#oh well i'll leave it up to you

[ohitslen]

Tending wounds.

[triglycercule]

mtt therapy moment except dust keeps taking breaks to talk to phantom papyrus and horror just wants this to hurry up so it can get to his turn because he couldn't give two shits about dust and killer's trauma and killer physically cannot discuss his issues and just starts zoning out while crying for some reason during it

and i'm the therapist listening to all of this writing down notes fervently because ITS CANON MATERIAL CANON I NEED TO GET THE CANON MATERIAL

[serpentface]

Do you conlang? I was wondering if you had naming languages (or possibly even more developed ones) for pulling the words you use. I tried to search your blog but didn't find anything, wouldn't be surprised if the feature is just busted tho. Your worldbuilding is wonderful and I particularly enjoy the anthropological and linguistic elements.

Ok the thing is I had kind of decided I was not going to do any conlanging because I don't feel like I'm equipped to do a good job of it, like was fully like "I'm just going to do JUST enough that it doesn't fail an immediate sniff test and is more thoughtful than just keysmashing and putting in vowels". And then have kinda been conlanging anyway (though not to a very deep and serious extent. I maybe have like....an above average comprehension of how language construction works via willingness to research, but that's not saying much, also I can never remember the meanings of most linguistic terms like 'frictives' or etc off the top of my head. I'm just kinda raw dogging it with a vague conceptualization of what these things mean)

I do at least have a naming language for Wardi (and more basic rules for other established languages) but the rudimentary forms of it were devised with methods much shakier and less linguistically viable than even the most basic naming language schemes, and I only went back over it LONG after I had already made a bunch of words so there's some inconsistencies with consonant presence and usage. (This can at least be justified because it IS a language that would have a lot of loanwords and would be heavily influenced by other language groups- Burri being by far the most significant, Highland-Finnic and Yuroma-Lowlands also being large contributors)

The 'method' I used was:

-Skip basic construction elements and fully move into devising necessary name words, with at least a Vibe of what consonants are going to be common and how pronunciation works -Identify some roots out of the established words and their meanings. Establish an ongoing glossary of known roots/words. -Construct new words based in root words, or as obvious extensions/variants of established words. -Get really involved in how the literal meanings of some words might not translate properly to english, mostly use this to produce a glossary of in-universe slang. -Realize that I probably should have at least some very basic internal consistency at this point. -Google search tutorials on writing a naming language. -Reverse engineer a naming language out of established words, and ascribe all remaining inconsistencies to being loanwords or just the mysteries of life or whatever.

I do at least have some strongly established pronunciation rules and a sense of broad regional dialect/accents.

-'ai' words are almost always pronounced with a long 'aye' sound.

-There is no 'Z' or 'X' sound, a Wardi speaker pronouncing 'zebra' would go for 'tsee-brah', and would attempt 'xylophone' as 'ssye-lohp-hon'

-'V' sounds are nearly absent and occur only in loanwords, and tend to be pronounced with a 'W' sound. 'Virsum' is a Highland word (pronounced 'veer-soom') denoting ancestry, a Wardi speaker would go 'weer-sum'.

-'Ch' spellings almost always imply a soft 'chuh' sound when appearing after an E, I, or O (pelatoche= pel-ah-toh-chey), but a hard 'kh' sound after an A or U (odomache= oh-doh-mah-khe). When at the start of a word, it's usually a soft 'ch' unless followed by an 'i' sound (chin (dog) is pronounced with a hard K 'khiin', cholem (salt) is pronounced with a soft Ch 'cho-lehm')

-Western Wardin has strong Burri cultural and linguistic influence, and a distinct accent- one of the most pronounced differences is use of the ñ sound in 'nn' words. The western city of Ephennos is pronounced 'ey-fey-nyos' by most residents, the southeastern city of Erubinnos is pronounced 'eh-roo-been-nos' by most residents. Palo's surname 'Apolynnon' is pronounced 'A-puh-lee-nyon' in the Burri and western Wardi dialects (which is the 'proper' pronunciation, given that it's a Kos name), but will generally be spoken as 'Ah-poh-leen-non' in the south and east.

