#it's hard to describe but in a lot of ways it's the thing i want most to do with my life

[katsu2ji]

fool for you — m. fushiguro

a/n: i love writing megumi as a cheesy lovesick idiot fool because he IS a cheesy lovesick idiot fool. an oblivious one, at that.

megumi didn't even intend to make a joke. he was being completely serious, talking in that deadpan, monotone voice that everyone around him was all too familiar with. he was talking about gojo, of course—he'd done something stupid, yet again.

despite his intentions (or rather, lack thereof), you thought what he said was funny. he was surprised when he heard you laugh; it was a sound that made him turn his head to the source of the noise, his face a mixture of flustered and confused.

"what? what did i do?" he asked, his eyes wide. he looked over your facial features, committing them all to memory without him even consciously thinking about it. christ, you looked—

"no, it's nothing," you answered, smiling at the boy. "it's just the way you said that just now was funny. sorry, i hope you didn't think i was laughing at you."

he was silent for a few seconds before realizing you had spoken; he blinked, coming back to himself.

god, what was going on with him? he was fine two seconds ago, but now he couldn't even look you in the eye. his stomach was doing some odd thing; he felt like he was simultaneously going to throw up and some, strange, other feeling that he wasn't sure how to describe.

"oh—no, i didn't think you were laughing at me. i just..." he paused, looking for his train of thought, "i didn't think what i said was very funny but, um—"

he mentally cursed himself, feeling like an idiot. why the hell couldn't he speak? why couldn't he look at you?

this had been happening a lot recently—the stuttering over his words, being unable to make eye contact you at certain moments—and with the way it's making him act, he wasn't sure if this an avenue he wanted to keep going down.

he took a breath, feeling his cheeks get hot. he ignored the it as he finished his sentence, "i'm glad i was able to make you laugh, i guess?"

jesus, he probably looked like an moron.

later, as he closed his eyes for bed, he couldn't stop thinking about that exchange. never in his life had he felt like he'd made such a complete and utter fool of himself, but he couldn't figure out why it bothered him so much. and that bothered him even more.

he replayed your laugh in his head over and over, the sound turning over in his mind like a lullaby in a music box. he wasn't sure why the thought of your laughing, the look on your face as you did so, struck him as much as it did.

and that wasn't the first time that had happened when it came to you, either, he reminded himself; there had been other moments when you'd done something that stirred up mysterious feelings inside him, like that one time you grabbed his hand to pull him along somewhere, or when you had slumped over on the train and fallen asleep on his shoulder. his mind was spinning now, keeping him from sleep.

what was it about you? everytime you done something or said something that he had found particularly...endearing...he felt the same feelings that he felt today: the warming of his cheeks, his stomach feeling like it was doing somersaults, his words tripping over his tongue. what was happening? why was he acting so unlike himself? why was he acting so—

his eyes shot open as he pieced everything together.

"oh god," he whispered to himself in the dark, staring up at the ceiling wide eyed and awake. as it finally settled into him why he'd been acting like so stupid around you lately, so completely out of character, he threw his hand up over his face and took a deep, loud breath.

oh god, he thought, repeating himself. i'm fucked.

katsu2ji © 2025. please don't copy, modify, or do anything of the sort with my work! i work very hard and you simply do not have my permission.

[multiarchive]

[ PT: Coining Post!! Multiself/Multiselves!! /end PT ]

[ PT: Definition: /end PT ]

Text under the cut:

You can identify as both transplural/transmedian and multiself at the same time, in the same way that you can identify as a both a boy and a girl at the same time. Trans identity is very complex, and often paradoxical in nature.

Generally switches are amnesia free and voluntary, but this is definitely more of a guideline than a hard and fast rule. (I myself have light amnesia, and experience "switches" more as kinshifts rather than a conscious choice.)

Multiself is inherently tied to transid, in the sense that selves have their own distinct sets of transids. Though notably, the amount in which the selves differentiate depends on the individual. On one end of the spectrum, one's selves may be extremely different in name, appearance, age, race, gender etc. On the other end of the spectrum, one's selves may be entirely identical except for each selves trans/trispersonality ids.

Language:

(Note: this is general language for the umbrella term, and may not be applicable to more specific labels that fall underneath it)

Shift (verb): The experience of changing selves

"I'm shifting into Mallory"

Form (verb): The experience of forming new selves

"I formed Riley yesterday"

Mindset (noun): The term used to describe which self you currently identify as

"I'm in Monty and Jamie's mindset right now"

Primary self (noun): The self you most commonly identify as

"I'm in Darce's mindset most often, they're my primary self"

Selves are not separate consciousnesses, though we/us language is also acceptable if you feel more comfortable using it. If you wish to refer to all your selves at once, but want to avoid being mistaken for a system, you could simply say "my selves", or "my cluster"

Flag colours :

Those that choose to have multiselves: dark pink

Those that do not choose to have multiselves: light pink

Those that experience their selves as being "alter egos" for the main self: grey

Those that are at their core consciousness, experiencing selves that are all equally them: white

Those that have fluid selves, in any sense: lilac

Those that have static selves: light blue

Distinction from plurality: dark blue

Why was this coined?

This label was a reaction to segreID (link). At first glance the two terms seem very similar, but there are some key differences such as my far laxer approach to including those that identify with some form of plurality. This label is not meant to act as a recoin, nor is it meant to "out-inclusive" the segreID coiner, vampi-rq.

I wanted to create a less specific term that would include me, and anyone else that shared the majority of my experiences

While there is conflict between me and vampi-rq, I still have a lot of appreciation and respect their term and how it was intended to be used. The multiself label is personal to me, and it was born out of respect for the segreID definition rather than in spite of it. SegreID exists to describe a much more specific experience, and it's one that simply doesn't apply to me, which I'm fine with

All thumbs are fingers, but not all fingers are thumbs

While by definition segreID does happen to fall under the multiself umbrella, that does not mean that 100% of the things described here apply to it. Vampi-rq has been explicit about what is and is not segreID. I encourage you to do your research and pick the appropriate label for what you're experiencing. The multiself label is intentionally very vague and nonspecific

Coining Post!! 🔗👥 Multiself / Multiselves !!

Definition ::

Multiself is an umbrella term for any singlet/singlet adjacent being that experiences multiple identities/selves. The term also applies to individual sysmates that share the experience, provided the sysmate/s in question identify as multiself independently from the rest of the collective.

