#like it's a revolutionary song in that sense and i love that

[speakercrab666]

please no more please please no more shawn mendes stitches please please please

[anotherferalrat]

GUYS.

I have discovered a new orv fic concept.

And I am actively foaming at the mouth.

So like- Idol!Kim Dokja right? A classic, makes sense, I wouldn't say it's anything too revolutionary. I love a good 'secretly I was an Idol' AU. But what has me feral???

All his songs were secretly about YJH (with the occasional about his companions... mainly I'm thinking he had a couple for SYS bc my poor baby). Just think of the possibilities with me for a sec:

The difference in the ways he writes about each round (999 has the best love song if what I've gathered from osmosis is correct)

Kimcom losing their goddamn minds trying to connect the image of their tired, feral leader to a bubbly teen idol

The kids determined to listen to all his music and fighting over who's the bigger stan

I just imagine there's a world where LJH was a diehard fan and so KDJ treats her like those rabid fans (bc he def has a favorite child... and she is low on the list I'm afraid)

Just in general, him having secret fans in Kimcom. YSA wasn't a huge fan but she had a couple favorite songs. HSY would rather die than admit it but she loved his music and her writing playlist was like 90% of his music. YJH was also a frequent listener though he'd claim it was due to his sister (A certified KDJ stan)

Similarly... IMAGINE KIMCOM FINDS OUT AFTER SOME KIND OF POST CANON NOVEL REVEAL I haven't finished so I don't know if there's an actual reveal Just envision YJH's eye twitching violently as the crew tries to figure out which songs are about which person/YJH round while KDJ actively tries to die in the background. Secretive Plotter and Uriel are dying... for very different reasons

I just love me a good pining loser<3

[adhdtsukasa]

totally not what i intended to post today but also whatever, we ball. pinocchiop is my favorite vocap and i'm very autistic about both him and wxs, so, to honor the song campaign clues that we got today, allow me to present to you the reincarnation apple wxs cover line distribution i did some time ago — and why, in my humble opinion, it fits wxs much more than it fits niigo,

(the lyrics where the color changes each word are where the characters both sing at the same time but my notes app doesn't have the option to do a gradient)

i'm in no way expecting it to be an official line distribution because i did it based on my personal interpretation of the lyrics — and i feel like dedicating almost a whole big part of the song to each member might mess up with the game cut, but i also really would like to see them have solos of those parts — but they're here to help me explain my point better my point. so!

what i like about wandasho covers is that they are performers — and it should give them more creative liberty when it comes to their covers. that's why the reincarnation in this song could be simply treated as them getting into roles, reliving countless lives as actors. even though the accuracy of the lines sung is always nicely welcomed, the covers don't have to always be 100% fitting. and that's fine. especially in wxs' case, because that is a yet another story that they want to tell us.

people often say that the storyline fits niigo but i... don't see it at all? i mean, yeah, ena as the artist and kanade as the savior, that much is obvious (and i guess you could also say that mizuki as a revolutionary, but that is kind of a reach?). but what about the part describing the inventor that matches rui's backstory so well? what if you put main story tsukasa in the artist's place and draw the similiarities? what if you think about emu as the savior, comparing the savior's unconditional love to her wanting to save wonder stage and make everyone smile? the only match that doesn't fit quite well is nene and the revolutionary, but you can't have anything i guess. and then the adventurer part, which is a call back to the our happy ending set (i set out in search of an ideal — emu deciding to go with wxs in order to expand her knowledge and horizons) (and then you know, the end has come with the reincarnation apple)... and then lines like i'm not smart enough and i don't have a great cause could resonate with how people viewed emu and rui in the past.

"oh but isn't the start of the song a bit too dark and depressing for it to be a wxs cover?" kami no manimani starts in a similiar way and yet it still is a wxs cover.

and, putting lyrics aside, it just doesn't feel like a niigo song from the instrumental alone. i'm not a music expert so i don't have strong arguments for it, but for me it sounds absolutely like a wxs song. it even reminds me of sekahaji in a way.

does that mean you're in the wrong for wanting niigo to cover it? nope! i just simply want to explain why it fits. and i don't want people to complain that it doesn't make sense for it to end up as a wxs cover. because i will cry.

tldr: reincarnation as a metaphore for acting save me

[vampirehowl]

im increasingly convinced the reason white hozier fans- especially younger ones- go so crazy and suck so terribly at being normal about him is because they have never heard rhythm and blues before. i keep seeing people out here acting like hes invented something revolutionary and never before seen and not like any other genre* and its so blatantly because they dont realize blues, r&b, soul, and honestly even a fair amount of indie and folk rock are actual existing genres with lifetimes of history which is quite a shame and honestly embarassing considering how at least 1/3 of his discography is a very blatant love letter to these genres and the musicians ESPECIALLY the black musicians who made these genres in every sense of the word

*to be clear i am a major long time fan and i do think his music is incredible i just also think its insane that people keep acting like they dont know who nina simone is after his entire song and EP titled nina cried power

[thecorruption-thespiralsversion]

What Sign (Astrology) is what Fear (The Magnus Archive)

I remember in the 2010s, on the astrology side of tumblr. A popular thing to was take albums and assign each song to the sign they felt represented. This is inherently an imperfect practice (Astrology is actually a very complicated process.), but taken lightly it can be loads of fun.

Disclaimer, I researched this stuff a years ago, and like The Fear, I'm basing all this on Feeling. I am by no mean an expert.

Aries - The Sluaghter - As an Archetype, Aries is the sign of The Warrior. The "youngest" of the signs, it's often seen as impulsive and reckless. Angered on the drop of a dime, and always ready for a fight.

Taurus - The Flesh - They are creature of comfort and gluttony. A sign who will work hard now so they can sleep longer later. The Bull, sturdy, strong, and grounded. Somehow the laziest and hardest working sign. They are lover of food, and the physical pleasures.

Gemini - The Stranger - This one feel like the stereotype. All Gemini are two-faced, fake, childish/immature. The eternal child. There is a whimsy to The Stranger.

Cancer - The Corruption - This one is complicated. They're sweet, caring, and nurturing. The Archetype of The Mother, but not The Matriarch. Another Archetype is seen as The Prostitute. This is complicated because it's not about sex, but that of giving yourself for the nurture of another. It is a love that consumes in all ways.

Leo - The Lonely - The Lion, The King. When will you learn that to be on top is to have no peers, no fellows.

