stars

opens as a full 180 from the last song

i kind of like how the words sound like almost incoherent screams 

i could see why lovers of punk rock/alternative music would enjoy the second half instrumental part of this song- unfortunately i am not usually a big fan of long instrumental ends to a song, but could see how it works for the final track of the album

I actually loved this album a lot more than I expected to! i would rate it overall a 4/5.

[stravvberyblog]

También tengo una canasta llena de fresas (si sabes a lo que me refiero)

Soy fan de crear playlists temáticas. He hecho un par de nuevas en estos primeros días de febrero y me tienen muy contenta, contienen las canciones que han abrazado mi cora en la transición del 2024 al 2025. Si pudiera, me fusionaría con esos ritmos y letras <3.

Sin embargo, a pesar de ese popurrí de nuevos sonidos, quiero recordar por siempre en este espacio una canción en específico, Strawberries de Asobi Seksu.

De primera su composición musical me fascinó pero cuando me encontré con la letra de la canción me quedé intrigada, del todo no la entendí. En ella todo es perfecto, amo las fresas por supuesto, pero el sonido no es que precisamente hablara de la fruta, ni quisiera de algo romántico o erótico, a las fresas siempre se les da ese valor simbólico; pero Asobi Seksu no habla de esas sensaciones o emociones. Después de algunos días de analizarla, entendí que empataba con cómo me sentía: era melancolía. Va de la mano con mis primeros 30's, con mis pensamientos, recuerdos, de las malas experiencias de los 20's y sobre todo, de la redención a mi persona.

Entonces me di otra tarea, navegué un poco en el inet y la letra de la canción me dejó fría, un sitio web se tomó la tarea de desarmar las ideas envueltas en ella y en verdad qué atinado me pareció todo. Me encanta descubrir también el talento de las personas, apreciar profundamente cuando analizan con pasión al arte. Así que, solo citaré tal cuál las palabras de esa personita, de sus impresiones y las conclusiones a las que llegó tras "observar" a esta preciosa canción.

Tqm Asobi Seksu.

Meaning of Strawberries by Asobi Seksu

by: Anon from karaokeparty.com

Unpacking the Symbolism: The Meaning of Strawberries by Asobi Seksu

Asobi Seksu’s song "Strawberries" is a hauntingly beautiful tribute to the fleeting nature of time and the importance of holding onto cherished memories. With its lyrics primarily in Japanese, the song invites listeners to immerse themselves in the emotional depth and symbolism that permeates the music.

A Field of Memories

The song’s imagery is evocative of a strawberry field, where the lush greenery and vibrant red fruit evoke a sense of nostalgia and reminiscence. This metaphorical landscape represents a particular time or place in the past that holds sentimental value. The repetition of the phrase "Just listen you can hear them" emphasizes the importance of paying attention to these memories, as if the song is urging us to awaken to the significance of our past experiences.

A Plea to Remember

The strawberries themselves are a symbol of cherished moments from the past. They "call out loudly, almost demanding not to be forgotten" – a poignant reminder that our memories are fragile and easily forgotten. This plea to remember is a powerful call to action, encouraging us to hold onto the memories that shape our sense of identity and connection to others.

Fading Emotions

The line "Now they’re slowly disappearing" is a poignant commentary on the impermanence of our experiences. As time passes, even the most vivid memories begin to fade. The strawberries, once numerous and loud, are gradually becoming quiet and scarce. This reflection on the passing of time serves as a reminder to appreciate and remember the past, for it is the foundation upon which we build our present and future.

Cultural Significance

In various cultures, strawberries have symbolic meanings. In some cultures, they represent love, passion, and fertility. However, in "Strawberries" by Asobi Seksu, the fruit serves as a metaphor for memories and emotions rather than romantic love. This strategic use of symbolism adds depth and nuance to the song’s overall meaning, inviting listeners to explore the complexities of human experience.

My Personal Connection to the Song

As a long-time fan of Asobi Seksu, I have always been drawn to the emotional depth and vulnerability of their music. "Strawberries" is a song that resonates deeply with me, as it speaks to the human experience of nostalgia and longing. The song’s haunting melodies and poignant lyrics have the power to evoke a range of emotions, from sadness to nostalgia to introspection. For me, "Strawberries" is a reminder to cherish the memories that make us who we are, and to appreciate the fleeting nature of time.

Conclusion

In "Strawberries", Asobi Seksu has crafted a song that is both a poignant tribute to the past and a powerful reflection on the human experience. The song’s message is both bittersweet and uplifting, reminding us to appreciate and remember our cherished memories while also acknowledging the impermanence of time. Whether you are a long-time fan of the band or simply a music lover, "Strawberries" is a song that will resonate with you on a deep emotional level.