Mulitself beings may or may not "switch" between selves, though multiself is explicitly separate from the plurality spectrum and does not describe multiple consciousnesses/distinct people. However it's important to note that SOME parasian/plurallet experiences may fall under the multiself umbrella

• You can identify as both transplural/transmedian and multiself at the same time, in the same way that you can identify as a both a boy and a girl at the same time. Trans identity is very complex, and often paradoxical in nature

• Generally switches are amnesia free and voluntary, but this is definitely more of a guideline than a hard and fast rule. (I myself have light amnesia, and experience "switches" more as kinshifts rather than a conscious choice.)

• Multiself is inherently tied to transid, in the sense that selves have their own distinct sets of transids. Though notably, the amount in which the selves differentiate depends on the individual. On one end of the spectrum, one's selves may be extremely different in name, appearance, age, race, gender etc. On the other end of the spectrum, one's selves may be entirely identical except for each selves trans/trispersonality ids

Language ::

(Note: this is general language for the umbrella term, and may not be applicable to more specific labels that fall underneath it)

Shift (verb): The experience of changing selves

"I'm shifting into Mallory"

Form (verb): The experience of forming new selves

"I formed Riley yesterday"

Mindset (noun): The term used to describe which self you currently identify as

"I'm in Monty and Jamie's mindset right now"

Primary self (noun): The self you most commonly identify as

"I'm in Darce's mindset most often, they're my primary self"

Selves are not separate consciousnesses, though we/us language is also acceptable if you feel more comfortable using it. If you wish to refer to all your selves at once, but want to avoid being mistaken for a system, you could simply say "my selves", or "my cluster"

Flag colours ::

Those that choose to have multiselves: dark pink

Those that do not choose to have multiselves: light pink

Those that experience their selves as being "alter egos" for the main self: grey

Those that are at their core consciousness, experiencing selves that are all equally them: white

Those that have fluid selves, in any sense: lilac

Those that have static selves: light blue

Distinction from plurality: dark blue

Why was this coined?

This label was a reaction to segreID. At first glance the two terms seem very similar, but there are some key differences such as my far laxer approach to including those that identify with some form of plurality. This label is not meant to act as a recoin, nor is it meant to "out-inclusive" the segreID coiner, vampi-rq.

I wanted to create a less specific term that would include me, and anyone else that shared the majority of my experiences

While there is conflict between me and vampi-rq, I still have a lot of appreciation and respect their term and how it was intended to be used. The multiself label is personal to me, and it was born out of respect for the segreID definition rather than in spite of it. SegreID exists to describe a much more specific experience, and it's one that simply doesn't apply to me, which I'm fine with

All thumbs are fingers, but not all fingers are thumbs

While by definition segreID does happen to fall under the multiself umbrella, that does not mean that 100% of the things described here apply to it. Vampi-rq has been explicit about what is and is not segreID. I encourage you to do your research and pick the appropriate label for what you're experiencing. The multiself label is intentionally very vague and nonspecific

[poppitron360]

@cometmoons so for some reason tumblr has glitched and isn’t letting me respond to the ask you sent me so I’m just gonna do it like this.

OK OK OK OK OK OK SO-

There is SO MUCH to talk about with Wouldn’t You Like. I feel like it’s hard to describe on a written post so I took the liberty of downloading a music notation app and transcribing the bits I wanted to talk about (This took me aaaages. But it was a really fun process and taught me a lot.)

Be warned this is a LONG post.

Firstly, here’s my overall take on the narrative of this song:

Odysseus is one of the smartest heroes of Greek Myth. He’s a mentee of Athena. He’s tactical. Yes, he is a fighter, but he’s for the most part a strategist and he uses diplomacy and cunning and his words to defeat his foes. Big Slytherin energy. Up until this point, that’s all he’s ever used. Eurylochus has doubted and challenged this approach, and has now come to him, saying that Circe is too powerful to defeat and that they should just run away. Odysseus “Pride is my fatal flaw” of Ithaca is insisting on fighting Circe, but is realising that he might not be able to talk his way out of it.

Hermes has now shown up like “hey ✨dAhLiNg✨how about you try something different? DRUGS!”, offering him a taste of something he’s never had before… power.

This, in my opinion, is a big step in Odysseus’ fall from man into monster, and Jay uses music in so many different ways to convey that, so let’s start with a break down of the song one section at a time:

Intro:

For most of the song, you’ve got the Lyre/Harp playing- Hemes’ signature instrument, which is significant to him because according to myth he invented the Lyre. This is the first thing we hear in the song, immediately setting up the things you need to identify his character.

Harps and Lyres are typically used in film and videogame music to give a mystical, magical atmosphere. I love how Jay blends modern (1980s) Synthpop with more classical, eclectic instruments that don’t normally fit the style. I’m assuming for budgeting reasons he’s using a VST or some kind of sample pack and not a real harp (session musicians are EXPENSIVE), but still- you hardly ever hear a harp in this kind of music but it WORKS.

The introduction played by the harp also lays out something that is shown throughout the whole song:

AEOLIAN MODE!!!!

Modes are hard to explain bc I barely understand them myself (I said music theory was my special interest, not that I was any good at it) but according to the Wikepedia article I’m reading about them right now, they were used a lot in ANCIENT GREECE. The Aeolian mode specifically was used a lot back then. The word “Aeolian” comes from… you guessed it- the Islands of Aeolus!!!

Aeolus, being the God of the wind- Aeolian mode is this mystical, free-flowing mode that simulates the feeling of wind.

You know when you hear a high wind through a telegraph pole you get this whistling sound? That’s basically a rudimentary, naturally occurring Aeolian Harp. There’s a whole Physics lecture about sound frequencies and microtones and shit in here that I am not yet qualified to give but this kind of stuff FASCINATES me about music.

I found this 60sec short that explains Aeolian mode really well from a channel I really like: https://youtu.be/bJ6TRQ3k45Q?si=sksSz4xyf_96uMrp It’ll give a much more concise explanation than I could, but basically all you need to know is that the melodies are in this special scale.

Aeolian mode is the natural minor scale. It’s often used to feel spooky and mystical- perfect for a song like Wouldn’t You Like where this magical character is singing about a magical plant. It’s not the standard G minor scale, but something a little more twisted and not really something we’re used to hearing, giving it a mysterious quality.

This is established immediately by the harpline, and sets the entire tone of the song. We then hear his trademark giggle, and so in the first 3 seconds we know everything we need to know about who Hermes is and what he’s like.

Speaking of the giggle- I briefly mentioned Panning in my post about Scylla, and while I can’t discern any use of it just by listening, but I imagine Jay’s probably used a subtle amount of it to give the sense of Hermes flying overhead.