-R's are rolled in Highland-Finnic words. Rolling R's is common in far northern rural Wardi dialects but no others. Most urban Wardi speakers consider rolling R's sort of a hick thing, and often think it sounds stupid or at least uneducated. (Brakul's name should be pronounced with a brief rolled 'r', short 'ah' and long 'uul', but is generally being pronounced by his south-southeastern compatriots with a long unrolled 'Brah' sound).

Anyway not really a sturdy construction that will hold up to the scrutiny of someone well equipped for linguistics but not pure bullshit either.

[xxcyberghostxx]

au where bill realizes he's losing in the weirdmageddon and uses his newfound control over time to place himself in the twin's lives wayyyyy before they get to gravity falls in order to manipulate them into trusting him

[keeps-ache]

'please i have a family !! of ocs'

[astralprisms]

Was wondering why this particular gith face always feels like it suits baldness best and then I realized it IS in fact Orpheus' face model, Orph just has different unique ears.

Anyway welcome back, dreadwolf.

[dandyshucks]

i am freeeeeeeee [collapses into a pile of dust]

[corfisers]

im around if anyone's wondering i just feel like my sanity is slipping

[nocentis]

Honeysuckle

⚶ ┆ Between his teeth and beneath his nails, an airy fruit light as love is bitten down to the rind. Even with his mouth full of pulp he finds himself desperate for her taste.

A sigh echoed and swallowed, kept locked in his chest like a secret. He held his breath until it burned; savored every hitch and every hum of her sacred song. Each curse spoken like a prayer, like praise; wept like gratitude wrenched raw from the soul — raked clean and spit out like the pit of a cherry. When he's forced to breathe, she is the hallowed riptide, and he would be blessed to drown in her lush.

Ripe as a peach at the crown of her cheeks; soft red flush so sticky sweet. Another of her colors comes to life in his mind. One shade closer to the divine.

⚶ ┆ Woven together like lace under the pale light of a waning moon. He can't be sure where he ends and she begins. She pierces straight through him like he belongs to her, and in some capacity, he knows that he does. There is no room left in his heart for desire of this nature. It has reached its bounds and collapsed inward on itself — a singularity the size of her that takes of these moments and stretches them infinitely, ever deeper, ever denser; inescapable.

Too much would never be enough and yet he counts every falling grain of timesand, tallies them up, and says his Hail Mary's in correspondence. Blessed is he for these hands to hold her, for these eyes to view her, for this mouth to speak her name. Blessed is he for the breath and the bread, the water, the whine.

Under his breath, to no god in particular, he issues his thanks.

"You're still awake." Her voice is strained by the small hours. The calm is sweeping her away and yet she remains afloat, waiting for the rise and fall of his chest to slow before she sinks into sleep. "Your train leaves early. You should rest."

His own voice is gravelly, thick with syrup, when he attempts to quell, "There will be another train. There is always another train."

There is nothing more important than this — her head on his chest and his fingers in her hair, scarlet as the sun's kiss and softer than silk.

She shifts so that she can look at him, and the nightglow catches the honey of her eye. "You should rest," she reiterates, and though she aims to chastise, he can feel her care bleeding through her touch.

"I will," he promises, though he chooses not to specify when. "I'm not ready for tomorrow."

He feels her hum before he hears it. Gentle as a lullaby, it dims his vision, and he finds a brief reprieve inside his eyelids.

"You're ready," she assures, succinct as ever.

"You're right," he concedes through a sigh, "I don't want this to end."

"Then don't end it," she slides her hand into his, weaves their fingers together in an airtight knit, "Water it. Let it grow. Keep it alive while we're apart."

He responds first through a light squeeze, a bit of humor trapped in his chest, and he can't deny that, "There are some things even I can't kill."

[nowandforalways]

"Never to change, ever to share...": An off-the-rails analysis of "Now And For Always" from the Lord of the Rings musical

Good day to you, my dears.

"Now And For Always" is my favorite song of all time and has been since I first heard it at age 16. With the revival of the musical giving us a ✨whole new arrangement✨ of the song, I decided now would be as good a time as any to analyze it as a whole and take a look at a few of the changes made to see how each version accomplishes exactly what it set out to accomplish with it's storytelling from a musical perspective.

