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angelwishess · 2 months ago

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Kyra’s Design & Symbolism

I just wanted to ramble about how I designed Kyra, and all of the tiny details behind why I did so! Hehe!!

Inspiration

First of all— Why did I base her on the Disney Princess Stereotype?

If you think about it, its honestly perfect. Someone thats based on the Disney Princess Stereotype, trapped in a school of villains and unable to escape??? Its hilariously perfect, and such a good way to poke fun at tropes. Shes quite literally the perfect “Damsel in Distress” , especially how shes always somehow involved in each and every overblot.

It was pretty interesting and fittingly cliche. It feeds into the whole “damnsel in distress, captured by the villlain!” Cliche, and it kind of pokes fun at the fact many stereotypical princesses in media usually find themselves in unsavory situations, and need to be “saved”.

I will continue to expand on this more— but I also wanted to make it obvious that Kyra does not belong at NRC.

I wanted to make sure she stands out somehow, just to make it obvious that Kyra does not belong here, and was never meant to be at NRC in the first place.

A princess in a school of villains… Its just too funny of a concept to pass up!

General Design

Like I said earlier, Kyra was designed with the goal to stand out. To make it obvious that she doesn’t belong at NRC at all, and be the complete opposite of most of the NRC cast.

Kyra is meant to oppose NRC itself. She goes against what NRC represents, and the student body itself as “villains”.

A magicless student in an academy for mages, a foolishly selfless and (mostly—) humble girl surrounded by prideful students, a representation of light in a place that is a place of darkness as the “Villains’ World”.

Kyra is meant to stand out not only as my technical “MC”, but also to represent and have her as a symbol for change at NRC. With her arrival to NRC, and through the events of the main storyline, Kyra obviously has an effect on everyone she meets, and somehow I wanted to make sure that when you see her, it was someone you’d never forget. Not just from her actions, but from how memorable she is in general.

Even her name, Kyra, was purposeful. Depending on what language you check, it has different meanings, but every one of them suit her perfectly.

In Greek, the origin language for her name, it means “Queen”, “Ruler”, “Lord” or “Lady”; yet in Japanese it can mean “Glittering” or “Shiny”.

And in many other languages, Kyra has other meanings.

“Sun”, “Far-Sighted” and “Throne” in Persian, “Beam of Light” in Sanskrit, “Leader Of The People”, “Beloved”, “The One People Look To” in Russian, and “Beloved”, “Precious”, “Valuable” in Turkish.

I could go into detail on how all of these meanings fit her perfectly, but this post would get too long HAHAHAH

While Kyra is meant to oppose the NRC cast in some way, she was specifically designed and written in a way to directly parallel Malleus. I will make a post talking about how and why, and when I do I’ll link it Here!!

In a nutshell: Kyra was designed with the intent of being a contrast to NRC itself. She was designed and written in a way that is meant to set her apart from the cast, not only as the technical “MC” as my Yuusona, but also because of what shes based on.

But !!! She is also meant to be a physical representation of change at NRC. Of new beginnings, and love.

Color Scheme

Besides Pink and White being my favorite colors (SHHH IGNORE THAT FACT FOR NOW!!) — Kyra’s color scheme is actually meant to parallel Malleus. Like I said before, they are direct parallels personality and lorewise, and I wanted to show their parallels even through their designs.

Black and White are obvious opposites; Pink and Green are also directly across from eachother in the color wheel!

Buut, its also meant to parallel Disney Villains in general! Like I mentioned before, she is meant to parallel NRC and, by extension, the student body. See, one of Disney’s favorite things to do for their villains is using a bright green when animating scenes with their villains.

Soo, it was just too perfect and fitting to pass up!

That, alongside the main color for NRC being black, gave me the perfect idea. It fits so well, as the symbolism of both the colors pink and white perfectly fit Kyra’s entire concept! Her color scheme is not only the opposite of Malleus’, but also the colors commonly used for Disney villains in general.

White being a famous symbol of purity and innocence, and hints to the naive, innocent, sheltered princess stereotype.

Pink being a famous symbol for femininity, love and compassion. It is also very affiliated with princesses.

Furthermore, white also symbolizes perfection, honesty and beginnings.

Uniform Design

Oh lawwdd here we go… *cracks knuckles*

Kyra’s uniform is, again, supposed to somehow represent how she doesn’t “belong” at NRC despite wearing the uniform. Its heavily customized, and also represents her love for fashion and her desire to express herself.

Kyra’s uniform is mainly inspired by two kinds of fashion. Lolita fashion and Himekaji fashion!

Her sleeves are inspired by Lolita fashion, while her cropped jacket, innershirt and skirt are all inspired by Himekaji, a Gyaru substyle!

Himekaji is actually her main inspiration, and I have a few different reasons! Though, one is just because it suits her perfectly, theres one other!

“Himekaji” when directly translated, is “Princess — Casual”. And Kyra IS a princess trying to act casual and hide her royal background. Its a funny little way to hint at something, but its a fun fact I love about Kyra hehe

Furthermore, both Lolita fashion and Gyaru fashion are alternative fashion styles meant to fight back against the usual beauty standard and societal norms! Both are styles meant to represent dressing up for fun and for yourself, and not for others.

Lolita Fashion~

Additionally, Japanese culture emphasises the importance of motherhood as a “sacred mission” and discourages women from pursuing a career as it distracts her from her main task of motherhood and running the family home.

Thus girls and women who wear Lolita are rejecting the societal expectation of low-importance careers and homemaking in favour of a fantasy in which they can “fulfill their own sense of princess-like aesthetic beauty” and avoid growing up in a more mundane world.

Lolita fashion appears to be a rejection of societal expectations in favour of a luxurious, responsibility-free life.

Hehe, get it? Kyra was told her whole life her only purpose in life was to be beautiful and get married. She lacked any sense of identity other than the one that was forced upon her— and now, she dons a sense of fashion that is deeply rooted in fighting against those exact same ideals!

Gyaru Fashion~

The term “Gyaru” In Japan is usually used to refer to young women who are cheerful, sociable, and willing to convey their feelings and emotions through actions such as adopting trendy fashions.

The fashion subculture was considered to be nonconformist and a rebelling against Japanese social and aesthetic standards during a time when women were expected to be housewives

Also!— Gyaru girls in particular, are often associated with a carefree and rebellious spirit, challenging traditional Japanese norms of appearance and behavior. This ties in very well with Kyra’s own views of living, and which is why I made her main style lean more towards Himekaji, yet still made sure that there are hints of lolita fashion in her outfits, too!

In short— both of the fashion cultures I took most inspiration for with Kyra’s style both were created with the intent to rebel against what was expected of women in society.

Its kind of silly, but I thought it’d be a really fun way of representing who Kyra is and even hinting parts of her backstory through her uniform!!

Coffin Symbol

Man I really need to remake this😭😭

You might be thinking— “A dove? Isn’t that kind of random??” And, yes, thats what I thought too at first.

But, the thing is, even if Kyra’s character began as being inspired by the Disney Princess Stereotype; Kyra herself has her own story. And if I gave her a symbol that resembled her background and status of royalty, that would just completely throw away her entire character.

While Kyra may be royalty, during the course of the storyline she is actively trying to get away from it. Of course, it will always be part of her, and you can’t erase the past. But she strives to be more than just her beauty, and more than just her status.

And so, I decided to give her a symbol that represented who she truly is perfectly. A symbol of who she is and what she believes in.