Panning is a thing done in audio production where you can choose how much of the sound is heard on the left or the right.

Verse 1 (“I must say”… etc.):

It’s very gentle at this point, the orchestration and vocalisation is calm and lilted. It’s very beautiful, although the minor tonality gives it a slightly uneasy feel. (Often the minor key is described as sounding “sad”, but that’s not always the case. This is a great example).

The harp melody is repetitive, giving a sense of persistence, this adds to the sense of unease. It also has elements of hip-hop, as a gentle beat comes in as the chorus starts.

Chorus 1:

Now the harp cuts out and you’ve got that synth bass-line coming in- the repetitive, insistent beats and this “four-on-the-floor” drum pattern where the bass drum (which sits on the floor) kicks on every beat (in a four-beat bar). This feeling of it almost pounding in your head on every thump.

The instrumentation is very stark, you’ve just got the vocalist, the bass, and the bass drum. This technique is used by Taylor Swift in both the songs “Look What You Made Me Do” and “Vigilante Shit”- this really makes you listen to the lyrics as there’s nothing distracting you. As this is the first time we’re hearing these words, it draws you into what he’s saying.

On the line “Wouldn’t you like to have some of the magic?”, the Lyre comes in, playing this repetitive line that goes up and down and up and down. It’s a repetitive, almost hypnotic sound.

Verse 2 (“She can turn you to an animal”… etc.):

This is when this bluesy piano comes in.

The piano is used a lot in different points of Epic- it’s an essential part of any musical orchestra pit or just a song in general, and crucial in every composers instrumentation arsenal (and was also the first instrument I ever learned to play and my first real taste of music, so it’s not like I’m biased or anything)- but it’s mostly associated with Athena as it’s her signature instrument. It’s a stretch, but my interpretation is that Hermes is trying to appeal to something familiar to Odysseus. So far the only God he’s interacted with at length is Athena, who taught him this idea of being strategic and tactical. Hermes is acknowledging that this is Odysseus’ main way of fighting, while also showing him that there could be something more to it.

The piano plays these low-octave chords in this syncopated rhythm, which adds a layer of intensity that you didn’t have in verse one. This continues into the second chorus.

Chorus 2:

The orchestration is much more intense, pulling the audience (and Odysseus) in.

I’m gonna talk a lot about the musical “language” that Jorge has established for the universe- bits of music theory he’s tied in with themes that don’t necessarily have the same connotations anywhere else, because I think it’s genius.

Jay has said that the mythical beings (Gods, monsters, Odysseus when he kills the suitors) are all able to summon non-diagetic backing vocalists to back them up. Interestingly, Hermes doesn’t use this the first time round, speaking to Ody on his level, and is now rising up and displaying the power he’s tempting him with.

This is when we first hear the backing vocalists. There’s now a group of voices, so there’s more people urging you to taste the flower. Musically speaking, the harmony moving in the same rhythm with the same words as the soloist creates a sense of movement, congruent with Ody’s temptation.

Here is where we get to how this harmony works. This is the section that will actually answer your question.

First of all, I also struggle with overstimulation so I totally get what you’re talking about. There’s a right way and a wrong way to do backing vocals, and I know from experience that writing harmonies as complex as this takes skill and practice.

I think that’s why music is so special to me. The sensory calm certain sounds and songs give me, the good kind of stimulation and the bad kind. It has always made me so curious as to why and how the choices made in music can impact a person psychologically, make the listener feel immersed in a story, inflict specific emotions.

This is what fascinates me about music theory. Yes, it should overwhelm you. Yes, it should sound wrong. But it doesn’t. It WORKS. And what’s so interesting to me is why.

Jorge describes it as “crunchy and punchy” which is honestly perfect.

He is of course, referring to dissonance.

I have been studying music most of my life, and pretty much every music teacher I’ve ever had describes dissonance as just “sounding smushy”. It’s actually “a lack of harmony among musical notes”, usually two notes next to each other played at the same time.

But why does this sound “crunchy” and not “smushy”?

The Melody remains modal, as it has done the entire song. This is our grounding, our “Home”, but the harmony does something different. It’s moving down and up, flowing like wind, like the sea. And it’s doing this chromatically- using notes from the G minor key instead of the Aeolian mode- which creates clashes. Also known as dissonance. Also known as “smushy”.

And this is where we break out the good ol’ notation! I transcribed this myself by ear, so it might not be perfect. I can sight read tablature but not sheet music, so if this is wildly off then I’m sorry. I find it easier to explain music through annotations, but in order to make this screenreader accessible, I’m just gonna cite the lyrics and explain it in the text underneath.

In this section, “Wouldn’t you like to have some of the magic? Wouldn’t you like your outcome preferred?” The melody pretty much remains on C this whole time, only changing at the end of each two-bar phrase. This gives a forceful, repetitive, driving feeling. Hermes is being very persistent here.

For the first two-bar phrase- “Wouldn’t you like to have some of the magic”- both harmonies are the same. They then split at “Wouldn’t you like your outcome preferred?”

“Wouldn’t you”- The harmony starts on G, which is the root of G minor (the key that we are in). This is diatonic (using the notes from the key)- so it sounds nice, not “smushy”.

“Like to”- We then go down to F sharp, which is dissonant to the Aeolian mode, even though it’s the major 7th of G minor. This is why it sounds “smushy”

“Have some of the”- And here is where the “crunchiness” kicks in. It’s resolving down to the flattened 7th, which is F natural. The flattened 7th is the modal note.

“Magic”- The first two-bar phrase ends in E natural, which is dissonant to the mode. The melody also ends in D, which provides a lot of dissonance with the E as they are right next to each other, which can create clashes.

“Wouldn’t you”- This is where the two harmonies split. Harmony 1 goes back to G, which is the root of the mode. Harmony 2 goes down to E flat, which is also consonant (not dissonant).

“Like your”- Harmony 2 goes down to D, which is dissonant with the note in the melody (C) because they are next to each other. Harmony 1 goes to F sharp, which is dissonant to the Aeolian mode, as said before.

“Outcome”- Harmony 1 resolves to an F, and Harmony 2 goes back to an E flat.

“Preferred”- The last two notes “smush” as F natural (Harmony 1) and E natural (Harmony 2) are a semitone apart, then both harmonies join at E natural, which clashes with the D in the melody.

So the pattern goes from “nice” to “smush” to “nice” to “smush” to “nice” to “smush” to “nice” to “even more smush” and then when the next part of the harmony starts “deep in the night” you resolve back to the G, which is the tonic note.