A QUICK NOTE BEFORE WE START: While in the original production of the show, "Now And For Always" is clearly diegetic (that is, the characters in the show are actually singing the song in the world of the show), it's a bit more debatable in the new production. Samwise Gamgee is a wonder, but I find it hard to imagine him schlepping an entire guitar to Mordor - this ain't Hadestown, after all (the "Wait for me"/"And I'm coming with you" thing would require an entirely separate post 😉). Regardless, for the sake of analysis and also my sanity, we are going to say that the song is 100% diegetic in both versions of the show.

Key: NA = new/revival arrangement

OA = old/original arrangement

SO

First lets take a look at what stays the same between both versions (which is most of the song, tbh) and see what can be seen. We're gonna get lightly music-y here.

This song is in 6/8 time signature, which basically just means that it's counted out in two groups of 3 notes each - 123, 456 - with a sort of slope-y feeling to it, like rising up to 3 and falling back down to 6. You can also count it in a very slow 2/2 (1, 2), with each of those being on the 1 beat and then the 4 beat of the 6/8 counting pattern. This time signature has the effect of making it slow and relaxing, but still sound Hobbit-y, in a rather country-ish way. This time signature could technically become a very fast waltz, and it does lean into a natural sort of swaying motion when you listen to it. Perfect for singing around the fire.

The rhythm of the song itself is interesting because it's very speech-like. If you try to speak the words out loud in rhythm, it doesn't actually sound that off from a typical English speaking rhythm. This makes it very easy to learn, and very easy to add your own words to, as its implied Sam and Frodo are doing as they sing it. Lassi Longren, the composer of the song, said that it wanted it to sound like an old song that the Hobbits all know and sing around the fire, and the idea of a song like this with a chorus that everybody knows and then verses that are improvised by individual singers makes a lot of sense (makes me think of, like, "The Campfire Song" from The Lightning Thief - a song that is also in 6/8 and with a very speech-like rhythmic pattern).

The chordal structure also contributes to this homey, comfortable feeling. The song is in the key of D major, which is a fairly middling key (it's the key that most pennywhistles are automatically tuned to!), and is constructed around just 3 chords, with 1 more thrown in there if you want the cadence on "strange and rare" to sound correct. This makes it extreeeeeeemely easy to play - like I can barely play guitar, but I can reasonably play this. For the music nerds, the chords are I, IV, and V, with a little vi for that one cadence I mentioned earlier. This is essentially the most basic group of chords ever created, and it seems very intentional to me - it makes the whole thing feel comfortable and familiar, like it's an old song you know, even if it's your first time hearing it (Fun fact: The Shire theme from the Peter Jackson films uses also uses this chord group!). The only this about the song that might make it tricky to sing along with is its range - it's more than an octave, which can be hard to span if you're not a practiced singer. But you know, sometimes you just gotta have that fun melodic contour. Song gets boring if it stays all within too small of a range. :P

Okay so that's all the basic musical stuff that's the same between both arrangements. Time for the differences.

The most major musical differences in the NA as I can see are: Frodo and Sam switching who is singing the higher vocal part and who has the lower part during the second chorus, different instruments being used for the solo instrumental lines, and the whole of Frodo's solo verse and chorus. These all serve the major thematic change in this moment in the NA, but I'll get to that at the end.

First, the vocal lines in the chorus. You all know how much I looooove that Frodo is always on the lower part in the original show (see this whole post I wrote about it here!), and I equally love Sam getting the higher part in the OA for this song. It fits his character and part in the song very well - he started it off, he's done the improvising bit; after one chorus of unison to make sure that Frodo has a handle on the melody, he can pop off. Young, dreamy, surprisingly poetical Sam, with his love for elves & beauty & all things that grow, gets the chance to soar, while Frodo stays lower, hanging onto the melody. It almost works like foreshadowing for their characters, with Sam audibly choosing to do so much while it seems like Frodo is just there, but Frodo's actually doing the arguably far more important part of carrying the melody.