Birds in general are a famous symbol of freedom. Something that is vital to Kyra’s character development and beliefs.

But ! I decided on a dove specifically because it represented her own beliefs the best, but also her role in the main storyline.

The dove has always been a famous synbol connected to the heavens. But it is also a symbol of peace, inner tranquility, harmony, purity, as well as love and freedom.

Personally, have always seen doves as a symbol for a new, prosperous era. The dove is the perfect symbol for Kyra! Freedom, love, and rebirth is everything she values and believes to most.

Similarly, ever since coming to NRC she's brought with her a new era of renewal. Spreading love wherever she goes whether people realize it or not, her effect on others is undeniable!

Honestly, the reason I chose the dove is also because of the story from the Bible with Noah’s arc.

Genesis 8:6-12: After forty days Noah opened a window he had made in the ark and sent out a raven, and it kept flying back and forth until the water had dried up from the earth. Then he sent out a dove to see if the water had receded from the surface of the ground. But the dove could find nowhere to perch because there was water over all the surface of the earth; so it returned to Noah in the ark.

He reached out his hand and took the dove and brought it back to himself in the ark. He waited seven more days and again sent out the dove from the ark. When the dove returned to him in the evening, there in its beak was a freshly plucked olive leaf! Then Noah knew that the water had receded from the earth. He waited seven more days and sent the dove out again, but this time it did not return to him.

This story is why the dove in her symbol is specifically holding an olive branch! The dove being the symbol of the coming of a new era after a great disaster, isn’t it fitting?

Anyways— Another reason that I have is that, again, I wanted her to somehow act as a parallel/opposite to the NRC cast. While NRC is represented by a raven, I simply thought it’d be fitting for Kyra to be represented by a white bird.

Its also a way for me to once again poke fun at stereotypes. Ravens are commonly seen as bad omens and “evil” in media, while doves are much more praised and beloved and commonly related to the heavens.

Buut !!! There is more !!! Continuing on my raven - dove symbolism…

Ravens are often symbols of death, while Doves are symbols of rebirth.

If it wasnt obvious already, I really like it when there are parallels within themes and characters WHAHAHAHA

Kyra herself is going through a period of rebirth and renewal throughout the main storyline. She is slowly discovering herself and the life she wants to lead, thus beginning her new, personal journey of life.

While she helps others— they help her, too. Without even realizing it.

Kyra’s character development focuses on Freedom, Love (romantic, platonic, self-love and familial—), Rebirth/New beginnings, Inner peace, and Hope in spite of a terrible past. Remaining full of love and hope regardless of the situation, and slowly coming to terms with who she is as a person.

HOLYY YAAPP😭😭 I put in a little TOO much thought into Kyra’s silly self methinks… only for me to mostly post only crack about her LMFAOOO

@screamintoad since I yapped to u abt this before hehe …

#🎀🕊️! kyra #yes this is how im going to reveal Kyra’s religous references ty #me when Kyra is super super complex but then i turn around and only make shit posts HELPME #its just so much more fun being unserious ……..#kyra …. my queen ………. ily …………#funfact!!: the reason I began shipping Kyra with Floyd is the exact same reason why I decided on Kyra’s symbol #I sat down one day and rlly thought about who SHE would want as a partner… Who would be best for her considering her background…#and boom— it just clicked!! Floyd!!! perfection!!! (worst decision of my life /j)#<- i have a seperate yap sesh abt that in my drafts somehwere….#twst #twisted wonderland #twst oc #twst wonderland #disney twst #yuusona #twst yuu

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wavesoutbeingtossed · 4 months ago

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The TTPD Deep Dive (Part ?)

It’s no secret that I have a lot of Thoughts about The Tortured Poets Department and it has lived rent-free in my head since it came out earlier this year. I’m absolutely blown away by how underneath the chaos, it’s actually an exceptionally cohesive story and is probably the closest to a concept album Taylor has ever done.

There are so many themes that have stood out to me over the last five months, and there’s one in particular that I think not only drives the entire album, but ties into previous albums to help deepen understanding of it.

This is it, my fangirl magnum opus, my months of posts consolidated into one place. This is also my disclaimer that this is just my interpretation of the album, and my summary of the story it tells, and I don’t pretend to have any special insight or authority. I’m not saying I’m correct at all, do not take any of this as fact, it’s just what it sounds like to me, and these are my silly not-so-little thoughts about it.

(Under a cut because it’s way too long and involves discussion many may not care for or be sick of.)

Come one, come all, it's happening again (I'm thinking too hard about Taylor music)

The overarching theme in TTPD to me is: Grief. If you’re looking at TTPD as a story being told (instead of just as someone’s real life), the inciting incident of TTPD is loss, and the grief from that loss is what drives the narrator’s actions and the fallout, as well as unpacks those complicated feelings and how they apply to the her life in general. By the end of the standard album, it’s also about recovering from that pain, moving on from it and learning from it.

The loss specifically is the loss of the dream of having a family (with one’s partner). One thing that is abundantly clear both on the top line and under the surface in TTPD is how Taylor (as a person and as narrator) longed not only to for marriage but specifically parenthood, and the fear and then realization of losing that chance absolutely wrecked her— which is why the next lover’s (the conman's) wooing worked so well, because it preyed on that yearning. Yet that loss also dovetails into the grief of many things: of youth, of idealism, of relationships, of ideas, even of self, which causes almost a deconstruction of a belief system to piece one’s life back together by the end.

THE CONTEXT

TTPD weaves in the topics of marriage and motherhood both explicitly and in the subtext, in various forms and scenarios. The cheating husband in “Fortnight.” The wedding ring line in “TTPD” the song. “He saw forever so he smashed it up” in “My Boy Only Breaks His Favorite Toys.” All of “So Long, London.” Running away with her wild boy in “But Daddy I Love Him,” fantasizing about weddings and joking about babies. The imaginary rings in “Fresh Out The Slammer.” The cheating husband (again) and the friends who smell like weed or “little babies” in “Florida!!!” “You and I go from one kiss to getting married,” “Talking rings and talking cradles,” and “our field of dreams engulfed in fire” in “loml.” (And arguably: “I wish I could un-recall how we almost had it all.”) “He said he’d love me all his life, but that life was too short,” in “I Can Do It With A Broken Heart.” They may not sound like much on their own, but they paint a picture about how the topics pervaded her thoughts and her writing, and in many cases express her desires, and her pain.

It’s something that goes back several albums when you pick up on context clues. You get the first hints on Reputation with “New Year’s Day,” and “you and me forevermore.” Then Lover is very forward with it: “Lover” is basically wedding vows, “Paper Rings” is very engagement-coded, “I Think He Knows” is cheeky but low-key “you better put a ring on it,” “It’s Nice To Have A Friend” has wedding/marriage imagery in the last verse. As a self-professed diaristic writer, it’s the type of stuff one presumably doesn’t put out there unless those conversations have already happened, and she was very excited about it at the time it was released.

Then the pandemic happens and folklore comes out, and while there is still happy love there (“invisible string”), there are also the first indications that something has happened to put a halt to whatever future she once dreamed of (“hoax,” “the lakes”) and that she’s trying to reassure herself and him that it can still happen even if she’s scared it might not (“peace”). Notably, as far as I can remember it’s the first time Taylor explicitly brings up the idea of family (with her partner) with “you know that I’d give you my wild, give you a child,” which stood out at the time because it’s so incredibly vulnerable, but it’s even more poignant when you really take in that the whole song is like a confession of her deepest worries, and this is her vowing to give him these things that she holds most sacred if he’ll let her. These are what she cherishes most dearly and wants to return in kind: her youth and commitment (my wild), the family she craves (a child), unconditional support (swing for the fences/sit in the trenches) and understanding/compassion (silence that only comes when two people know each other).