Why does the dissonance work in this song?

It’s passing. Going down by step and resolving to a modal note. Passing notes that resolve don’t have that smushyness. They crunch.

Dissonance is a funny thing. Often musicians stay away from it because it sounds muddy and awkward and not great, but it can at times sound quite sweet, and with skill and knowledge you can learn how to use it effectively.

It also works here because it fits with the aesthetic and Hermes’ character. We’re already in this spooky, mysterious mode. We’re in a minor key. And Jay is using all these other musical techniques to give a slightly uneasy, hypnotic feel. The dissonance feels strange- not the sweet, diatonic harmonies we’re used to hearing. This is what makes this song stand out, and what makes Hermes such an intriguing and appealing character.

There’s this “up and down” melodic pattern that occurs throughout the song in several places. While Harmony 2 is doing that, Harmony 1 is just going down, repeatedly. I find it interesting that Odysseus isn’t rising to this power, but falling to it. It hints at Hermes’ trickster nature. These musical motifs (harmony, the harpline, the synthline, etc.) go up and down and up and down and up and down like gentle waves. We’re on the ocean. It’s lulling, compelling, hypnotic. “Come hither” whispering in the ear. It’s creepy, to be honest, and shows a darker side of the song that I will talk about later.

Bridge (“Here in the root of this flower”…etc):

Jorge has talked about how this is one of his favourite bits to sing, and musically that makes perfect sense.

Firstly, you’ve gotta hand it to Troy Doherty’s amazing performance. Hermes is so expressive even without seeing him.

Quick note about vocal techniques- YOU CAN HEAR SMILES. The act of smiling changes the shape of your mouth and thus changes the quality of your voice. You can HEAR Troy break out into a smile on the line “Though it’s only for a moment, ‘til you’ve beaten your opponent”. This is also my theory as to why the line “Penelope Whyyyy, you know I’m too shyy” is so stuck in everyone’s mind. Try singing it without smiling and then try singing it while smiling. Do you think it would’ve been that catchy if Jay wasn’t such a cutie pie?

Smiling is contagious, even if you’re only subconsciously noticing it. Hearing a smile gives you that little hit of dopamine.

When we hit the bridge, the piano, bass, and backing vocals cut out. Again, it’s just drums, harp, and lead vocals. This signifies a new section of music and also does the same trick as before- drawing you into the vocalist- but this time making you focus on the melody instead of the lyrics.

This whole bit is solely in Aeolian mode. The downward motion of the bridge increases the intensity of the song, dragging you into his words, falling into the power of the root. It’s sort of a callback to the downward motion to the second harmony line.

The constant quaver rhythm of this rising and falling conjunct “stepwise” melody gives a spiralling feeling, leading downwards. The rhythm is almost conversational, which fits with a mode like Aeolian that flows like the wind. It’s also why it’s so catchy and fun to sing. I love how Jorge composes in this uncommon scale in this particular pattern to reflect this idea.

There’s also one particular detail about the rhythm of this riff that compositionally shows something even deeper:

THIS IS IN TRIPLETS.

DO YOU KNOW WHAT TRIPLETS SYMBOLISE IN EPIC???

RUTHLESSNESS.

Ruthlessness is usually a theme reserved for Poseidon, Act 1 Athena, and Act 2 Odysseus. You wouldn’t expect a “friendly” God like Hermes to be using it. But he is. He’s being persistent, constant. He is trying every trick in his bag to persuade Ody to take the flower.

Jay is VERY deliberate about his arrangements and his composition, so this is not a coincidence. He has established this “language” of musical voices, rhythmical voices, and motivic voices to symbolise all his characters and themes. It’s fascinating to me that he made this choice for Hermes. Ever so subtly hinting that the God might not be as benevolent as he seems.

Chorus 3:

The instrumentation of this new chorus is pretty similar to Chorus 2, except…

These DRUMS.

I asked my dad about these while I was staying with my parents over the Xmas holidays, and it resulted in a 5-minuite-long infodump about a specific type of drum used in 80s pop music (yeah I totally definitely don’t see the family resemblance at all /sarcasm). Any Brit in the audience might recognise this drum sound as sounding almost identical the intro to a show called East Enders (which I never watched, but was aware of) and idk if that was Jay’s intention, but the drums apparently have a long and complicated history, which I will give you the abbreviated version. (If this is too much information you can skip the next paragraph if you so wish, I realise this can be overwhelming)

Bass drum called the Simmons’ drum- electronic drum pad- famous for being hexagonal- they were radical in that they gave an electronic palette to modern dummers- they weren’t well-built and the very earliest ones were made from the same composite materials as police riot gear- caused repetitive strain injury that became known by session drummers as “Simmon’s wrist” because it was a bit like using your drumsticks on concrete (What’s that? You don’t think music is as intense as sport? Musicians get injured just as much as footballers do)- the sound is one of the most distinctive sounds in 80s music and entirely synthetic, generated through synthesis so some poor technician had to sit and programme a synthesiser to sound like a tom-tom- in the 90s and early 00s it was seen as cheap and over-the-top but is now looked on with a sense of love and nostalgia.

This is, of course, a sample of the Simmon’s drum as I doubt Jorge owns a real one.

So what does that do for Hermes? It grounds the song it its 80s retro aesthetic, creating Hermes’ unique stylistic voice. Jorge has described how he got the idea for Hermes’ sound when he saw a retro, multi-coloured lamp that made him think of 80s music. Each character in Epic has their own soundscape, and this very particular drum sound adds to it.

It also adds intensity to this final chorus. These loud, heavy drum sounds give that adrenaline rush that the previous verses and choruses have been building to, when Odysseus finally takes the flower.

Then we get Odysseus singing the “oOOOooOoOOhHHHhs” as he eats the holy moly, then the chorus ends, and we get a repeat of the harpline from the intro as he thanks Hermes for the help.

My conclusion:

Odysseus has made a Faustian pact with Hermes, the trickster god. While Hermes’s words are friendly with no ill-intent, the composition and orchestration lean more towards this idea of “making a deal with the devil”. Gods know the game, and how it’s played. You, mere mortal, do not. When they entreat mortals to do their bidding will offer riches, money, fame, success, magic, power, but very rarely are their motives sound.

This is Odysseus’ first taste of the magic that separates gods and monsters from mortals. He is able to fight Circe as an equal, and this new development teaches him that he doesn’t always have to be strategic and diplomatic, but ruthless and relentless as well.