Virgo - The Web - Their stereotype is that of a controlling and obsessive compulsive individuals. The is the sign of order.

Libra - The Web - This is a sign often stereotyped as " my way or the highway". Now mind you this is an exaggeration. This is the sign of balance, fairness, and whatever one's perceptions of that is. Equilibrium and Order. The Diplomate, Soft power.

Scorpio - The Dark... The Desolation - Guess this is where the jig is up. There is no one to one. They aren't comparable!!!!! Appropriate that I brake patterns at the sign that actually represents Death. But not The End. I have found most esoteric practice don't regard Death as finality, more a transition. This sign is that of mystery and power. Of night and rage. The Dark Feminine. If I'd have it my way, Agnus Montague would be a Scorpio.

Sagittarius - The Hunt - adventures, philosophy, and discovery are all associated with this sign.

Capricorn - The Buried - The most structured of the signs. This isn't order, but rigidity. Stren and Stoic. They have always been the biggest sweethearts I have ever meet, but they scare me, it not a malicious fear, but that of a child who respects their father. They inspire that sense of "masculine"(not gender specific) discipline.

Aquarius - The Vast - I know many will argue The Stranger, and you're right, all this shit is subjective. But hear me out. The Revolutionaries! The sign that look towards the future, towards endless possibilities, to infinity.

Pisces - The Spiral - The sign closest to divinity, The end of one cycle, and the start of another. What was that about doing the same thing over and over again? But ever The Dreamer you take another turn, another twist.

Aries - The Sluaghter....

The End can't really exist as a concept in this cycle.

But I think The Eye would be all of them. We are all the observers of our lives.

I think therefore I am, we are I.

Archives to our existence. I think that's why I like astrology. It's us trying to observe ourself and others. Find connections, coincidence, and magic in what "I was ment to have for breakfast", and maybe I wasn't. But it fun, these games we play with everyone.

I hope you're all having fun

[not-goldy]

But isn’t JK sort of "queer cleansing" in Ch 2?

All those women in his MV’s who he had zero chemistry with but not a single reference to being into men (not that I expect that of course, being from a homophobic country. More like being in the closet, unfortunately.. but still).

I think his side of Ch 2 is interesting, based on the past ten years up until the military announcement— which is when this sudden "flipped switch" from disliking/being indifferent about dating women, refusing to sing "girl" in a Jason Derulo cover and being the object of other men’s affection, to singing about boinking women seemed to happen.

If the blurry video wasn’t true, I wonder if BH didn’t rush to clean it up because it kind of worked out to help with JK’s new "ladies man" image 💀💀 His face isn’t even decipherable but at least half the fandom ate that up!

To some extent I guess.

Heteronormativity and queer cleansing are two related but distinct concepts so I hope you are not confusing the two as one and the same in this case.

Heteronormativity in this sense is promoting hetersexuality and images of it as the standard or mainstream idea of something. For instance, what is the purpose of choosing a female lead to play the role of love interest besides the fact that that is just how things are done in the industry??

At this point it doesn't even matter at all the female you cast, it just has to be A female to play the role. It's not political, it doesn't speak to the sexual orientation of the individual, it's just what sells and what is considered the norm or standard way of doing things. You could replace the female subject with an inanimate object and the message of love and affection will not be lost.

Over using female as love interests without allowing for much diversity in music visuals has led to a situation where the woman has become a neutral marker in art. Much like words such as Man or other masculine forms gained neutrality and universality such that where you see man or dude or guy in a text you don't necessarily think they are referring strictly to a man, it's the same for women. They are there because they are expected to be there.

We are not wired to see their presence in MVs as contributing any unique or significant meaning to the story telling.

However seeing two men or two women portrayed as leads and love interests adds a political dimension to the message of the song or story of the MV.

It's why visuals such as Blood Sweat and Tears and the whole visual album of HYYH era speaks to many of us. Other wise they are all men, they can just sit and shout into a mic cos no one wants to see them grope each other- it's gay.

It's also why a producer will tell Tae to find a female to sing a part he wrote for Jimin on his personal song- it wasn't because a female voice was required for the song but simply unconventional for two men to sing a duet of that kind.

That's heteronormativity not queer cleansing.

A cleanse is an intentional act meant to please an audience, to calm their wrath and to portray conformity to the desires of the masses.

Heteronormativity is unconscious biases and decisions that are meaningless in themselves and are done not just to please but for the sheer reason that that is what we know and have come to accept as the norm.

I guess the difference is, did Jungkook have a choice other than choosing a female character for the role? No. To choose a male character for such a role would be so political and revolutionary because it would be going outside the norm.

Having a female lead is just a trend. For straight people, if they want to be "political" they often cast the real object of their affections and discard the paid models and artists. JB did that with his wife and uhm- what's the name of the dude who said his lungs under water but was breathing fire?

Queer cleansing is not just about heteronormativity. Promoting and using women as leads is not necessarily a cleanse.

It's heteronormative because whether he is in Korea or not, whether his country is conservative or not, whether he is gay or not, he would have casted a female as lead because it is expected and normalized.

I mean, why else would they have casted female leads for their mv way back when they were starting out, as young as they were, as young as he was?

Why else would he date a girl when he had no feelings whatsoever for her.

Why else were they made to pick up girls and demonstrate how they would ask a girl out or kiss a girl as entertainment disregarding the fact not all of them might have been into girls.

Let me leave you with this imagery:

Heteronormativity, like right handedness, or able bodiedness is the default setting of society. Manufacturers create products build cars, roads on the assumption that every one is right handed able-bodied straight individual and every thing in society is made to cater to this group bu default.

So sometimes when people create products to cater to the audience we can't say they are making revolutionary statements or even deliberately being discriminatory- they doing so simply because it's how things are done.

Jungkook might simply film an MV that way because that's how things are done in the industry.

I hope in the future he realizes this challenge and goes out of his way to challenge it not because he is queer but because he desires to bring change and uniqueness into the world.

And you are right. There are so many instances of hybe cleaning up his image or putting him through queer cleansing- I just don't think the MV is one of those.

Like I said, even his own fans try to queer cleanse his image by cooking up straight rumors and attacking people to try to suppress and disassociate him from any queer narrative.