Evermore follows an even darker path, and suddenly the album explores relationships that end and grappling with loss. There are toxic relationships (“tolerate it”), dangerous marriages (“no body, no crime,” “ivy”), failing/broken relationships (“Coney Island,” “champagne problems,” “happiness,” “‘tis the damn season”), as well as grief (“Marjorie,” “evermore”). Even some of the happy songs have uncertainty in them: in “willow” she’s begging for him to take her lead, like she’s still trying to decipher him and ask him to commit; in “cowboy like me,” still a beautiful love song, she’s thinking, “this wasn’t supposed to work and we were supposed to bail on each other but we fell in love instead”; “evermore” is about the depths of severe depression (and more) with the love story being the one saving grace in her darkest hour. And it’s also notable that after all the “fiction” writing, shortly after this album she writes “Renegade” where she’s telling the subject: I’m ready to start the next phase of our life now, why aren’t you? Is it me you don’t want after all? It’s like there’s something telling her that this stall might not just be a stall.

Midnights is a jumble (in a good, but in hindsight, also sad way) with the “sleepless nights” concept, but it seems pretty clear now that the themes and events and relationships she was revisiting tied into a lot of what she was feeling in her present life. I wrote the cliff notes version awhile back, but she’s questioning so much of her life that’s reflected in past events and relationships. Am I actually always the problem? How did we lose sight of each other and what we had? We only seem to work when we block out everyone and everything else. Can we ever go back to when things were good? Why are you neglecting me? I once thought I was going to lose everything but you saved me in the nick of time, can that happen again? I chased my career, but did I give up my chance at having a family in the process? Nobody knows what I really suffer from behind closed doors and I’m all alone.

And so on, which in retrospect now that we have TTPD, is very much what she was grappling with in private while writing and releasing the album. The inspiration behind the songs may have been different events and muses, but regardless of their origins they all end up feeling too familiar, like she's seen this film before (ahem). We’re seeing her view of commitment change too, or rather how she writes about it: she’s not making the outright declarations of it like on Lover, or even the implied ones on folklore, nor is she talking of the dark side of it like evermore. For the most part it’s a return to the early days of some relationships, before things got hard, or the end of them when there was nothing left, and also pushing away the discussion of it altogether by the outside world. “Sweet Nothing” is a sweet slice of life, but even at that, it’s the peace of the home in conflict with the pressure of the outside world. Now that we have “You’re Losing Me,” which was written at the same time as the rest of the album, we can probably deduce that she was going back to the start because something happened that made her doubt the future.

THE SETUP

So much of Midnights directly ties into TTPD, and I said in the post I linked that it’s like Midnights is asking the questions that TTPD answers. But there’s one song in particular on Midnights that sticks out to me as being key in the broadest sense to understanding the state of mind that led to the events of TTPD, and that’s “Bigger Than The Whole Sky,” because the way it expresses grief is reflected in the theme of mourning a life built and the dreams along with it that are never realized in TTPD. There are several instances in TTPD that are basically variations of: “every single thing to come has turned into ashes,” and that’s what makes her snap, and leaves her vulnerable to someone who promises her those things when she’s bereaved at losing them in the first place. (In other words: “the deflation of our dreaming leaving me bereft and reeling.”) The song tells a story about how that loss of hope colours one’s entire mindset, and in some ways is a bridge to TTPD to understand what such a low point feels like.

I think that that grief, and most importantly losing hope for an imagined future in its wake, is fundamental to understanding TTPD on so many levels: both the decline with one partner that kept her hanging on then led her such a dark path, and why she fell for the conman's apparent bullshitting because it offered an express pass to what she was losing with her partner. And I also feel like it plays a part into the ruminating she’s doing all over Midnights, trying to make sense of where she finds herself when she’s writing the album, which directly leads to “You’re Losing Me.” Loss permeates so many of the stories on Midnights: of lovers, of innocence, of youth, of faith, of control, of life’s work, etc. “BTTWS” is just one of the ways in which it is expressed so fully, capturing that deep depression and subsequent extinction of faith in something that once felt assured and very much wanted. (Which is also mentioned in her writing process in the “Depression” playlist on Apple Music.)

If you understand why that feeling of loss in general across so many parts of life is so important to Midnights, then it illuminates so much about the “narrative” in TTPD too. If on Midnights she’s wrestling with the seeds of grief and loss (on multiple fronts), TTPD is her reckoning with it in its full form. “So Long, London” is the song that is the most explicit about it: How much sad did you think I had in me? How much tragedy? Just how low did you think I’d go before I’d have to go be free? You swore that you loved me, but where were the clues? I died on the altar waiting for the proof. It’s the sequel to “You’re Losing Me.” It’s, the air is thick with loss and indecision, I know my pain is such an imposition, I’m getting tired even for a phoenix, all I did was bleed as I tried to be the bravest soldier, I’ve got nothing left to believe unless you’re choosing me, my heart won’t start anymore, but from the other side of the break.

This is highly speculative, but if you follow the thread about the topic and the relationship as told from Rep through TTPD, in broad strokes it goes: young love with a serious connection (Rep) -> growing up and making life plans (Lover) -> something happens that delays those plans or makes them grind to a halt (folklore) -> serious doubts arise and cause a loss of faith in their future (evermore) -> struggling with the loss of that future and trying to make sense of the problems in a last ditch attempt to save the relationship (Midnights) -> fallout from that grief after the blowup of the relationship (TTPD). Understanding that progression of events (through the music) explains not only the storytelling side of TTPD (e.g. the jump from the partner to the conman) but also how the experiences/muses blend in the music, and how the music that on the surface is about the short-term relationship is really driven by the destruction of the long-term one.

Following the music, it’s IMO implied that Taylor (the narrator) was holding out for marriage and family with her partner, for years, and it seems like it was at one point a shared dream until something happened to pump the brakes, and seemingly on her partner’s end. And extrapolating further, given how the sorrow expressed in former albums bleeds into TTPD, it sounds like a plan that had been concrete in some form before it had fallen apart, and losing something that once felt so tangible is what drives her in her grief to find any kind of respite from the pain. Which is why the situation with the conman becomes so appealing as the one with the partner splinters further and further.

(If everything you’ve once touched is sick with sadness and you don’t want to be sad anymore, what are you left to do?)

THE STORY

So (one part of) the story kind of sounds like this from the standard album: the relationship with her partner as well as his mental health slowly deteriorate and he withdraws emotionally (“London,” “Fresh Out The Slammer”) and physically (again, “London,” and “Guilty As Sin?”) and takes his resentment out on her (“London” and arguably “My Boy Only Breaks His Favorite Toys” even though I don't want to get into muse speculation here). As she sinks deeper into her own depression as a result, the weight of the failing relationship starts feeling like a cage— or a noose (“London,” “Guilty”), but coming to terms with the loss of their life together and the future they’d dreamed of was killing her (again, “London,” but also “I Can Do It With A Broken Heart”).