In the NA, they are flipped - now Sam stays on the melody while Frodo pops up to the higher part, and it still works just as well. Frodo's actually been on the higher part for the whole show up to this point, cause that's just how Louis Maskell rolls (the one very significant moment where he sings a lower harmony to Sam's melody is right before he leaves at the Grey Havens, which I could probably write a whole 'nother essay about), but it doesn't screw with the character perception in the way I had initially feared. Sam starts the song, Sam's got the guitar, so Sam stays on the melody, to carry the thing through. This now leaves Frodo free to do his thing with Sam's support. And this is where I start heading into headcanon territory, but I can't help but think by the easy way he slipped into it that maybe Frodo has sung this part before. He canonically has a nice voice (the Breelanders like it so much that they make him sing "The Man In The Moon Stayed Up Too Late" twice in the book!), and it would make sense for a naturally talented singer to get enough experience singing that they are able to whip out a higher part just for fun - maybe, if they ever sang this one down at the Ivy Bush, or by the fireplace in the parlor of Bag End, this was Frodo's part. And speaking from the same character perspective, Frodo is also everything I described Sam as before - dreamy, poetical, sweet - he's just older and, at this moment, significantly more tired both mentally and physically. But, he hasn't lost his hope yet, so he can still reach down and bring out a past version of Frodo, one who could sing that part in the song.

Next, the instruments. This is pretty simple; there aren't a lot of changes, but the one significant moment is the use of a harmonica instead of a fiddle for the solo in the middle of the song. Both versions of the show have instruments associated with certain characters (harp for Arwen, whistle for Frodo, concertina for Gollum, etc.) but the NA has the advantage of having all the actors play instruments, so it becomes rather explicit. In this case, the harmonica is being played by and associated with Bilbo, and that's neat, because this is a continuation of a story that he was also a part of. The fiddle in the OA is more representative of hobbits as a whole, so it also works in context.

Aaaaand the last one, the arrangement of Frodo's verse and chorus. This one is a doozy, because this is where we will be involving my theory on the different reasons for Sam starting the song.

So, the first time I heard the NA "Now And For Always", I actually started yelling IRL "IT'S A HYMN" as soon as it got to Frodo's verse+chorus, because, well, it is. Lemme explain. The orchestrations shift from the guitar and strings of the rest of the song so that Frodo is backed primarily by the ensemble singing "Oohs" and some sort of drone bass note underneath that I can't figure out (probably like a cello or something). The tempo suddenly becomes a lot slower and a lot less "bouncy", so to speak - that 6/8 time rising and falling pattern that I described before is significantly downplayed, and there are a lot more complete rests in the music, and that gives the whole thing overall a much straighter feel. This all gives a very hymn-like effect, particularly the "ooh"s, because voices moving between chords like that in a homophonic way (that is to say, everyone changes notes at the same time) is common in chorale-style hymns, and the drone, because having something called a "pedal point" (one note held underneath multiple chords) makes the music sound a lot older and more solemn. This is in contrast to the OA, which has, while not the exact same backing in Frodo's verse+chorus (it does get slower, and more smooth and flowing in the instruments), certainly much less contrast between Frodo's bit and the rest of the song than the NA. They both do this, but the NA just a bit more emphasizes how serious Frodo is about what he's saying. It's also is a texture that we haven't heard yet in the show and won't really hear again, so it kind of demonstrates the changes going on in Frodo by this point, like he's becoming something not quite of the world (sort of like all those comments in the book about him being "clear" or having a light shining through him). From a practical standpoint, it's also because Sam had been playing the guitar this whole time, and now he has gone to bed, so no more guitar. But above all, the vibe that making it sound like a hymn gives it is reverence, and that is important for the next bit.

Hoo boy, it's extrapolation/headcanon time. I've done a lot of actual musical analysis, but there comes a point where you have to take all those things you've gleaned and start spitballing about what they mean when combined all together. Here's what I have landed in: The changes in the NA reflect a change in Sam's motivation for starting the song in the first place.

Lemme explain.