And it's a cleanse because they do this with the understanding that portraying him as queer is harmful to his image or reputation or even a threat to his commercial success such as them tearing down his banners and even banning BTS in certain places because they seem "gay" smh

[literary-illuminati]

2024 Book Review #47 – City of Last Chances by Adrian Tchaikovsky

This book was recommended to me by a few different people, and in any case I am generally a pretty big Tchaikovsky fan. So of course I’m only getting around to reading it now, however many months later. Having put it off so long for no good reason at all, I can say that the book is in fact very good. Not Tchaikovsky’s best work (that’s still Children of Time in a walk), but a good read and one that left me curious (if not exactly excited) about checking out the sequel.

The story takes place in Illmar, the eponymous City of Last Chances – scarred and oppressed, tyrannized by cursed dukes and conquering imperialists, built upon a dangerous and unreliable route to other worlds and forever attracting the sort of people with no better options available to them. While the book has any number of characters, it’s really the city itself that is the star of the story – a story of how the theft of an imperial magistrate’s ward before he makes an experimental voyage through the gateway in the woods leads to a whole series of byzantine intrigues and bloody misadventures, culminating in an abortive revolution against the Pallseen who occupy and rule them. Which in one sense is an absolutely massive spoiler and in another just feels like stating an inevitability that was obvious from the first chapter.

The book was apparently quite heavily marketed as harking back to the whole New Weird trend of a decade or two ago – marketing that is lived up to wholly and entirely. The whole book absolutely drips with Mieville and Vandermeer. The oblique worldbuilding, the mundane day-to-day life built around the opportunities and inconveniences of some intrusion of the sublime, the awkward intersection of ancient magic and industrial bureaucracy, and so on, and so forth. The Reproach in particular feels very Area X (or very Roadside Picnic, as you prefer), but in general the city feels like absolutely nothing so much as Bas-Lag with the weirdness dial turned down from an 11 to a 5 or 6.

It’s a real triumph of the book, I think, that the world genuinely feels vast and strange even beyond the points where it matters to the story - that all the little asides and the ways something affects a certain character feel like just small parts of something far grander and more uncanny than anyone can hope to understand. Maybe I’m just painfully tired of rpg-system worldbuilding, but it’s an effect I dearly love.

Much like Bas-Lag, Ilmar is very clearly a magical fantasy city going through a magical fantasy 19th century industrial revolution (instead of steam engines its demonic slave labor contracted and imported from the Kings Below). The meat of the book is playing into the whole tradition of the idealistic, virtuous but tragic liberal revolution – 1848 in Berlin or Vienna, the June Days and Commune in Paris, Warsaw a dozen different times, Les Mis. You know the type. Students singing patriotic old songs, workers rising up against class oppression, ‘revolutionaries’ who are mostly cowardly nobles pining after lost privileges and criminal syndicate putting on airs being caught flat-footed by events. You can probably tell the basic story in your sleep. But for such a venerable genre, this book's honestly probably the best rendition of ‘fantasy 1848’ I can recall. Something which won it my instant affection.

The other thing the book just overwhelming shares with the Mieville’s Bas-Lag books is a very keen sense of the necessity of revolution combined with an extreme cynicism towards anyone who might actually carry it out. The university students are sincere believers, and also naive sheep the narrative views with condescension (at best). The professional revolutionaries are all power-grabbing hypocrites who have wrapped themselves in the flag. The workers syndicates have a real sense of solidarity among themselves, and also none at all to the demon slaves that are used and broken powering the mills and factories. And so on. The overall thrust of the book is a tragedy not in the sense of railing against the inevitable, but in the sense that triumph and revolution were absolutely possible – indeed plausible – but for the flaws and frailities of the revolutionaries who might have accomplished it.

Not to say that it's misanthropic – the book is very humane towards the vast majority of its POVs. Of which there are enough for ‘vast majority’ to be a meaningful term. It was something like 130 pages in before any character got a second chapter through their eyes, a feat I had previously only seen in Malazan – and that’s not including the chorus chapters which just give a half-doze vignettes from across the city. But yes, most characters (even the ones who are really just viscerally repulsive) are shown through their own eyes as someone who is at least understandable, if not particularly sympathetic. The sheer size of the cast in a 500 page book mean that no one character or set gets that many chapters from their perspective (you could easily have written as long a book about roughly the same events with half or less of the cast), but some of the dynamics that are very lightly touched on are just incredibly compelling. Its enough to make you wish this was a series that would ever get any fanfiction written about it, really.

Given the way the book is so deeply concerned with oppression and violence on the basis of culture, class, and nation – imperial occupiers, native population, refugees and immigrants used and scapegoated by both – it is kind of fascinating that this is a world where misogyny and (possibly? Not very explored, the only example of a queer relationship we see is hardly going to be concerned by normative society) homophobia just flatly don’t exist. Which would be less interesting if it was unusual, really – the same could be said about very nearly every recent sci fi or fantasy book on the same lines I can recall. Interesting because it is very much not the case in Melville’s stuff – the cultural impact of Ancillary Justice continues to echo down the years, I guess. So yes the imperial police inspector will extort sex out of a brothel owner in exchange for not stringing up the entire workforce for peripheral involvement with the resistance, but also this is entirely gender-neutral. Something very modern about how oppression is imagined relative to the ‘90s or ‘00s (or just a different genre of self-consciously feminist novel a few book shelves to the left).

But yeah, great book, I am compelled. No idea where the sequel would be going, but will probably hunt it down sooner rather than later.

[la-pheacienne]

Hello. 2, 5, and 24 for Daenerys and Jon??

Really enjoy your blog!

Hii, thank you so much!

JON:

2. Favorite canon thing about this character? The duty vs love theme. It is so central for Jon's arc and for asoiaf themes and his character conveys it beautifully. He's a kid, he wants to live he loves his family he wants to be there for them and at the same time he's stuck in that place and he has an oath he must respect and this is very important to him because he is honorable and takes his words and his vows seriously but it is very difficult to navigate between the two. also how he questions his vows and how he understands the contradictions of the westerosi moral code and the inherent hypocrisy of some vows in the way they are applied, see the "what are these wildlings if not men" dialog, I love this and it is also extremely important thematically for the entire book series (great parallels with jaime here). his struggle with ruling, "there is no happy choice, only some less grievous than others" but someone has to make those choices and this is an enormous burden he takes on. Also his gravitas and how his past seems to burden and haunt him!! he's a kid and he's much older than he should be, mentally, because of his shitty upbringing and also because of a sense of transcendental doom that comes from his parents even if he doesn't know anything about them yet. I'm normal about jon btw.

5. What's the first song that comes to mind when you think about them? Oh sth from the Cure, like Cold or Homesick or anything from that band really. Emo depressed teenage boy core.