Enter the conman who she reconnects with at the very point where this is coming to a head (knowing that IRL she reconnected with him around the time Midnights was being worked on) , and if you read between the lines, she confides some deeply personal things to him (“Down Bad” and “hostile takes overs”/“encounters closer and closer,” “Smallest Man” and the entire sleeper cell spy imagery which is one of my favourite things and I could write a whole essay about the meaning of it, “loml” and “A con man sells a fool a get-love-quick scheme”). Then after she’s confided these secrets to him, he insinuates himself back into her life (“Guilty,” “Down Bad,” “Smallest Man”) and sells her a dream that HE can give her all these things she hopes for (again, “Down Bad,” “Smallest Man,” “loml,” song “TTPD,” “Broken Heart”).

But the thing is, he only knows these are the things she wants because she’s revealed it to him, and presumably, told him that was what she was losing by staying with her partner. And instead of the normal response of, “that is really sad that your partner is not supporting you and you deserve to be treated better,” to a friend in growing distress, it seems like it was, “well I can give you all those things!!!! Right now!!!! Trust me!!!!” And worked on her until she believed it, and jumped at the chance at a precarious time in her life. And one thing I want to underscore is: Taylor has agency in the situation always, it’s not like she’s been kidnapped and brainwashed. (In fact, she implores on songs like “But Daddy” that SHE is in charge of her own choices, good or bad.) She chose to rekindle the friendship and then relationship, and she chose to eventually leave her long term relationship for another man, and she reiterates on the album that she owns this all. But it’s also: nothing exists in a vacuum, and she makes choices based on emotions and information she has at the time, which is why it gives so much whiplash.

THE ALBUM

When you look at it as, the situation with the conman only happens because of what happened with the partner first and that the appeal of the conman and the fantasy he sells her is a direct reaction to that, it makes the “swirliness” of the music make so much more sense. And for much of it, even many of the “conman” songs on the surface are really “partner” songs underneath.

Fortnight

A suburban gothic allegory about a broken marriage with a distant husband with a wandering eye, which makes the rekindled romance with the neighbor so appealing. She’s miserable caged in her stifling house because she’s been abandoned by her spouse, so the reappearance of this past love reignites the passion that’s dead at home.

TTPD

“So tell me, who else is gonna know me?” “I chose this cyclone with you.” I’m gonna kill myself if you ever leave. Everyone knows we’re crazy. She’s laying it out there that she’s already in a dangerous state of mind, and she’s actively putting herself in more danger by pursuing the conman. “At dinner you take my ring off my middle finger and put it on the one people put wedding rings on, and that’s the closest I’ve come to my heart exploding,” spells this whole thing out so clearly: whether it’s an actual event (likely) or a metaphor for the promise he makes to her, the reason why it makes her heart explode is because it’s the thing she’s been waiting for forever with no movement, and here this person comes in and slips it on her finger in an instant like it’s nothing. (And eventually, as we’ll come to know, it is absolutely nothing to him.) You mean it could have been this easy this whole time?! (Well, no. Not until a certain other suitor makes his appearance later.) It feels like she’s finally getting everything she wanted in the blink of an eye! How lucky! How convenient! What was that about the get-love-quick scheme you say? (Unsaid: the reason why this feels so urgent is because there’s a sense that time is running out in so many aspects of her life and not just the obvious. Which reappears later on.)

Down Bad

“Did you really beam me up in a cloud of sparkling dust just to do experiments on?” sets the scene for this euphoric experience in the moment that starts to feel violating once the dust settles (which is then followed up in “Smallest Man” and the spy mission on her). The bridge spells out how he weaselled his way into her life, preyed upon (intentionally or not) her emotional state, sold her a dream and then vanished, without the benefit of hindsight yet we see later in the album.

The alien abduction metaphor is pretty brilliant, because it shows both how she was desperate to escape the place she found herself in, and how much it screwed her brain to then be left stranded when the affair was over. “[I loved your] hostile takeovers, encounters closer and closer,” is so evocative because it details how the situation came to be: his overtures under the guise of friendship blurred lines until he made her an offer that she eventually couldn’t refuse (hostile takeovers) as he infiltrated her life more and more intimately. The sad thing is that the song has parallels to how her relationship with the partner started too in earlier albums, in that they ran away to live in their own bubble (or planet) only for him to metaphorically abandon her as the years went on. (Oven, meet microwave.)

My Boy Only Breaks His Favorite Toys

Being continually emotionally broken down by a person who knows he’s hurting you but still acts the way he does. (The original voice memo version makes this even clearer and it’s rather heartbreaking.) “He saw forever so he smashed it up,” speaks to the loss of a future the person became scared of, and the original lyrics (“he saw forever so he blew it up”) somehow cut even deeper to me because it feels so much more intentional.

Also in the original version, “he was my best friend and that was the worst part,” also speaks not only to the loss of an entire partnership in the wake of this hurt, but also to the feelings of betrayal that the person you trust so deeply has the ability to hurt you in this way too, and how it’s a one-two punch of not only losing the relationship but also your closest confidant. (It’s like the sequel to “Renegade” and the missiles firing to me.) Again, there are shades of both/many situations in the song, pointing to an unfortunate pattern in some ways. The situation in “My Boy” is part of why she was so low, and why the “get love quick scheme” was so appealing later on. And it dovetails nicely into…

So Long, London

The most explicitly “partner” song that puts a coda on “You’re Losing Me,” and is Track 5 because it’s the emotional underpinning of how she got to where she was, and drives the events of the rest of the album. It spells everything out: He withdrew, she tried to fix it for both of them, eventually even that stopped working, he was oblivious to or minimized how badly she was suffering and his (in)actions couldn’t reassure her, he wouldn’t move forward on their future plans and stewed in his own struggles, she was spiralling out of control trying to hang on and ultimately felt like she was going to die if she didn’t leave.

But Daddy I Love Him

Like a direct reaction to “So Long, London” in that she breaks free from the death of one relationship and throws herself with reckless abandon to the next, fuck the haters. How dare you judge me, when the relationship you think I should have stayed in was killing me? (Dutiful daughter all the plans were laid. All you want is gray for me.) Fuck all of you, I’m going to choose whoever I want! (So what if I have a baby with HIM, huh?! I tried doing it the proper way and look where that got me so now we're back to square one) It’s again her imagining how wonderful and freeing this “wild boy” is going to be for her, and how wrong she’ll prove everyone. THIS TIME she definitely got it right. So what if she has to run away! So what if she scandalizes the whole town! They don’t know what she really wants or needs anyway! She’s the only one of her (hee-hee-hee) and she’s the only who gets to decides how this goes. (Because: she longs for control in a situation she’ll eventually realize she has little of it in, which we’ll find out is a recurring theme in her life.)

Fresh Out The Slammer

Also spells out what happened with the partner in the first verse and the pre-choruses, which is what makes the conman so appealing as the imagined jailbreak. The bitter loneliness vs. the sultry passion she builds up in her head as she awaits her release from prison is key to understanding the two sides of the story in the album. There’s this whole outlaw imagery (which is also carried through in “I Can Fix Him”), but it’s contrasted in the end with her and her reunited lover sitting on park swings like children with “imaginary rings” — because “Ain't no way I'm gonna screw up now that I know what's at stake.” What’s at stake is lasting love and the promises that come with it (marriage/family) that are precious and time-sensitive. The imaginary rings are both a nod to the youthful dreams of her and her new/old lover, but also has a double meaning to me because those promises aren’t built on anything together; they're made up, intangible. (They’re no more concrete than the plans that went up in smoke with the partner.) Like with most of the conman situation, it’s all a fantasy in her head that has yet to happen, and as we find out later in the album, reality ends up leaving much to be desired.