I know that the fandom see Troy Doherty’s performance of Hermes as “omg babygirl so slayyyy!!!” But there’s actually a deeper level to what he’s doing here. He’s a trickster God, tempting and teasing Odysseus down a path of magic and power- giving him the first taste of something that will later drive him into becoming the Monster. Hermes is almost seducing him to the dark side, using rhetorical questions, waving the Holy Moly in front of his face and saying “Come on. You know you want it. Wouldn’t you like a taste of the power? Wouldn’t you like to be victorious for once?” In his lyrics describing a “taste” of the power being something almost like a temptation. Odysseus is breaking from his norm- using magic and might instead of logic, diplomacy and reasoning. While he’s doing it to save his men, this is a major step in his descent into monsterhood, and it’s fascinating how Jay does this not only lyrically, but musically as well, using what’s called “word painting” (music and words working together) to create the sense of hypnotism and manipulation.

Hermes is being:

Ruthless (triplets),

Ceaseless (repetition),

Persuasive (rhetorical questions),

And hypnotic (lilting, lulling melody).

He’s drawing you in, forcing you to listen to him (stark instrumentation focusing on the vocals, then increasing the instrumentation as the intensity progressively increases, culminating in this big, expressive final chorus with this pwerful drum sound)

Overall Jorge uses all these techniques to show Hermes manipulating Odysseus into taking the flower. By subconsciously making you feel the temptation that Ody- the Narrator- is feeling through music and orchestration.

So anyway, those are my thoughts on “Wouldn’t you like”. I didn’t even have time to talk about “Dangerous”- perhaps I’ll make a separate post about that but no promises. Thank you so much for reading if you made it to the end!

[irlnorthshaw]

Here's a question:

What are your Supa Strikas ships that you thought of and like, and think people wouldn't get?? (I'm curious lol-)

MIMPI... mimpi... be careful for what you're asking because you know how i am with shipping. guys i ship for life. like i dont give a damn if the ship's interaction is worth one cent... i make do with what i can and have!!! and after rewatching the show a couple billion times... i have gathered some INTERESTING ones.

liquido and riano

as you may know, i have watched "your latest trick" A LOT. yes they did interact in this one scene and never again but hear me out– they give me: liquido can't get over himself and thinks he can bag one of the finest man in the super league. but we all know riano, riano isn't having any of that. their convo would go something like this:

"hey, riano~" "goodbye, liquido."

el matador and blok

YES. yall heard me. this is also me showing some love to blok because some people seem to forget about him!!! what can i say, i love the idea of this dynamic. the thing is, sometimes i ship things in a way i wanna see more of them interacting and not necessarily picture them BEING together. if that makes sense.

these two are exactly that. i wanna see more of them interact bc lowkey i thought it was so wholesome when blok wanted to collaborate and promote fzzzl bmmm w the release of el matador's action figure.

DOOMATIC!!!!! OH YEAH BABY

if only automatic had more moments EUGH... this would've been so good. i personally pat myself on the back when i thought of this one bc i cooked HARD!!! they definitely cannot stand each other and to me, that's the best part of it all.

enemies to lovers who? more like enemies and i cannot believe we're also lovers.

skarra and north

the best way i can describe this one is. i am simply projecting myself on north and i love skarra. so... yeah #SHAMELESS

inyo and miss altivo

AKA PSYCHOLOGICAL WARFARE YURI!!! this one you guys HAVE to love. PLEASE!!! the potential is so insane here... inyo's big brains and chameleon-like tactics? combined with altivo's unwavering power over these dumb men for clicks and views??? COUNT ME TF IN!!!

we need more yuri in this fandom and THIS is where we should start.

brenda and lena

SPEAKING OF YURI... here's another one. except this time i am so surprised nobody has jumped on this yet??? futbol 360 yuri, i NEEEED IT!!! i need it now. they'd honestly be so cute and wholesome, moreover they definitely trade information abt the players for work

coach and the sheikh

now this one is a tad bit controversial BUT who am i without some controversial opinions!!! this is another case of i cannot see them BEING together, but i would kill to see them interact more. they are wayyy more entertaining than coach and vince. (THAT MIGHT ALSO BE CONTROVERSIAL) ohh... the way sheikh is so sassy w coach. maybe i just want more of the sultans... yeah thats it.

"losing your cool, coach? or just losing?" AND THEN PROCEED TO WALK AWAY LIKE THE BADDIE HE IS??? crazy stuff. i want more. NOW!!

belmont and von pushup

OKAY SO... storytime is i had an edit of these two a long time ago but i cant find it???? so consider it xander lost media at the moment. you guys need to hear me out on this because they would be SOOO PEAK!!! jock and goth but to another level i fear. as big and tough the iron tank guys are, i doubt they can stand grimm fc's haunted gimmicks.

plus von pushup works together w belmont to scare his own team bc he thinks its hilarious and perfect psychological training for them

AAAAAND THAT'S ALL... for now hehehe

sorry for the really long response but I HAD TO GET IT OUT OF MY SYSTEM!!!! i love crackships so much and especially in supa strikas bc we get a whole lot of freedom as a smaller fandom to do whatever. this was a very fun post to make, thank you so much mimpi for that lovely question!!! i always look forward to your input

[sibyllinebooks]

hi!! part two of the jealous stiles thing. please.

ohohoho *rubs my evil little hands together* i am SO glad you asked

stiles is tired. he was distracted the whole time at practice and he still can’t seem get the image of that guy flirting with you out of his head. it’s this thought that causes him not to notice you as you’re standing on the side of the lacrosse field, fiddling with your hands, until he practically runs into you.

“oh, hey.” his greeting is casual and his tone questioning, not like the usual playful smile and exuberant tone you’re so used to receiving but you decide it’s just because he’s not used to you being at school so late.

“hey. so my car totally died on me and my parents are stuck at work. can you give me a ride home?” your tone is sheepish, hesitant to ask since he’s been so unlike the usual stiles you know all day. but everyone else was already gone and you had no other choice.

how could he deny you?

“yeah. yeah, i’ll give you a ride home.”

your shoulders sag in relief as you both head to the familiar blue jeep in the parking lot. you’re both quiet as you walk but you’re almost certain you see him open his mouth and close it again several times, almost as if he wants to say something but then decides against it.

“so, the new guy thinks he wants to try out for lacrosse.”

it’s your attempt at starting a conversation but the comment has the opposite of your desired effect. you can hear his quiet scoff as he throws his lacrosse gear in the back and you turn your head as you climb in the passenger seat, catching his eyes that are full of an emotion you think is anger. or maybe annoyance. whatever it was, you knew it was unhappy.