24. What other character from another fandom of yours that reminds you of them? Marius Pontmercy from les miserables. He is in canon described as "not yet a ghost, no longer a man". He is an orphan kid raised by family members who have lied to him about his father his entire life. He grew up having a distorted image of said father, he has an identity crisis towards the middle of the book, he is melancholic and lonely and angry and isolated and struggles between his desire to live and love like a normal young man and his devotion to the cause.

DANY:

2. Favorite canon thing about this character? Oh Dany is hope. Dany is losing her child and her husband and everything that she holds dear and she is desperate but she looks inside Rhaegar's helmet and the face within was her own. Her own!!! A kid, that has known nothing but abuse ever since she has memories of herself manages to believe in herself at her lowest point. Dany didn't know a mother or a father and yet becomes the mother to them all, she never felt safe but all she wants is to keep other people safe. Dany struggling to rule, Dany asking questions about what makes a good ruler, what is a good ruler, how can one become a good ruler. And failing. And trying again. And failing again. But she just keeps trying because her name and the three dragons she has are not a flex and they do not equal power, but responsibility. She has this enormous gigantic responsibility on her shoulders and she has to find a way even if it's not the best one, and this is both a blessing and a curse, just like Jon. Dany trying to get her home back. And she will, "we shall talk when I return" is about her! Dany is hope.

5. What's the first song that comes to mind when you think about them? Gold Dust Woman by fleetwood mac, I won't elaborate, grrm imagined Dany after listening to that song, he told me himself and this is confimed btw. Look it up.

24. What other character from another fandom of yours that reminds you of them? To me personally Dany reminds me of Enjolras from les Miserables and what they both have in common is their radicalism. Dany is a true revolutionary, an abolishionist, she rejects the status quo, she has a noble cause and she knows that she has to serve that cause no matter the price and she is ready to take the necessary, radical steps towards that cause and she is ready to sacrifice herself and commit violence for that cause because this is the only way any substantial structural radical change can ever be achieved. Yet she does not rejoice in violence, she does not love it and she struggles with it, just like Enjolras who executes that man and says "Death, I use you, but I hate you". He is innocent and pure and so young but also terrible and fearful when he needs to be despite not wanting to, because someone has to be, because this is not a game. I love them both so much.

[pseudowho]

Hello Haitch!! Hope you doing well 💞💞💞

First off, I wanted to say that I LOVED your analysis on Nanami’s dislike for working but also still doing overtime. Not only did it just make sense, it also felt so real and relatable to me. I’m not the type of person to procrastinate. My checklist is there so I can get my work done and when I’m finally free of responsibilities, I can actually enjoy my break. But sadly work for now is unending, and I found my past self pulling a Nanami Kento staying up till who-knows-how-late just to finish… only this week’s assignments when there will be more next week?? at the cost of my energy, mental health, back pain??

And if I remember correctly, there was this one post you made about why you love Nanami: the rage, the fiery, passionate anger! *chef’s kiss.* The part where I fell for Nanami (I fell hard) was that he was able to, like you said, redirect it to a purpose of altruism. Somehow, Nanami makes some good out of it in a merciless, parasitical (as Mr. Haitch said) system. It’s not revolutionary systemic change, but it is certainly enough to have an impact on the people he cares about. I think that’s the perfect amount for Nanami. That just makes him even more human and precious to me 🥺

I also want to bring up the things that Nanami does for himself too. Like what we talked about earlier, he found value in helping others not just for them but also for himself! Also, I think he definitely upped his self-care game, and we do love a man who can take care of himself. Probably the most obvious indication of this is how he set clear work-life boundaries in his schedule. He will not work past 6:00 unless he has to. This would probably allow him to enjoy the rest of his evening off, as he should. It is even more pronounced how being a jujutsu sorcerer means you don’t know when your time might end. I’m just glad that Nanami was able to at least have the time to read that one book in a peaceful cafe we saw in the first season opening. I also think that the same concept applies in real life too. We deserve to enjoy the limited time we have on earth because even if we are working for the possible future of no more work, it is not certain that we’ll even make it.

Yaga said something to Yuuji when he first got accepted to Jujutsu High. Sorcerers will die regretting something in their life. That just stuck with me for throughout the entire show. Nanami’s scene emphasized his regrets of not being able to go to Malaysia where he can finally live a simple, unburdened life. I never really cried hard for a show or a movie, until that scene… Yeah, so I had to take the following day off and go take a nap on the beach just lying in the sun just thinking about Nanami…

———- (covering two asks in one) ———-

May I possibly convince you that perhaps some classical music is worthwhile? The ones that make me swoon and melt and sigh while daydreaming. Not bach, not mozart, not beethoven…

But specifically the romantic era. And even in there you have to do a bit more digging.

Just the first minute and if you like it, then that’s awesome! if not, that’s cool too!

- Rachmaninoff’s symphony no. 2, movement 3 (Adagio)

https://m.youtube.com/watch?v=QNRxHyZDU-Q&pp=ygUecmFjaG1hbmlub2ZmIHN5bXBob255IDIgYWRhZ2lv

*sighs dreamily because yes.* I think a large majority of classical music is hard to enjoy for me too. It will either make me fall asleep or it is super busy and complicated, not good to listen to while doing work… but there are certain pieces that I’ll just always go back to.

Moving on, it makes me wonder… what types of music do you listen to? Opinions on the JJK opening and ending songs? What type of music wouldn Nanami listen to? Did you know Nanami has a theme song??

Ah, I just wanted to say that you’re literally the reason why I downloaded tumblr just to like all your posts and follow you. It’s the first fandom I’ve ever interacted with, and I never could’ve imagined how exciting and insightful it could be to be a part of it 💗💗💗

I honestly love your addition to this analysis! I agree with all of it.

r.e. the self care, I think it adds an extra layer of tragedy to his life; as soon as he began to open himself up to experiencing joy, and permitting himself to be happy before this self-imposed 'retirement' age, he died before getting into his stride.

See, with Nanami's MalaysiaPlan™️, I view it as largely metaphorical over totally literal. I think he fundamentally was overworked, stressed and overpressured, and 'Malaysia' simply meant 'running away from it all'. I think that if he hadn't died, and his self-care had continued to gain trajectory as Kento found a way to ensure a good work-life balance, I think 'Malaysia' may well have slipped away; he would no longer need to run away, in order to find peace and enjoyment in life. Therefore, dying before 'Malaysia' simply meant he died before achieving his true goal; to be content in life. Which is desperately fucking sad. A truly, miserably, horribly sad end for a wonderfully three-dimensional character.