Florida!!!

Broadly speaking, it’s running away from your problems and wanting to disappear from your life. (But again: the life she’s disappearing from is the cheating husband she may or may not be feeding to the swamp-- another miserable marriage.) What kind of flies under the radar though is the “I don’t want to exist,” line, which points to her dire state of mind that led her to fleeing to that metaphorical timeshare down in Destin. In many ways about cheating death.

Guilty As Sin

Yes it’s the “masturbation song,” but again the nuance is that she’s left to pleasure herself because her partner has abandoned her emotionally and even physically, i.e. “my boredom’s bone deep.” To be blunt: they aren’t even intimate anymore, so she starts fantasizing about the guy she used to have chemistry with who’s reentered her life and is making moves on her. And realizing that she’s now finding release in another man (albeit imaginary) breaks her even as it reinvigorates her because she finally understands that the relationship she’s in is effectively dead. (“Am I allowed to cry?”)

Who’s Afraid of Little Old Me

This isn’t about relationships, but about society and its reaction to them in a general sense. But again, she’s left to stew in all this anger and hurt as she’s been abandoned at home, then abandoned by public opinion, and the public attack on her is part of the origin as well as the end of that story. The trauma inflicted upon her detailed in the song is the reason why she felt trapped in the first place, which led to the decisions she’s made and habits she’s leaned on ever since.

I Can Fix Him (No Really I Can)

This is one of the few songs that is the most completely conman-coded, and shows when the delusion finally breaks at the end of the song. She spends the whole song being like, “no really, I alone can make him better! You’ll see! I know he’s gross, but he’s mine! It’ll be fine I swear! You don’t know anything! Uuuuuum hmm wait actually what the fuck—“

Loml

Oof. THE song. Again the surface reading is about the “conman” who comes in and sells her the lie, but the pain is because all the dreams she writes about are HER dreams and implied that they were the dreams she built with her partner that the conman sold back to her. I could do a deeper dive on this but most of the song is applicable to both relationships, which not only shows the “swirliness” of her writing, but also how they both ultimately did the same thing to her in different shades.

The bridge and the last chorus are kind of fundamental to understanding it all, and her ending it with “you’re the loss of my life” is about, among other things, how falling for this trap blew up the life she built and dreamed of for good. (I could talk about this one forever.) “You shit-talked me under the table, talking rings and talking cradles” to “Our field of dreams engulfed in fire” is a hell of a line and progression, and again, indicative of what the real driving force behind the whole album is. The shit-talking is because he took her dreams (of marriage and children) and hyped it back up to her tenfold whether in a moment of his own delusion or for more nefarious reasons — much like how the man prior kept promising these things but never followed through, which left her vulnerable to someone who appeared to offer them enthusiastically. The field of dreams isn’t just the one with the conman, it’s the one with the longterm relationship she’d built the dream with in the first place, because the conman’s actions are part of the reason the LTR went up in smoke. (Not the reason for the rift, but the consequence of the final break.) And THAT is why it’s the loss of her life, so completely.

When she says “I wish I could un-recall how we almost had it all,” IMO it’s not just the fake future that the conman lures her into, but also (and perhaps mainly) the once-real one she had with her partner and the loss of which that made her susceptible to falling for the con in the first place. There’s honestly so much between the lines in this song that covers every theme and speaks to the grief of seeing the life she imagined slip away, slowly by the first man then annihilated by the second.

I Can Do It With a Broken Heart

The juxtaposition of “He said he’d love me all his life, but that life was too short” and “He said he’d love me for all time, but that time was quite short” sums it up to me (and parallels “loml”), because they are two different situations, but they cut her just the same. In the first, “that life” IMO was the life they’d built with the dreams that went along with it and it was too short because he never followed through, and in the second, the “time” was quite short because it was the frenzy of the whirlwind romance that fizzled as quickly as it began. The life that was too short led to the time that was quite short.

The Smallest Man Who Ever Lived

This is definitely THE conman song. The rage, the shame, the violation, it’s all in there. But the key to it is the bridge and the espionage imagery woven through it. A honeypot scheme is when spies target a mark and seduce them to gain their trust and their privileged information for their homeland. So her likening him to a sleeper cell spy who set her up just to mine her deepest secrets and use them against her is a heavy, loaded statement. And implied: that valuable information she unknowingly held were her longings of marriage and family (the aforementioned shit-talking about rings and cradles she never got to have), and more importantly, those dreams preceded him reentering her life and then beginning his mission on her.

The insinuation then is: she confesses these are her deepest wishes which are now seemingly unattainable in her current situation (e.g. with her partner) -> he convinces her HE will give them to her and make the dreams she pines for come true -> she falls for him and blows up her life to make it happen -> he gets what he wants (thrill of the chase/sex/the idea of her/whatever his intent was) -> he abandons her when he gets what he wants, or rather it isn’t what he wants or can handle -> she’s left a) all alone b) with dreams unfulfilled c) with no answers d) feeling used at having her most sacred wishes used against her.

Again, the song is unquestionably about the way the conman absolutely destroyed her, but he was able to do that because there was this thing she wanted more than anything, that was dying in her previous relationship, that he was able to prey upon to seduce her, then discarded her and her dreams as soon as it was inconvenient for him while absolutely hollowing her inside out. (And again: the devastating thing is that this also applies to other relationships she’s written about, in different ways.)

The Alchemy

Not about either the partner or the conman directly, but it (loosely) touches on her finding herself after the whole oven-to-microwave experience and opening herself up to life and love again. #GoodForHer

Clara Bow

This isn’t about the romantic relationships on the surface, but it is about how damaging the entertainment industry and public life are on women, and how women are only valued for their beauty as commodities until they can be discarded and destroyed in the process. Which I think plays into the circumstances that led her to make the decisions that she did years ago, and why she makes the ones she does now. (But also, being valued for physical traits and appeal for the male gaze brings us to…)

The Manuscript

The “original sin” that kicks off all of this. Again, at first light this isn’t about the partner or the conman, but the person it is about is the reason why she has made all the decisions she has ever since in relationships (and that’s Mr. Plaid Shirt Days from “All Too Well”). The realization that her first serious adult relationship is what cemented these patterns, and this view of herself and her worthiness in relationships, is profoundly sad. An older man who valued her for being so mature for her age and implying that the mature activities ahem associated with that were the performance benchmarks in her ability to carry a relationship, only to leave her, was earth shattering. She placed her faith in this person, but then the way he treated her changed her view of love and of herself.

She took his innuendo about “pushing strollers” as a sign of potential commitment, whereas he ultimately meant it as foreplay, and she was too young and naive to know the difference. So not only did she learn from that that this man (and men) didn’t view commitment and family the way she did and that it was something to be toyed with, but she also learned that her value to them among other things was sex. Imagine being an idealistic 20 year old and your boyfriend ten years your senior tells you, “if the sex is anywhere near as good as our dates have been, we’re going to be making babies before you know it,” (e.g. this is relationship is serious) and then he dumps you: does that imply that the sex was not in fact that good? (E.g. that you’re not worthy after all?)