“okay, seriously stiles? what is going on with you? you’ve been a total jerk all day and you’re barely speaking to me. did i do something?”

his gaze softens and you could swear that there’s remorse in the lines of his eyes as he looks at you. and he hates himself for making you think that he’s upset at you. for holding you at arms’ length when you had nothing to do with the new guy hitting on you. his ire could never be directed at you, especially not for this.

“no. ‘course not. just think it’s a little strange that this guy is here all of two seconds and already aiming for a date with the first girl he sees.”

your brows raise and he catches it, his face morphing into that embarrassed look you know so well as he sputters his next words.

“not- not that i mean he shouldn’t ask you out. i mean, if it were me and i had you offering to show me around, i’d ask you out too.”

“okay.” you purse your lips slightly, still not fully understanding what his problem is.

“i don’t say yes to dates with guys i just met, by the way,” are your next words as you look over at him. “i like to get to know someone first.”

his hair is still damp with sweat, one hand on the wheel of his jeep and the other resting on his leg as he sighs. you’ve never seen anyone be more attractive, never been more attracted to stiles as you are in this moment. he looks like a god, one you’d happily worship if he let you. ( on your knees. )

it takes a moment for your brain to fully process what his earlier statement implied, realization setting in your bones.

“wait. are you saying you’d ask me out?”

“depends on if you’d say yes. but you just said you don’t go on dates with guys you just met.”

“it’s a good thing i didn’t just meet you, then.”

the only sound is the way his breath hitches and his gaze becomes something you can only describe as predatory. like he wants to eat you alive, devour you whole. and that makes something in you snap.

you don’t say a word as you place your lips on his.

he wastes no time reciprocating, his hands finding your body and he tugs you, gently, from the passenger seat and into his lap. your hands thread through his hair, stopping at the nape of his neck. the way he kisses you is possessive, hungry, his hands holding your hips hard enough to bruise and you wish you’d known that all it would take for stiles to kiss you was someone else flirting with you.

you pull away breathless, his gaze causing shivers to run down your spine and set your body on fire.

“maybe i should make you jealous more often if it means you’ll kiss me like that again.”

“i’ll kiss you like that whenever you want.”

the confession makes your heart melt. and you can tell he means it, the way he’s looking at you like you’re the center of his world. you recognize it because it’s the way you’ve always looked at him and the way he used to look at lydia. you just never thought you’d see it towards you.

“i’m holding you to that.”

[spinchip]

Never the dark 7, 10 [dareth x Cyrus, it's not a pairing I've seen before and it humors me in a good way], and 11?

[ask meme]

YAAAY THANK YOUUU

7: Where did the title come from?

Bury Me Low by 8 Graves! I was listening to this song a LOT when conceptualizing the fic and I feel like the whole thing kinda describes Zane in the fic. In retrospect, I do kinda wish I had named it something smoother, I had a few ideas for what I might change it to (Inside the Dark, Forsaken Dark, and [redacted because i might be using it for another project teehee]) but I do like Never the Dark and I think i'll keep it lol

the funniest thing about this song is that I played it so much I got sick of it and now I wont listen to it

If I die today, it won't be so bad I can escape all the nightmares I've had All of my angry and all of my sad Gone in the blink of an eye I've seen the devil. I've shaken his hand I've seen the evil that dwells in a man For all of my wisdom, I can't understand ...... If I die today, it won’t be so hard Everything scares me, but never the dark

10: Why did you choose this pairing for this particular story?

Polyninja because I love them and the fucked up relationship dynamic post zanedeath called to me.

Pixal/Skylor has always been awesome but I included it here specifically because of how I view their character actions in the three year time skip. Skylor joins the ninja a few month after Zane dies and despite the fact that they don't harbor any ill will towards her, Zanes absence is a fresh wound that it feels like she's trying to step into. It makes everyone bleed. No one is coping well and things get messy and tense between skylor, the ninja, and pixal until Skylor has a mental breakdown and removes herself from the team (trauma response due to the nature of how her father raised her.) Skylor was never part of the team- she's not been there from the beginning, so she's an outsider. And so is Pixal. (Not intentionally of course, but the others share a different kind of grief that the two don't.) Cyrus eventually convinced Pixal to go to therapy where she gets some clarity on things and reaches out to Sky to apologize again for any role she played in the teams tension with her. She invites Skylor over for dinner and they accidentally end up talking for 6 hours- and the rest is history

(Skylor IS on good terms with the ninja btw. they apologized and hashed things out- but she won't rejoin the team for a lot of different reasons.)

Coppershipping my beloved. new-ish in the ficverse! They were starting to be more friendly with eachother after zanedeath, and that progressed post s11. Dareth took his grief at losing Zane as motivation to get in better shape and actually try and train, so he hits the gym and puts on a lot of muscle. takes up boxing. He wants to be able to do more to help if something happens again. He ends up putting his new skills to use protecting Cyrus from something or another and Cyrus asks him to be his bodyguard. They spend a lot of time together and fall in love teeheehee

also, fun fact for you, Dareth handmade all the ninja suits they wear in NTD!

11: What do you like best about this fic?

oh man. Is it bad to say the fact that it's almost finished? I'm just really proud I've been able to stick with it and put in the time and effort. I've got a pretty spotty track record with chaptered work- i lose motivation and drop things a lot, unfortunately. But i'm still dedicated to finishing NTD!

and im really proud of the wordcount! 100k!!!!!!! WAOW

[voparwave69]