In the AU that is. In the Haitchverse, he's alive, and coming home to his loving wife, and teaching Yuuji how to be a man.

I will always give more music a go. Ultimately, I've recognised that I'm quite a Maximalist with decor and music; more is better. I'm into metal with a lot going on, any music which has extensive layers, I tend to go for your more passionate, angsty songs as well. This is where classical loses me; despite being ostensibly a work of art, which I can appreciate...it's just instrumental. It leaves me lacking. It's a meal with no main course. I get to the end and I'm still hungry.

I like Bad Omens, Babymetal, lots of J-rock, K-pop, lots of other pieces from various metal artists. Bigger is better for me, r.e. music, unless it's an exquisitely crafted understated piece in a minor key, that hits every fine note with devastating melancholy accuracy.

I did know Nanami has a theme song! The thing that makes me laugh hardest about it, is that I think he'd find his theme song annoying.

Now I genuinely do HC Kento as a metal enthusiast, and really not in a self-project-y way. Hear me out.

Metal contains most of the truest, rawest proclamations of the world's ills of any other music genre, in my opinion. Behind the roaring line beautiful lyrics speaking out against the tortured of the system, and the woes of life. Listening to it is surprisingly upbeat; it's like being seen for feeling the world is a twisted place.

I tend to find Metal attracts a lot of quietly sensitive men, who are outwardly stoic but internally a maelstrom. With the very classic 'emo' haircut as a teenager, that was very much the remit of the emo/metal kids, I think it suits him well.

The Eve's second JJK opening is my favourite. Honestly one of my favourite of all time. Lost in Paradise is my favourite end theme.

Last but not least: I truly cannot believe you downloaded Tumblr just to like my stuff. I do not deserve such a beautifully targeted compliment. You're a sweetheart. Genuinely. Thank you.

Love,

-- Haitch xxx

[natade-art]

Hey do you have any tips when it comes to amv's? I'm a big fan of your stuff so i'd love to hear any suggestions you might have! also if you have any tips on software as well

hmm well i guess first of all re: software i don't have any particular suggestions because ill be honest i use a cracked version of some like $300 program and tbh its not worth it i just don't want to change my ways LOL it freezes and crashes a looot and the autosave is only sort of helpful. i used imovie on my phone before that and i figure thats probably totally acceptable. i don't do any really fancy transitions or anything else, so.

Otherwise ummmm well this is advice i myself am bad at consistently following but its nice to follow the beat of the song in a clear pattern, like following the pattern and tempo of the music itself. sometimes the instrumentals overpower the lyrics in controlling the flow of the song, sometimes its the other way around, so i usually like to go with whichever element seems most dominant. like my jjba name of love amv i followed the example of the amv with the same song which inspired me and went almost completely off the sounds in the music because it has some pretty prominent ones which guide the pace a lot more than the vocals do. but in my kh against me amv i MOSTLY followed the vocals. if that makes sense. and i think it depends on how u think about the song. like i dont remember an inch of my elementary school music class and cant really focus on instrumentals AND vocals at once so i struggle with that part.

most of all im just fucking around and doing what feels right per song and source material lol. id be cautious with transitions esp like the zoom type because they make ME motion sick. but thats just me. umm personally i try to be conservative with using sounds from the show/game/whatever in the amv like i like this jjba amv but this person looooves using sound effects and dialogue from the show and this ones pushing the line for me. i developed a lot of strong opinions in what i like or dislike in an amv from spending too long watching too many one piece amvs so i go a lot off personal taste. i prefer revolutionary girl utena bet on it and mortal kombat theme amvs to like 100 one piece everybody wants to rule the world or imagine dragons trying to be really cool and dramatic and actiony amvs myself even though i am not immune to well done actiony amvs either. most of all i think u just need a vision and to go for it! hope this helps :]

[transmutationisms]

hi caden, i love your blog. you completely changed my understanding of succession when i first stumbled upon your writing. i wanted to ask what you thought of the use of pete seeger's 'which side are you on?' in season 1. it is one of the only overt gestures towards anticapitalist politics in the show and maybe the only one that comes to mind where the show calls in in other media (because one of the only other times that i can think of is ewan's anticapitalist lawyer) so it feels more 'real' to me, if that makes sense, because 'which side are you on?' has had a real-world role in anticapitalist politics in a way that ewan's lawyer has not lmao. i was wondering what you thought of that choice narratively/stylistically/etc. thank you! hope you're well.

hi! honestly, i read that as one of the most cynical moments in the entire show. the whole premise of the seeger song is that there's an inside and an outside to capitalist class interests: you'll either be a union man or a thug for jh blair. so, choosing a side makes an actual difference: are you defending or opposing capitalist class interests? with kendall and the vote of no confidence, obviously, there is no analogous choice. kendall and logan are both fighting for the same thing, namely control of the company. picking one of them over the other does nothing to alter the underlying power structures the way unions do, or are supposed to. the song pokes fun at kendall for having styled himself a revolutionary in order to make his media conglomerate power grab.

narratively and stylistically, i find this scene intensely satisfying. lines like "come all of you good workers" playing over footage of a billionaire wandering wall street are an extremely effective way to convey both how removed kendall's world is from that of struggling kentuckian miners, and how kendall is trapped by his own outrageous wealth and inability to imagine an escape from the company or his father. it's not an entirely unsympathetic sequence, but it's certainly not a flattering one. the joke here is that kendall wants to engage in the picture-book heroics of taking down the big evil boss, but he has no interest in why that boss exists in the first place. so, unlike striking miners, he's simply trying to maintain the same class structure but with himself at the very top of the hierarchy. even being logan's son and very much a member of the capitalist class isn't enough for kendall; he needs the actual ceo position. that he sees this as a way out of his father's abuse and control, rather than an avenue to his own perpetration of the same things, is indicative of how little he thinks of anyone besides himself and logan as a person with interests and needs.

the contrast between the shiny new glass and bustle of manhattan, versus the old-recording sound of the song, also points to some way in which union politics from the 1930s tend to falter when confronting the labour laws and practices of the 21st century. gig economies, cyberspatial capital, &c don't speak exactly the same language as unions modelled on organising tactics of nearly a century ago; kendall thus looks doubly absurd, trying to fancy himself not just a rebelling worker but one whose strategies simply seem incommensurable with the functioning of a modern media conglomerate (in deleuzian or foucauldian terms, the labour union is an effective strategy when dealing with a disciplinary society with disciplinary workspaces, like a factory; if it is to achieve anything in the control society with its corporations and neoliberalisation, it needs to update its tactics).