No, obviously from this side of life, it’s because he was a commitment-phobic playboy, even if he did love her, but she couldn’t have known that at 20 and instead internalized that shame. But, it did send her on a path of how she approached sex and love and relationships for over a decade afterwards. And her coming to the realization that that first act of (perhaps unintentional) manipulation is what informed her actions thereafter helped her break the pattern. Her worth to men is not just sex, she has value and her hopes and dreams have value, she doesn’t have to change into a different person to please anyone, because if that is what they want, they won’t ever want her anyway.

It’s been described here on Tumblr by people more eloquent and astute than I as a song that encapsulates the album as this: one did it slow (partner), one did it fast (conman), and one did it first (first love)— and that is haunting. After years of men minimizing her dreams and desires, if not outright using them against her, she’s finally at the point where she can let it all go and move on for good. (There’s a whole other tangent about consent and shame and manipulation, but that’s an entirely different kind of discussion. But it is so devastatingly contrasted with “you said if we had been closer in age maybe it would have been fine, and that made me want to die.”)

THE SUMMATION

This is just my interpretation of it, but in going through the standard album, it feels pretty clear how cohesive the album is about a story of love and loss and grief, then reckoning with what caused it all in the first place that set a person on this path. It’s a formative experience at a young age that was traumatic and led to certain coping mechanisms and a shaping of one’s self-perception, as well as the reaction to external pressures that try to dictate behaviours and influence how one feels one deserves out of love which makes it harder to know when one absolutely deserves more and better. And leaves one struggling to cope with loss when there isn’t anything else to hold onto. Then in light of one’s life blowing up, learning to find oneself in the aftermath all over again.

On another tangent that is somewhat related to the theme of loss, the way she writes about the two main muses on the standard album also ties into how the situations converged to create absolute carnage on her emotional and mental well-being. With one situation, she’s talking about a concrete life that crumbles under the weight of their struggles; with the other, the entire thing is a fantasy that she builds up in her head, and when it comes to fruition it falls far, far short.

If you look at the “microwave” (conman) relationship, you realize that almost everything she writes about it happens before it actually becomes reality, and it’s mostly her imagining how great it’ll be, but with few exceptions, when she writes about what actually occurred, it doesn’t even come close to living up to her expectations. “Fortnight” is an imagined future where she escapes to Florida and his touch finally starts her stalled engine (ahem). “TTPD” is perhaps the most positive retelling of their time together, but even that implies he was better off stoned and when he sobered up he succumbed to his demons all over again, and more importantly she conveys how she also is in extreme distress, barely concealed by the veneer of being infatuated with him. (E.g. saying to that she’ll kill herself if he ever leaves her — the implication is that she is absolutely serious about it when she “felt seen.”) And that the warning bells are going off in her head, but she feels like this person is the only one she can be with (because they’re equally fucked up and the chaos he brings into her life makes her feel alive when she felt so close to death).

“Down Bad” is the most explicit about being in love, but she’s also left completely confused and disoriented by him disappearing, wondering if any of it was real and the seeds of violation creep into her consciousness (“did you really beam me up in a cloud of sparkling dust just to do experiments on?” “Waking up in blood.”). “But Daddy” is her imagining she can tell everyone to fuck off for telling her what to do with her life. “Fresh Out The Slammer” is her fantasizing about this man while feeling trapped in her relationship — but never in the song is she actually reunited with him; she’s using him as the projection of all the things she’ll make right after being wronged by her partner. “Guilty As Sin?” Is very obviously about her fantasizing about sleeping with him, but again it’s such a minefield for her because it hasn’t happened yet; they’ve only just reconnected. “I Can Fix Him” is the only song other than “TTPD” that shows them actually together, and it’s the one where she keeps saying, essentially, “I know he’s gross but I can rehabilitate him into an upstanding person, trust me,” until the mic drop at the end of the song where it finally hits her that no, she can’t, because this is who he is, not the person she’s built him up to be.

“Loml” is when it all comes crashing down, and the song emphasizes everything he did and told her, e.g. that she’s the love of his life, but she doesn’t return the sentiment in the song about their time together. Because now that it’s past tense, she knows it wasn’t actually love. (And says as much in the album epilogue poem.) “Broken Heart” is her reeling in the aftermath, but again, it’s “he said,” not “I loved.” And then there’s “The Smallest Man,” where she eviscerates him: he also pursued an idea of her but didn’t care much for the real her in front of him (who else is gonna know me?), he love bombed her only to hurt her (crushing her dreams), he was constantly stoned (and not just in the funny munchies kind of way), and he wasn’t even a good lover (despite the fantasy she’d created before). That last point is especially striking because she spent albums singing about the importance of and pleasure in (sexual) intimacy in the relationship with her partner (sometimes to both their own detriment) and how it was at times the only way they could connect, but in this case, the idea she hyped up and acted on in her head about this lover never panned out in practice. She spells it out in the epilogue: it wasn’t a love affair, it was a mutual manic phase.

In contrast, there’s a lot more tangible action in the “oven” (partner) parts of the album, showing how hard she tried to make the relationship work in real life instead of just in her head. All of “So Long, London” is her detailing how she tried to break through to him and support him, even when he rejected it and pushed her away, thinking she could carry them both until they ultimately sank, but she did it because she “loved this place for so long.” (The place? Not just the city, but the home and perhaps most importantly, him.) In “Slammer” she stayed with him even as things disintegrated for “one hour of sunshine.” (E.g. holding onto the rarer good times even as they were fewer and further between, hoping things would eventually turn around.) And like in “London,” she held on despite people in her life pleading with her that it was hurting her. (Which is also echoed in “Slammer.”) In “Guilty” her boredom is “bone deep” because the passion that once drove their relationship (and papered over their problems) has finally gone out too, so there’s nothing left to hold onto, leading to her fantasizing about the new suitor, which makes her realize her relationship has passed the point of no return. “Loml” is about the conman on the surface, but the undercurrent of all the things she says about him is that he was co-opting the dreams that she was clinging onto for dear life in the previous relationship, which is why the con is so painful; the field of dreams he sets ablaze isn’t just the fake painting he sold to her, but the original artifact (her life with her partner) too.

All the physical and emotional labour she puts into the relationship with her partner ends up reflected in the fantasizing she does in the one with the conman, which is why it is so confusing in the moment and so lethal when he leaves her without any answers. She wants to get married and start a family with her partner which keeps getting stalled; the conman mock-proposes which makes her think he’s immediately serious (“TTPD,” “loml”). She feels caged by having to hide with her partner and shrink herself; the conman promises he’ll stand by her side publicly and let her shine (“Smallest Man”). She sinks into a deep depression in her loneliness as the relationship with her partner careens off a cliff; the conman convinces her they’re meant for each other in a them-against-the-world way (“Down Bad”). The intimacy (in all senses of the word) in her relationship with her partner fizzles; the conman stokes the fire by sending her secret messages and reigniting passion (“Guilty”). She spent years trying to help her partner to no avail; the conman makes her think she has the power to reform him (“loml”). She feels misunderstood by her partner; the conman acts like he’s the (only) one who truly gets her (“TTPD,” “loml”).

In short: there’s nothing that the conman does or says that isn’t a direct response to what her partner did first, and it’s even worse because the conman knew how much her partner’s actions hurt her and he used that privileged information to paint a picture of what he could give her, but in doing so in some ways aimed at her heart with even deadlier accuracy. (I’ve likened it to him borrowing someone else’s life for his own joyride, until he crashes the rental car and flees the scene.) It’s why in the aftermath, the difference in emotions are so different: she feels nothing but rage and violation towards the conman for getting in her head and using her, whereas her feelings towards her partner are more complicated. There’s anger (at her lost youth and being taken for granted), but there’s also sorrow (at their lost life and future), disappointment (that he never could step up the way he’d promised or she’d needed), even compassion (towards his struggles) and a tiny measure of appreciation (for the good times they did share).