In the scene before "Now And For Always", the boys are discussing Frodo's realization that destroying the Ring means that the elves will leave, and that there will be no more magic in the world. It's as they reflect on these very big changes that Sam starts singing a song about how at least some things stay the same. NOW. In the OA, Sam and Frodo start off the song in much the same place, emotionally - they're both kind of moody and mournful, feeling shaken at the idea of everything changing in such a big way, and missing the days when they believed that stories always ended with things returning to a happy normal. Sam's line "We hobbits only really like stories that end just the way they started, don't we?" is sort of a rueful realization that they are both severely freaked out by all of this because they come from a place that values unchangingness so highly. Sam starts the song as a way to bring them both some comfort by reminding them of home. He then fills in the bit about Frodo during the second verse because Frodo mentioned special folk and great adventures, they're both so tired that everything's funny, and Sam genuinely adores Frodo and knows how brave and important what he's doing is. Frodo's verse about Sam, in turn, is sung almost like a lullaby, which makes sense, as lullabies are often directed at the person falling asleep. So Frodo sings to Sam as he falls asleep about how much he admires him right back, sort of returning the compliment, like in the book. The way he says "it's not me they'll remember, you know" just before he starts singing has this weird sort of regretful tone to it, as if Frodo has kinda always known that his would be a thankless task, and that Sam, taking charge and leading them around and taking care of them, will be the one who goes down in history as being instrumental. He has been seeing this whole time how much Sam has done for him, and he knows that in time, others will too.

In the NA, on the other hand, the vibes of the scene before the song are somewhat different. The lines do not change at all, but the attitude from each of them is different. Here, we have the exact same conversation, but Frodo is audibly more stressed about it (not to mention more audibly exhausted), and Sam, in response, is keeping his tone very neutral, almost lighthearted at times. That general vibe continues into the song, which I thought was weird at first, until I realized what Sam is doing. Frodo is very shaken by all the big changes that he sees coming, so Sam responds by reminding him about the songs that they used to sing the Ivy Bush - the ones where nothing ever really changes. He says the line from above about hobbits liking stories that end the way they started like he's reminding Frodo of a fun fact, which is that despite everything going on around him, there are still plenty of stories about heroes where things are allowed to go back to the way they were. In other words, while the OA of "Now And For Always" is two people trying to comfort themselves by singing something that reminds them of home, the NA is Sam Gamgee Is Going To Cheer Up His Best Buddy Or Die Trying, first by reminding him that plenty of things do stay the same, and then by getting a bit silly and describing Frodo as one of the heroes (who, I will remind you, are allowed to go home unchanged). He goes until he sees a sign that he has succeeded somewhat in his quest - remember my headcanon about Frodo singing the higher part being indicative of his old self shining through? That could certainly be a signal to Sam that his little idea worked. More likely, the fact that Frodo starts waxing poetic about plum cake (which is so valid of him, tbh) when a few minutes ago he had to be ordered to sit down and eat something is also a sign to Sam that Frodo feels better, at least for the moment. So he feels alright to go to sleep. And then Frodo sings his part. And THAT'S why the reverent tone I mentioned earlier is so important. Because it makes it seem like Frodo also realizes, in this moment, what Sam has just been doing, and what Sam has been doing this whole time. The pauses in the music make it seem like he's coming to awareness, step by step, of just how much Sam has done for him, and the only possible emotional response for something that earth-shatteringly loving is reverence. And THAT'S why the NA ending works so gosh darn well - it gets across everything that Frodo is thinking and feeling in this moment with the music as well as the lyrics.

So, yeah. I don't have, like, much of a conclusion for all this. These are just a bunch of things that I observed about these two songs and then my brain running absolutely buckwild with extrapolating conclusions from there. And a lot of this is my own interpretation of what I hear, so if you thought something different, that's totally fine! Also, this is entirely based on only being able to hear what's going on, so if you've seen the show and I got the vibes super off for part of it, please let me know. :)

Thank you for reading, and I hope to see you around! Heyday!

EDIT: The more I think about it and try to feel it in my body, I might call the time signature a very fast 3/4. Regardless, all my points still stand. Just wanna cover all my musical bases. :)

[unproduciblesmackdown]

@tinybigfoot no i love information! which is unfortunately often in conflict with "i'm not looking up shit," like might be found on wikis easily lmao, except for when i'm having an "i'm extremely looking up shit" moment. love the drama of the scene having a known time via Newspaper b/c of the accurate contemporaneous headlines rather than being able to simply read the date; didn't know about that event! and this is me just yesterday looking at bits of paper in the backdrop of one of the Introduction comic pages like ooh can i read this (no) imagine it if had Clues (don't think it would & doesn't seem to anyways)

another zany fact to remember that yeah according to those character profiles mitzi Would Have It Be Believed she's at all younger than mordecai, ft. the implication that since yeah he was born in '99 & mitzi Was born in the nineteenth century too, she's either the same age or slightly older. let's go Circa Thirty Characters....which is mostly just mitzi who'd deny as much & mordecai having a couple years to go, fingers crossed. then we leap over to people born in the '80s lol

[triglycercule]

man writing is so silly and fun i cant believe i get to write dust being offered horror paps's human spaghetti while horror is having a grand old time and i DONT have to put in the effort of drawing 😁😁😁😁 this is joy!!