politically this is a good example of how the show typically leans more on satire of capitalism than on active or positive engagement with anti-capitalism. i also remember that the first time i watched the show, this was one of the moments where i felt like it was clear how the general trajectory for these characters is going to go. kendall is always going to pursue logan's empire; he's never going to seek a way out, and his actualisation, which is loganification, will always come at the expense of countless unnamed other people. he will never get the victorious moment he dreams of because his narratives for understanding the world are extremely limited and simplistic, and he can only cast himself as a few heroic archetypes that don't exist and that certainly wouldn't be him if they did.

for me this sequence is emblematic of both the show's strengths and what many leftists ultimately find frustrating about it, namely its refusal to engage with anti-capitalism beyond using it to mock the capitalist class. the song ends up telling us a lot about kendall and his relationship with logan, but isn't really trying to link the show up with actual alternatives to the capitalist systems of control that pen kendall in. it's a gesture toward awareness of proletarians (like the shots scattered through the show of domestic workers, event staff, &c) but is ultimately limited by the pov characters' own refusal to think about such people in any sustained capacity. again, i think this works incredibly well and succinctly as a piece of character work for a billionaire; but for people who want the show to engage more directly with labour politics and anti-capitalism, rather than such character study (& i can certainly understand that position), it's also a moment that sums up the fundamental problems of the premise and the writers' overall approach to politics.

[mywifeleftme]

312: Victor Jara // Manifiesto

Manifiesto Victor Jara 1975, Discos Pueblo

Manifiesto is assembled from recordings intended for an album that was to be called Tiempos que cambian (literally Times That Change, or New Times) smuggled out of Chile by Jara’s widow Joan after the folksinger’s torture and murder by the Pinochet junta in 1973. It was simultaneously released by different labels under a variety of titles around the world. My copy hails from Mexico, released by leftist folk label Discos Pueblo, who make their intentions clear in a statement (machine-translated by me) on the back of the sleeve that reads in part:

“We find it necessary to point out that due to its quality and value, Victor Jara’s work should be disseminated, but always by those who identify with it, and not by the transnational companies that financed his return to Chile by organizing the bloody military coup of 1973. [Ed. Something in their use of word “retorno” is probably being lost in translation here; I think it implies something like Jara’s “return to whence he came,” e.g. his burial in Chilean soil.] Those transnational corporations that today benefit from Victor Jara’s singing, filtering out its combative aspects and presenting it as incomplete, seem to ignore the deep paths that people use to preserve the integrity of the voice of their singers. This album is our answer.”

The LP is clearly a work of love (and economy), the sleeve purposely left unglued so that it can be opened like a gatefold, revealing testimonies by his peers. There’s scarcely an inch that isn’t crammed with text—even the flaps that cradle the inner sleeve itself hide lyrics to two of the album’s key songs:

The sleeve unfolded.

“I don’t sing for the sake of singing, or for having a good voice, I sing because the guitar has sense and reason, it has a heart of earth and wings of a dove, it is like holy water that blesses my sorrows. This is where my song fits, as Violeta said, a hard-working guitar that smells of spring. It is not a rich man’s guitar or anything like that, my song is the scaffolding to reach the stars. The song has meaning when it beats in the veins of the one who will die singing truths, not fleeting flattery or foreign fame, but the song of a lark to the bottom of the earth. There, where everything arrives and where everything begins, a song that has been brave will always be a nueva cancion [New Song].”

Jara’s artistry (which, besides spearheading the nueva cancion movement, also included poetry and theatrical direction) was inseparable from his politics, and the music of Manifiesto is a stirring testament to his talents and the historical moment he occupied, when Chile like Cuba before it seemed on the verge of breaking free from centuries of resource extraction-driven imperialism and making its own way. These songs cannot help but feel elegiac given the circumstances of their release, and indeed they do frequently mourn the historical oppression of the common worker. Jara’s was a lark’s voice, not that of a conventional rabble rouser, and most of these songs seem best suited for night-time gatherings of comrades and lovers or, in the case of the dazzling instrumental “Caicai Vilu” (referencing a Mapuche creation myth), perhaps a rural cotillion. But these songs were recorded during the years of Salvador Allende’s triumph, a movement that Jara had personally helped galvanize, and there is the sense that these are songs about moving in a changed world that still feels almost surreal. Only at the very end, with the rock-inflected call to arms “Canto libre,” does Jara’s Revolutionary sentiment take on a more martial beat, finally unfurling a flag of victory.

That victory would be short-lived of course, as U.S. imperialists would soon back Pinochet’s reign of terror and grind the Chilean people under the heel of fascism for another generation. It’s hard to make an argument that Jara and Allende’s side “won” in any meaningful sense (without an appeal to some abstracted moral arbiter anyway). It may be blinkered to even try, knowing that Pinochet died obscenely wealth in his nineties and that there were never meaningful consequences for his even wealthier American backers, while a despairing Allende perished at his own hand and Jara with his fingers broken and his body riddled with bullets. Yet I do believe that a song can transcend the accounting of atrocities and persist on its own terms. Music like Jara’s will endure as long as there are human beings who seek a recognition of their own worthiest qualities in art. As one of the Mexican edition’s compilers says:

“…his voice will not have coffins or crematoriums, nor dark prisons nor barbed wire, comrades! His voice and his guitar continue the fight, they remain alive seeking victory. And they will also return as flags when the Homeland regains its joy.”

312/365

[ceramicwings]

baby luffy hcs??? pretty pretty please?