When you look at the bigger picture, the story the album paints is just so painfully normal. You have two people (Taylor and her partner) who once loved each other deeply, and despite warning signs early on telling them they have fundamentally different needs and ways of living their lives they fight like hell to make it work (the epilogue) until those warning signs become grenades that destroy their home (“My Boy,” “London,” “Slammer,” arguably “loml”). Having already been through at least one rough patch/break/breakup that she felt almost destroyed her (harkening back to Midnights on “You’re Losing Me,” “The Great War” and “Hits Different”), the final and fatal downward spiral of the relationship (“YLM,” “London”) and the grief over losing that future sends her into a tailspin, just at the time where a flame from the past (the conman) reenters her life and tells her all the things she’s been longing to hear and feel (“TTPD,” “Down Bad,” “Guilty,” “loml”) and, crucially, missing from the relationship that was once her entire life.

So in her panic, she falls prey to the (empty) promises of the past lover (“loml,” “Smallest Man”) and decides he’s actually what will save her from the free fall, because the alternative (that she will end up in a situation she doesn’t think she can survive) is too painful to bear. When she finally acts on these circumstances (leaves her partner/runs to the conman), she snaps, acting on pure emotion and adrenaline (“But Daddy”), but before she knows it, the new lover abandons her, and she’s left to reckon with the fallout of the episode and process everything that has happened (“Down Bad,” “loml”) — with the conman, with her partner, with the choices made in her adult life personally and professionally which leads her back to the moment she feels set her down that road at the start.

The TL;DR of this unintentionally long essay is that the reason the conman affair was so serious was precisely because it was meant to fulfill the promise of what was her life with her partner. To me, a large part of the story is that she projected that life onto the conman (or he projected her life back to her for his own purposes) because she wasn’t ready to deal with that massive grief and the life raft he offered felt like the only alternative to an even darker end. Whether the conman actually believed what he told her, or he went along with it or encouraged it because it served his purpose, we’ll never know, just like we’ll never know the finer details of what went on (nor should we). But no matter what, the album is just an extreme deep dive into all the ways grief can consume us, and whether it’s a long, drawn-out death or a sudden, inexplicable one, it can turn a person’s life into such a trainwreck that they act in ways unfathomable to even them, let alone the people around them. It can also unleash repressed trauma and mental illness that can crater your sense of self. And when those situations are compounded? It makes for a nearly impossible type of breakdown to unpack. (Which is why you might need a 31 song album to process it.)

#What if i told you I’m back lol #Time for me to finally just post the thing after it’s been sitting in my drafts for so long so I can rid myself of it lol #Writing letters addressed to the fire #the tortured poets department #Consider this a treat before Eras comes back for its swan song leg idk #Would you believe that as long as this is #i deleted quite a few chunks of it from the original draft i sent to a friend(s) in the interest of ~propriety~#Because they were a little too rambly and um— ~speculative~/personal/etc and we are flying too close to the sun #And i tried to be as tactful and more or less stick to things we can point to in the music and such #So hope people catch my drift lmao but also iykyk i guess #I have so many other themes I want to talk about but I never have any time #I have so much more i want to say and yet #wavesoutbeingtossed: The Anthology #Also if things get weird i will turn off reblogs/delete the post tbd #This is not an invitation to get into muse ranting or debate in my inbox and I ask that you please respect my boundaries :)#Midnights #lover #folklore #evermore

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sysig · 5 months ago

Note

Maybe something with Mousey being jealous of Hunter and Smoker for one reason or another? hehe

Day 7 - There might be a reason for that

Bonus:

#My art #Requestober #RespectAWoman #Hunter #Smoker #Mousey #Always love when my bonuses are just as if not more technically complex than the main lol #I mean I say that but it was more just tedious to move things between EPSAI2 and GIMP lol #Chibi heads bopping around and a bust-up are not as intensive! My poor hand haha ♪#So this is my first time drawing the ladies digitally huh?? Or at least this trio anyhow haha I'll draw the other two someday #Considering Mousey is my favourite of all of them and her dynamic with Charger was one of my driving loves <3 #I also realized while drawing this that she (as a survivor) and Max have the same outfit so that's ♥#White button down and khakis are fairly standard I know let me live XO I love them!!!#Went with pre-infected here tho ♪ When Mousey's still focused on Smoker! Hehe yaay #She's so cute <3 Love that wonderful disaster <3 <3 And also the mains as well!!! Lol #They were actually a lot of fun to draw digitally haha ♪ Hair touching - kind of all over touching lol Hunter's just Like That #I did kinda forget about Hunter's camo pants so I leaned on my SAI textures - but I did the shines on her duct tape myself! Pleased :)#I was thinking at first of Hunter offering Smoker a soda but she pushes for Smoker to be healthy huh!#So I was thinking maybe a weird-flavoured sports drink or sugar-free lemonade or something lol #And the usual ribbing lol Mousey do you know what you're wishing for ♫#I had a moment while drafting where I was like ''Where was the one of Smoker playing Tetris?? :0''#I 100% completely totally remembered it in full colour - but no that was just my brain filling in the details lol it was a sketched comic!#Whenever I think of RespectAWoman that's just the style I see in my head so my mind's eye took it from there pft #I found it in the end ♥ Had to make reference to it! As it's one of my favourites :D

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jumpscaregoose · 4 months ago

Text

tss is kind of a weird manga if you think about it. I've been doing that a lot

its main goal is to be a sequel to flowers, and in that a sequel to the original shaman king, but then you read it and that's. really just the tip of the iceberg. tss is already a confusing, messy story if you know what it's doing, but if you go into it only having read og shaman king and flowers (like I did the first time around) you are going to be so lost

takei has this habit of reusing characters and concepts in his work, he's been doing it literally since the beginning. if we're counting each one separately (including alumi), he's written five anna the itakos. the anna that shows up in butsu zone is almost identical to anna from the original oneshot. he does this reduce reuse recycle thing in shaman king too, most obviously with anna and gandhara. and of course this continues into the mainline sequels.

flowers is interesting in comparison to tss, because it is a shaman king sequel in the way you'd expect. it repeats many of the same characters and plot beats as the original (apathetic main character, itako no anna fiance, edgy rival with a goth older sister). hana even mentions a few times that he doesn't want to relive the same beats as his father. compared to tss, the prior work flowers draws on the most is shaman king. for a few chapters. because then we get yahabe.

yahabe is probably the cleanest copy paste into the shaman king universe, excluding butsu zone. it was a oneshot that wrapped itself up after clearly defining its premise while leaving room for the story to continue. except, instead of this continuation being a full yahabe serialization, we just get yosuke in shaman king. yahabe!yosuke and mankin!yosuke could exist on the same timeline, and with how the flowers anime reuses shots from the yahabe manga and ova, that feels like what's supposed to be canon. any deviations from the shaman king canon in yahabe itself can easily be explained away by yahabe being from yosuke's perspective as a non-shaman who doesn't know what the hell is going on. he integrates so cleanly into flowers I didn't even know he was from something else until earlier this year. the same thing applies to death zero, because I fully forgot that was a different thing while writing this.