So more than one of them is at times depicted with many heads as well as many arms, the multitude of faces and hands represent doing and representing many things at once, or unity and being one, for example, Shiva and Parvati are frequently shown as being joined as one being as they are both together and individuals, as are Durga, Kali and Parvati. Kali is often depicted as having many faces, and so is Rudra, actually, and my boyfriend's name is Rudra. :o) He often calls me Durga -- Rudra is a part of Shiva, and Durga is a part of Parvati. Durga represents war as well as love and motherhood, and these are not contrasting qualities -- these are all one within her. My boyfriend often tells me he sees these qualities within me too -- he says I am "protective at all costs". Ferocity and love may be separate arms or faces, but they are on the same being that are on the same being that is motherhood. And ugh yes chakras do not just get closed for no reason. They are very emotionally and spiritually tied. Them being "clogged" or "misaligned" is not a thing, they are on a gradient of being opened or closed like a door. They are not a gland that just randomly misfires. They also cannot be "overactive". They are either opened or closed and opened is always the ideal. Something I see on the internet a lot is people wanting to teach people about chakras and they don't even know what they are. I really resent how they to the west they have just become some sort of item of mysticism not attached to any particular religion, there's a lot of people that don't even know that they're a big part of specifically Hinduism and sort of think they're just this thing that hippies talk about (or they're the hippies talking about them and giving useless advice about them). Something my boyfriend has taught me is that not everybody actually wants to know the truth about things like that and what they're more chasing is an ego trip from feeling like they've "discovered" these things themselves or uncovered some sort of knowledge independently from others. Ironically, in a religion that is very big on shedding ego, it attracts a lot of egotists, I think because of the mystical and "enlightened" image it has, and funny enough, most people that heavily chase enlightenment will not achieve it because oftentimes their heart is rooted very much in a place of self image more than it is anything else. It's sort of like how there are people drawn to Christianity because it has a "pure" image in the west, but ironically, the people that want so badly to be seen as good and pure are often terrible. I have a hard time wrapping my head around people that don't actually want to learn or see learning from others as a shortcoming because almost everything I know was taught to me by someone else and it is my circle that makes me, and though my boyfriend does often remind me I have many good qualities as an individual, I am ultimately in this for connection. We need each other and I would not want to do this alone. So I try to avoid people that are in this just for ego because I know they won't listen to me anyways -- I do nothing for their self image and to them that makes me irrelevant. Also the symbolism you chose is really cool!! Circles are frequently used for symbolism representing eternity and oneness, and snakes can represent duality (such as how they destroy and complete each other) in that their venom is both, well venomous, and also used for anti-venom and other medicines, and the way that they have two separate heads but the same body can like you said by symbolic that they are one and different in the way that you have described. :o)

I propose a family anthem

@voparwave69

[fvckw4d]

The concept of queerbaiting annoys me. I was told that it refers to a work of fiction pretending to cater to a queer audience but then pulling back from it to avoid alienating homophobes, which is an incredibly specific thing. But a lot of people seem to think that it instead means "any time there's any gay subtex, metaphor, or ambiguity" or "whenever something from 1995-2012 was being a normal amount of homophobic for the era."

[puppppppppy]

If I close my eyes and concentrate realllyyy hard I can pretend im in my animal crossing room

[writhe]

i want to be more open to anything and everything and i’m scared

[431989]

more resident alien posting. predictions... spoilers so beware

well. i'm upset that the shows going to have a difficult time having more serious scenes now. and that's probably what it's going to try and set itself up for.

i reaaaally would have loved to see this show do something ACTUALLY different and good. by different i mean in terms of writing and not necessarily drifting from source material. yes i'm still sour over last ep, but i wouldn't be AS sour if everyone on the show didn't treat harry and asta's relationship as "mother and child." and also if the show didn't take such a nose dive into the type of comedy it's putting out.

ALSO? IN A RECENT INTERVIEW? Sheridan going on to state that harry would lose his first """love""" (more like lust. awesome that a show trying to teach human emotion gets those two things mixed up) and then realize there's love everywhere or something? why does this feel like "weird" people are forever left to the role of outcasts. already fucked it up once i guess the guy's trying to fuck it up more. could've just left it at "he'll lose his first love, then he will have to reconcile with his feelings." but he had to drop in that last corny bit.

like. the show's source is already good. i don't understand all these decisions they're making to try and make it seem "unique." and now to get numbers back they're dumbing it way down. WHICH. BY DOING SO. HOW ARE YOU GOING TO HAVE YOUR DRAMA? like how am i supposed to take anything seriously in the show. i *could* in season 1 and parts of season 2, but now it's just whatever. it's too goofed up for me to care. and now people who love the goofy won't give two shits about whatever message you want to drop or plot you want to develop. i dont give a shit about the greys!!! i dont care what theyre doing!!!! who gives a fuck if theyll blow up the earth. none of the characters really care anymore either. oh well!!!

also, predictions kind of. i'm not trying to say this will be the be all end all but it certainly could be a turn the show takes. in one of the issues of the comic (suicide blonde i think), harry is investigating the "suicide" of a woman. by the end of the issue, he catches up with her ex-lover and ex-roommate. they were both ladies. and the girl who died had a drinking problem btw. and was constantly seeing boys. i'm all for gay couples on screen as a gay guy myself but it'll feel so cheap to pair darcy and asta together despite the way theyve been played on screen. maybe its doable. i don't know. but i genuinely could care less considering the overall tone of the show's drifted more towards a sitcom than anything else. i think the small handful of 40+ year old gay wine moms would probably love it, but the vast majority of viewers wont. either they'll hate it and say it's forced diversity (there's already people saying that about the gay couple on screen this past episode) or it'll be another nothing moment to a further nothing story. if anything it'd feel one step removed from tokenization, considering they see harry as a manchild. ableism! show's trying to seem fucking wholesome but they can't be bothered to care about their nd viewers. like "haha look we have a main gay couple!!! what do you *mean* our show has rampant ableist tropes, we have a gay couple!"

i'm just so bummed. the show's cornered itself into a sitcom so meaningful moments aren't a thing anymore. plus the comparison of harry to a child is really getting at me. like he's a grown man as a human, and hes a grown alien thing as an alien. it's such a big slap in the face to any person who cherished the witty and unique story telling of the first season... like.... i don't know.... people who would've been fans of the comic too? i have small gripes about the comic, but at least it takes itself more seriously. but the show runners haaate the people who read the comics. why? i dont know. well maybe i do know. probably seen as too nerdy and weird for their idea of the show's viewerbase. despite the fucking basis of the show being weird and nerdy.

they couldve done the darcy asta thing better if they do go down that road. i'm just saying i wouldn't be surprised. they already scared off everyone who would've cared for something like that, so i don't know how they'll manage to find an audience that cares. everything in s1 was so organic and felt real!!!!! now its just!!! nothing!!!!!!!!!!

im also thinking about the fact that after posting that one resident alien drawing i did, i've had to block tons of people because they're freaks. loud and proud conservatives. man this shit sucks.

[fistfightinganxietyandlosing]

lovely theme!!