[starpros-sunshine]

I still think it's so funny how this card belonged to a Tori event. A kind-of Tori centric story that was about Tori having to come up with a dance for his class project and who gets the 5* card? Wataru.

"Well then Tori could've gotten the 4* card to this gacha thing in the story of which fine tries to help him do his schoolwork together."

WRONG!

Eichi got that one :)

Wataei hijacked the fine gacha about a story that should be about Tori nobody does it like them <33

[blizzardfluffykpop]

why the fuck do i miss pigeons

[the-eclectic-wonderer]

I just finished watching S2E13 The Stan Who Came To Dinner, and there's a scene I didn't remember before in which Stan asks for Dorothy's forgiveness for all the times he cheated on her, because he wants to face his operation with a clear conscience. Which is,, yikes, of course, but also not the thing I want to talk about right now.

What surprised me is that Dorothy seems to be shocked at his revelations? It seems like she really didn't know about Stan's infidelity? I mean, the whole dialogue begins with her saying:

"I've already forgiven you for that, Stanley. Besides, in the grand scheme of things, it's not bad to wait 38 years to make your first big mistake."

I initially thought his mistake was divorcing Dorothy (since his line before this one is 'I love you, Dorothy. That sounds crazy because I walked out on you, but it's true.' ), but then he admits that the divorce wasn't his first mistake, because he's cheated on Dorothy before -- and she seems genuinely taken aback:

"I cannot believe this. I cannot believe that I am hearing this. I always assumed something like this could happen, but..."

And this was so strange to me, because I always sort of assumed she did know. She even caught him one time! In S7E8-9 The Monkey Show, she recounts this episode about Stan:

"[...] I rehearsed my speech and I made arrangements to meet him at a coffee shop. I got there five minutes early and caught him necking with a waitress."

So... she does know (of at least one time)? But then, why didn't she say anything?

I feel like there's three possible answers:

She really doesn't know. She thought the incident with the waitress was a one-time occurrence, and she's believed him all throughout their marriage when he said he was 'going at a convention' or 'working late' or whatever excuse he used to cover his actions.

She's lying to him in the S2E13 scene -- and she's lied to him all throughout their marriage. She does know about his affairs, and never confronted him because she wanted to keep their marriage and their family together more than she hated his guts; she didn't want to rock the boat, so to say. What shocks her in the S2E13 scene is that he's admitting this stuff out loud, with plenty of details.

She lied to herself all throughout their marriage. As trustful of him as Dorothy can be (and as trustful of him as she was in her youth, especially), she's also a smart cookie, and Stan's not really the sharpest tool in the shed. It's hard for me to believe that she never figured out that he was cheating on her, especially after catching him with that waitress; it's easier to think that she forced herself to believe his gaslighting, as part of her efforts to be a good wife to him. When Stan (sort of...) comes clean, she's shocked because it's sinking in, in real time, that she was right.

I'm not sure which option is more likely; I feel like it's probably a mix of the three. At the beginning of their marriage she likely didn't think it possible and believed everything he told her; once she caught him with the waitress, she had a sort of transition phase where she tried to believe he was faithful to her even though she knew the truth, deep down, and then by the end of her marriage she was over it, and simply chose not to let him have it. She's shocked in S2E13 because she can't believe he's admitting this stuff out loud, but she doesn't seem as shocked (and angry) as she would be if she was just finding it out in the moment, imho.

I also feel like her knowing about his infidelity doesn't change the meaning of the first mistake line, because, well... he's always come back before. He's come back to hurt her again and again, but he has come back -- and then she gets a phone call, and suddenly, for the first time, he's not coming back anymore. It's the one time that's so devastatingly painful it eclipses everything that came before -- no wonder she counts it as his first mistake.

[melancholic-pigeon]

No, I'm not okay. Thanks for not asking.