Ouuuugh...... baby Luffy .... I think he's the kind of baby who cries at night mostly bc he's lonely. he just craves contact. dragon is up at night working on revolutionary stuff with Luffy slung to his chest bc he won't sleep otherwise. Luffy was born extremely small but has a huge appetite (for a baby of his size) and the nurses who monitor him after being born are always surprised by him like "holy shit he eats so much but he's like three and a half pounds" and he cries, his cry isnt very loud yet but dragon is always saying someday he'll have a very strong voice.

as a toddler Luffy is just as clingy but he's learning to talk and just always babbling about stuff. the revolutionary army adore him for the few years they have him. it's very indulgent of me to give them years with him lol. but i can't help it honestly. i just love him. iva loves letting Luffy play in their hair. sometimes inazuma will give Luffy fun little hairstyles, put in butterfly clips and little pigtails n shit.

idk if 7+ Luffy counts as "baby" but I think there's at least one occasion where shanks is visiting Makino's bar and telling Luffy stories and it's getting late but Luffy doesn't want to go to bed and keeps loudly waking back up when someone tries to move him, so he ends up falling asleep in the crook of shanks' arm, just feeling safe and warm with shanks' voice rumbling around him, shanks' heartbeat under his ear... im a huge sucker for dadshanks TwT

im also a huge sucker for big sis Makino who makes Luffy's clothes by modifying her own old clothes so Luffy wears a lot of little dresses and pinafores when he goes out to play <3 im hcing it's normal for kids of any gender to wear dresses when they're young, it's just easier to dress them that way lol. so luffy runs around in these cute outfits and makino is very pleased by the way it kind of makes him look more like her.

Ace and Sabo both are of the age to have grown out of wearing dresses (and Sabo being noble-born would have been raised wearing pants and shorts I think). When luffy turns seven is when he starts dressing like in canon (according to my whims lol) maybe his fashion sense is a little influenced by shanks and his crew. time for sandals and jorts, baby!

ASL time!!!!! Ace totally complains all the time about how much Luffy acts like a baby but mysteriously every night ends up with Luffy smushed between him and Sabo, even though he'd never do anything as soft as cuddling someone. Sabo isn't that much more inherently affectionate, he's not used to showing people love in any way aside from through obedience, but he's much quicker to take Luffy's hand so he doesn't fall behind when they're walking, and he's more often the one to carry Luffy if he gets tired or hurt. after Sabo's death and the bear attack, Ace tries a lot harder to be like caring and receptive of Luffy's feelings and needs, so he gives Luffy a lot more affection (and quietly relishes in how much it makes his heart sing to love someone, to be loved) when Luffy wakes up from nightmares Ace will hug him and hum little made up songs for him until Luffy's asleep again. when Ace has nightmares Luffy will hold his hand until he wakes up, bc he's a lighter sleeper than Ace and knows Ace doesn't react well to being woken up during them.

There's prob more I'll think of later lol but this is what I got for now!!!! Hope you enjoy <3

[pussyhoundspock]

having seen it now, i think the mixed review for the new york transfer of the 2024 frecknall cabaret make a lot of sense -- it's easy to see both sides. on one hand, it's an incredibly well produced, choreographed show with great aesthetics; the performances, especially the older b-couple are fantastic (i'll talk more specifically about cliff/the emcee and sally in a minute); cabaret itself is phenomenal. so it's a great show with great costumes stages effects and great performances. of course its getting praise!

but on the other hand, there isn't much the revival is doing that's very revolutionary. it's really just doing the sam mendes production but "more". cabaret has a really interesting history -- the original stage show, then the movie (all different songs), then the new stage show in 1987 (combo of songs), then the sam mendes/alan cummings revival which was so impactful that's the song list and book that was used in the frecknall revival. it set the tone for the aesthetic, as well as the themes, and even did its own attempt at making audience members feel like attendees of the kit kat club. however, of course, the frecknell version does more to do that. more to immerse the audience, more frenzy to sally, more demonic energy to the emcee -- though i would say the frecknell emcee is much closer to joel grey then alan cummings -- i.e., sexless, vauderal-ian figure/jester, puppet master/architect, etc, but i won't get too into that. anyway that is to say i understand the frustration or negative reviews because i dont really think the frecknell revival is doing or saying anything different than the mendes one, which was a lot more recent in america than london, though arguably the frecknell version takes things further for better or worse. and some stuff really works -- like i think one of the strongest scenes in the whole show is the brick through the window scene GENUINELY incredibly

the frecknell cabaret did have its flops for me, though. for example, while i liked what they were doing with this version of the emcee -- especially the clown suit! the costuming was great! i didn't really like redmaynes version. it felt like he was working way too hard and trying way too hard -- whereas with joel grey and alan cummings i truly felt that character come alive and it was creepy and compelling and fun and many other adjectives with redmayne it was just like. a version of the emcee that was sexless and also had negative rizz and also was visibly like Trying. i don't know. what they were doing with the emcee really worked for me; redmayne's performance didn't. but that's very like my personal taste. i also didn't really love the performance of 'cabaret' at the end which is unfortunate because that's one of my favorite musical theater moments in like. well. the whole damn thing. i did generally like the portrayal of sally, even dialed up as it was, because it did feel resonate with our time -- i think cabaret revivals really reflect the time they're in.

THAT SAID. speaking of time periods. an aside but. this production felt like the dialogue equivalent of tiktok face. the acting/actors just felt too modern at times. also. while i'm doing minor asides. i didn't really feel like they leaned as into the immersive thing as they could've but that could've been because i was rear mezz. anyway.

[on-partiality]

Hi, I’ve been curious about Hercules Mulligan’s inclusion in the Rev Set ever since I have seen posts saying that one of the other aids like Meade and Tilgman or Tallmadge (if Herc was added solely for spy stuff) would have been a better choice. Id love to hear your thoughts on this.

Also, (terribly sorry if this insults any Mullette shippers) but do you know why people ship Mullette? (Correct me if I’m wrong) but these two have had zero historical relations. In addition, I don’t remember from the last time I saw musical but if you do, what was Laf and Herc’s relationship onstage?

So sorry about this super long ask. I just felt like you would be the best person to ask. Tysm and I hope you have a wonderful day!😊

Aw, this is such a cool question! And you're really nice, anon! I wish you the best! I would also like to make it very clear right now to anyone else who wants to send me a long ask. I love long asks. They give me more to ramble about!

When I was first getting into studying the real history behind the musical two years ago, this same thing confused me heaps. Mainly because we have no proof that Lafayette or Laurens ever even met Mulligan, let alone became good friends with him and he wasn't particularly close to Hamilton either for most of the war (I mean, in the continental army, he would've barely seen Hamilton, and the other aides would have been around him all day). Hamilton lived with him when he was in college, and they got along really well, had fun late-night conversations, just overall were great friends who influenced eachother in positive ways and Mulligan's chats with him definitely made young Hamilton more enthusiastic about the revolutionary cause. Additionally, Hercules Mulligan was part of his artillery company, The Hearts Of Oak or the Corsicans - Mulligan's the whole reason why we know the story of 18 year old Hamilton stealing British cannons with his volunteers is because of the recount of that night that Mulligan later wrote - however, for the rest of the war they just didn't interact with one another much.