THANK YOU <33 sometimes the urge to be a mysterious and strange yet inexplicably alluring creature that resides in the back alleyways of london is too strong not to be indulged

[altruistic-meme]

if you could... describe aftg in 5 words

oh this is not as easy a question to answer as it should be akfhsdkf bc like. i could describe its plot, or my thoughts on it as a fan, or how it makes me feel, or just make a joke, or or or and bc idk why you're asking it makes it harder :'))

but let's see...

plot: gay sports mafia found family.

fan: drama, familiarity, trauma, comedy, home

feelings: love, understanding, chaos, joy, comfort

joke: you know, i get it-

(as you can see, i couldn't pick which one to go with, so choose whichever 5 words you want lmao)

[here-there-were-dragons]

my mother is absolutely convinced of some nonsense conspiracy theory that (in her words) "originally humanity lived in peaceful all-woman societies of goddess worshippers who took care of eachother and lived in harmony, while males were roving loners that had no society and never cooperated. that changed when the men banded together and overthrew the peaceful woman-dominated societies, and enslaved us all." and, according to her, this is proof that a woman-dominated world would be innately more peaceful, and that men are innately violent and evil and should be either barred from holding any legal power or leadership roles or at least should be (again in her words) "gelded like bulls" to remove their testosterone before even being considered for such a thing.

she also evidently believes that the problem with all religions today is primarily that they aren't "goddess worshippers", because she seems to think goddess religions are inherently peaceful and pure too and seems to be especially obsessed with "Isis" in particular. the very very few times she's openly considered it unambiguously bad for some population or another to have been exterminated (she's got a bad case of devil's advocating genocide brain), she's gone out of her way to make up some crap about how said people were a peaceful society of goddess-worshippers, almost always of isis. delusions of isis-worship seem to be the only thing that ever causes her to consider any arab or middle-eastern culture, society, or ethnicity to be relatively uncomplicatedly undeserving of extermination, in fact, because every fucking time she doesn't immediately start devils-advocating it and making remarks about how "the rest of the world should box them in and let them blow eachother up" it's when she's whinging on about how whatever specific micro-ethnicity she's thinking about are or were traditional persecuted isis-worshippers.

the sole major exception to her weird fixation on isis worship justifying worthiness of life is the whole israel thing going on, in which she has consistently made very obvious that literally the only reason she's against the genocide of palestine is because it gives her an excuse to even more openly hate jewish people than she already did. and honestly i'm not sure even that's true because i think she's made some offhand remarks about palestinians having probably been peaceful isis worshipers before the jews infected them with christianity or something anyway.

so for the last, however fucking long it's been i've been constantly having to listen to her go off about how this behavior is in the jew's blood or whatever and that they literally invented all genocide because somehow the concept didn't exist before them and wouldn't have ever been invented by the rest of humanity without those jewish aliens dropping it in i fucking guess apparently and she furthermore goes on about how every single genocide and mass-oppression movement in history is directly inspired by them, ESPECIALLY the nazis, and THEN i have to listen to her rant about how, basically, wwii was something they entirely brought on themselves by "dominating the economy and treating everyone not them like shit" and the nazis were just "using their own tactics back at them". and then she goes on a rant about how the people the original jews exterminated back in the day (aka the first ever genocide, which they invented, because jews invented genocide and hate according to her) in the middle east region were peaceful matriarchal isis-worshipers.

and then she starts making comments about arabs being backwards and palestinians either being mysogynist muslims that should be boxed in to blow eachother up with everyone else or secret peaceful isis worshippers corrupted by men's cruel hand, sometimes in the same sentence, entirely dependent on which group she's more in the mood to hate at the time.

it's exhausting. beyond exhausting. her sole purpose in existence seems to be to have the singularly most exhausting set of politics physically possible to fit into one person.

just, sometimes i think, if there really is anything at all to the incredibly stupid and inexplicably popular idea that anyone or anything has a Purpose tm to exist for, i feel like my mother's purpose is to be walking proof to me of a Type Of Guy That Is Real, cause i sure as fuck would have trouble inventing this mess if it wasn't standing right in front of me spewing confusingly bipartisan hate. all of her thoughts and opinions are these long winding nonsense chains that feel like if that man carrying thing sketch about the friend with confusing politics was a person. on meth.

[queenlucythevaliant]

Some off-the-cuff thoughts on overspiritualizing patterns in science

I remember watching a talk in middle school youth group about laminin, the "molecule that holds your whole body together" which was supposedly shaped like a cross. The suggestion, basically, was that the cross's image was integral to our molecular makeup and that this was part of God's design in a very Significant way. I was a burgeoning STEM girl, so I taped a diagram of a laminin up next to my bed for a while.

(As I would later find out, the whole laminin thing had/has some reach among Christians. There are T-shirts and everything)

Fast forever to spring of my freshman year as a microbiology student. I take my first course in cell bio, and I learn that laminins are actually one of many families of ECM glycoproteins. They aren't really any more significant in "holding the body together" than collagens, elastins, or fibronectins. They're very important, yes, but ultimately just one type of adhesive protein among many. And! They also do a bunch of other stuff that's way cooler than just. Adhesive.

While some laminins do bear resemblance to a cross when diagramed, it's really only because they have three subchains. Some are t-shaped, but others are y-shaped, and those don't look anything like a cross. Also, when they're in situ rather than in a nice, neat diagram, they tend to be all floppy and then they look even less cross-like.

Source

And when I learned about this I was oddly relieved. It felt like I was right about something that I couldn't even put into words, and that somehow the field of what I could call glorious had grown wider.

Christians are called to see and marvel at the presence of God in creation. I love doing that! I see God left and right through my scientific studies. Yet I also know that the human brain is pattern-seeking and that we are prone to pareidolia. I honestly don't know that there's a substantive difference between seeing the cross in some laminins and seeing Jesus on a piece of toast. It's all just seeing patterns that arise from something else (in the case of laminins, being able to bind three different molecules at once) and attributing spiritual significance. God is sovereign and maybe in the grand scope of his vision for creation it means something, but in terms of seeing God's hand in science I just find it so... small?

You could spin so many four-chain or four-domain proteins or goodness knows how many other molecules into images of the cross if you pick the right diagram. You could take every pattern of three in nature (and there are many!) as an image of the Trinity. If you really, really wanted to, you could take every six in organic chemistry as a sign of the beast, which would be hilarious in its misguidedness. It just becomes so literalistic and dull so very fast.

Look! Wouldn't you rather talk about the fact that laminins begin to appear along the edge of a developing lung at just ten weeks of human embryonic development, suggesting that they play a role in alveolar morphogenesis? That they're present in the neural stem-cell niche, which makes them an attractive candidate for helping to treat degenerative neurological conditions? I want to go back to whoever gave that talk that I watched in youth group and shake him and say, "God did that, and you're still hung up on the fact that laminins have three subchains?"

[moe-broey]

.