They had their separate jobs, and they did them well. Hamilton was confined to his own quaters and the aide-de-camp tent, Mulligan was hanging around British camps and the battlefield doing exactly what Hamilton wanted to do. The relationship between the two was completely different from how Hamilton, Laurens, and Lafayette were through most of the war. Working together, seeing each other just about every other day, creating the same drafts and plans; Especially Laurens and Hamilton as Lafayette got some more 'exciting' jobs because of his rank as a Major General. But out of the bunch, Mulligan really sticks out like a sore thumb, historically the group was called the gay trio and for a good 3 quaters of the war it was just them all together. So why on earth would Lin Manuel Miranda add a fourth to the trio? It very well could be that like you said, he wanted everyone in the main group to have a different role that was integral to how the Continental army ran (Lafayette commanding, Hamilton writing, Laurens battling (?) and Mulligan spying) but I ended up reaching the conclusion that because the musical starts in 1776 while Hamilton was still in college - in the musical at least, presumably, but because of the way events are swapped around with eachother and happen at all the wrong times it's a bit difficult to tell what time things happened in the musical like I believe that when it starts Hamilton's meant to be in college and not yet a soldier however Hamilton left college to make his militia thing in 1775 and he stole the cannons in 1775 however the musical shows this happening after Aaron Burr, Sir and at the start if that song they make it very clear that it's meant to be 1776 which also means that Hamilton and Mulligan should've already known each other, I digress, I could ramble about how the way the musical timeline is makes no sense for years - , they wanted to show someone who was really important to him at that age, and they just kept him with the group for the rest of the show to avoid confusion as to why he disappeared or so that they wouldn't have to introduce another character (like why they used Jefferson instead of Monroe for the Reynolds pamphlet).

I don't know about using Tallmadge as a substitute though, given that I haven't read of any interactions between him and Hamilton or him and Laurens historically, I haven't read of any between him and Lafayette either, but it seems more likely that they would've spoken given Lafayette's position as a major general. It's entirely possible that the trio had heard of him but never actually met him given that I believe that I read somewhere that the whole trio knew of the Culper Spy Ring and a lot of what they would've heard to do with the Culper Spy Ring would have related to Benjamin Tallmadge in some way or other because he was the co-founder of the group. Meade and Tilghman would be good to swap Mulligan for, but then it doesn't make sense that he was talking to them in college (although Laurens and Lafayette didn't meet Hamilton when he was 19 either and like I mentioned earlier, Mulligan should have already known him so with the logic of the Hamilton musical they could be in the main group, yes). If my theory is correct then it would make sense why none of the more historically accurate quadrios were chosen, if they wanted someone who was close to Hamilton in his college years who still fought in the revolutionary war; then Mulligan would've been a great fit.

I'm going to guess that Mullette is one of those ships where people went, 'Hmm, I have ships for every other character but these too, and they seem close enough (in the musical that is), so I'll pair them together!'. Y'know, one of those pair-the-spares kind of things that people who are really into shipping do. Additionally. I believe you're correct; it has to have been an 100% musical fandom ship originally because if there was even just a little bit of historical evidence to back it up, then we'd know for a fact that Lafayette and Mulligan knew each other. Oh, and as someone who has seen the musical rather recently (late may last year) in the show, Lafayette and Mulligan didn't interact much, but they did come across as good friends and for some very creative people, those crumbs of interactions are enough to develop whole stories and relationships and I applaud those people, the way they create so much out of so little is amazing. Personally, I don't like any ships that don't have even a semblance of historical backing because I'm definitely an amrev fan before I'm a Hamilton musical fan (I still love the musical, I just value the real history more). People can like what they like though; I won't judge.

I'll always think Mullette's funny because here in Australia recently it's become a trend again for young boys and men to get mullets and I can't read the name without thinking of some crazy looking mullets that I've seen. Thanks for the ask, Anon! It was super fun to answer :D

Sincerely,

O-P/Milly

(I apologise if I come across as rude, I've struggled with tones my whole life)

[josephseedismyfather]

which of the 16 main archetypes is my oc?

Thank you to @raresvtm, @cloudofbutterflies92, and @simplegenius042 for tagging me in this uQuiz! 🥰

The Lover

Fighting is really boring. You just want everyone to get along. And you really are a good person- you're just...shy, quiet, there. You couldn't throw yourself into a burning building however much pity you felt for the dog still in there, skin burning off its bones. You felt icky just reading that. You are probably artistic. You try to stay out of trouble. You are Dustfinger in Inkheart and Pippin from The Lord of the Rings.

The Mother

Even if you're not female or a literal mother, you are The Mother. You are supportive, calm, nurturing. There is no fighting on your doorstep, it is a place to heal and to grow. You leave five stars on quizzes and write encouraging notes. Nobody ever asks you how you're doing, though. Always the helper, never helped. I love you and I want you to take care of yourself, too. You can do it. You are Aunt May from Spider-Man and Nokomis from The Song of Hiawatha.

The Rebel

You are the revolutionary, the “chaotic good” (or neutral). You have a cause and you're not afraid to burn a few bridges or cities for it. You see something deeply wrong in society and take it upon yourself to change it, because "if not now, then when? if not you, then who?" (Emma Watson). You are deeply protective, but your ideas tend to alienate you to those you love. You are a natural leader, whose passion for your cause makes people gravitate towards you. Unfortunately, this passion transcends minor annoyances like common sense, which can quickly go south. Just remember that "wiping the slate clean" and preparing for all-out apocalypse is usually romanticized in media and it is extremely inadvisable to do so in reality. You are in the company of rebels in literature including Katniss Everdeen, Atticus Finch, and Lyra Belacqua.

Opt-in/out of tag list here.

@wrathfulrook, @socially-awkward-skeleton, @trench-rot, @ladyoriza, @cassietrn @redreart, @inafieldofdaisies, @hotmessteaparty, @g0dspeeed, @voidbuggg @malefiquinn, @strangefable, @noodlecupcakes, @chazz-anova, @aristomal @ocdemon-747, @evilvvithin, @carlosoliveiraa, @la-grosse-patate, @omen-speaker @3llisarts, @grimmylover7, @scorpiosleeps, @direwombat, @walder-138, and anybody else who wants to play. Tag me! 😘