so flowers has shaman king, and yahabe, and death zero, and it sets up the main plot. and then there's tss.

tss is completely incomprehensible if you haven't done at least 30 chapters of external reading.

or, it's comprehensible, but it's also bad. the reading experience is made so much worse if, for example, you haven't read ultimo and don't know how terrifying not-stan lee actually is. or how important the themes of ultimo are to tss itself. ultimo is a conversation on the objectivity of good and evil, in the same way tss is a battle of ideologies between gods. if you haven't read ultimo, the dong family comes out of absolute nowhere and make even less sense then they do with context.

and then there's senju. the page where senju, when asked what he's learned on his 40 (20 in real actual life) year journey, smiles and says he "can't save people after all" is probably my favourite moment in anything takei's ever written. the weight of that statement means nothing to the reader who's only come from shaman king, because the senju we see in shaman king is sati saigan's spirit ally and nothing else. "I can't save people after all" is an answer to the main thesis of butsu zone, an answer given decades after that manga was cancelled to a collection of readers who might not even know what that is. it's an impactful moment if you've read butsu zone, if you know how it was cut short before takei could take the story where he wanted, if you know the creator has been writing about the same things, about the state of the world and doing what's right and how there are no bad people who can see ghosts, for decades. it makes you think about the thing you're currently reading, the sequel to the one story that author told that made it, that got to say its piece.

because takei's work is kind of cursed. his manga are frequently cancelled, his oneshots never picked up for serialization. the magazines his sequels run in getting cancelled themselves, leaving his stories in limbo. even shaman king, his most successful work, only got its true ending years after it concluded. there is so much in takei's work that has gone unsaid.

when senju stands in front of daremoine and says he can't save people, it's satisfying. it may have been what takei set out to write in 1997, or maybe it was something he thought of in the years between, but either way. this is the ending of butsu zone. this is how its theme's conclude. in the sequel to the sequel of a manga from which its original protagonist was a side character, and underdeveloped plotline. and when you've read butsu zone, it feels good, it feels complete. it hits you like a ton of bricks

this is why I think flowers and super star lose people. because they aren't sequels to shaman king. they're sequels to everything takei has ever written.

to get the most out of super star, you need to have read not only shaman king and its spinoffs, not only flowers, but butsu zone and ultimo and yahabe. hell, to understand shaman king you need to have read mappa douji, or the entire ending falls flat on its face

if you lean into it, this creates an interconnectedness to takei's work, a sense that what you're reading right now is a part of something bigger. whatever is being contemplated currently ties into a much larger conversation about society and morality spanning one man's entire career.

if you don't, you get... a bunch of messy stories. tss makes no bloody sense half the time. ultimo is insane enough on its own, and you're supposed to keep track of that and all the little changes that fit it into this timeline? not to mention the flaws in takei's writing itself, how he tends to pace things weird and leave gaps in his stories, all of it makes tss specifically pretty inaccessible to the average reader.

what is there to take away from this?

I'm not sure, really. I love tss, a lot actually. I enjoy the sense of discovery that comes with engaging in this twisted knot of a story. I think that if you tried to read tss with only shaman king and were frustrated, you should check out yahabe and ultimo and especially butsu zone and try again. you might still think it's a mess, but I think it's worth it to see if that's what lost you

but I know that's also a big ask, that's over 80 chapters of manga to read just to have the backstory for the insane stuff in tss. not everyone's up for that, and that's fair

do I think tss would be more accessible if it only drew from shaman king? yes. do I think it would have been better?

#shaman king #shaman king the super star #I have mixed feelings about takei's work and tss especially but I still really love it #I've been trying to condense these thoughts into some kind of video essay so consider this post a first draft #I'll probably think some more on this later

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oscargender · 6 months ago

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Heartbreaking: “problematic” danmei everyone told you to avoid is actually pretty decent and has mildly interesting things to say about poverty and class

#nothing here is groundbreaking or even particularly deep but I do love seeing politics in my silly little gay books #idk. I genuinely think injecting your stories with politics makes them better #even if it’s relatively surface-level stuff like ‘poverty is violence’ it still hits different than #fiction that goes out of its way to try to be ‘apolitical’#(it never actually is apolitical. it just exposes what the author considers to be ‘too controversial’ for general audiences)#erha #2ha #the husky and his white cat shizun #anyway erha hasn’t been anywhere near as traumatizing as people on tumblr make it out to be #like it’s not light reading and you should probably read the trigger tags before diving in #but it’s also not The Most Evil and Problematic Book ever y’know?#cleaning out my drafts #I’m trying to kill cringe and fandom purity culture on this blog so I’m trying to be brave and talk about more controversial things #this has been sitting in my drafts for a very long time

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deiaiko · 2 months ago

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#23.2 Teases

Dan sighed wistfully. He couldn't help but feel jealous as he witnessed the couple kissing.

It must be great to be Grace. He was attractive, rich, powerful, talented, and respected. He had everything every person in the tower could ever wish to have. So it should come as no surprise that even Princess Endorsi would want him.

But despite all that, Dan didn’t want to be in Grace's shoes. Power and fame came with a price, and he knew how hard Grace had to work for it.

Maybe he wasn't actually jealous of Grace's charm. He was just not willing to let his goddess, Princess Endorsi, pick anyone else as her partner.

Dan let the realization sink in, sulking while chewing on another spoonful of meat curry. Gyetang must've felt even sadder than him, considering that his reason to join their team was to meet Princess Endorsi.

"What happened?" the guy in a tracksuit –Sibisu, if he remembered correctly– asked, as he and the others took a seat.

"Princess…" Hatz trailed off. "She used her tag to 'talk' with Grace. And when they returned, Grace had a kiss mark on his cheek."

That was a surprisingly objective summary.

"You know, I realized something after kissing him." Boss commented. He was looking at Princess Endorsi mirthfully. "The kiss mark on his cheek earlier was tilted in an odd way."

Princess Endorsi raised an eyebrow. "What do you mean?"

Boss waited a few beats. Then he shrugged. "Never mind. I was simply sharing my thoughts."

Princess Endorsi gave him a long stare, before her eyes lit up in realization. She chuckled, "How observant."

Dan could only sit there. At least he wasn't the only one that was confused. After all, he didn't really pay attention to the mark position before Grace wiped it out, so he didn't know what kind of odd that Boss meant.

"Woah! Bam–"

The Khun guy whisper-shouted, loud enough to pull Dan out of his thoughts.

"–You learned how to use chopsticks?"

Khun looked pleasantly surprised, and it kind of baffled Dan. He didn't think anyone, especially from the Khun family, could be impressed by such a mere act.

Viole grinned sheepishly. "Yeah. I've wanted to learn it ever since you showed me how."

The smile that crept up on Khun's lips was genuine and fond. It was a familiar expression, one that Dan often saw Boss wearing when he looked at Grace.

He noticed that everyone was also looking at Khun and Viole, as the conversation around died down. Hatsu coughed, and Princess Endorsi rolled her eyes.

Khun, noticing this, glared at everyone. "What?"

Sibisu waved his hand dismissively, grinning. The others avoided eye contact.

Grace smiled as he glanced at Boss…expectantly? Teasingly? Dan couldn't tell.

Boss glanced back at Grace, smirking.

Grace chuckled, as if they were gossiping telepathically.

They did that enough times that Dan had gotten used to it. Exchanging looks without words as if they could read each other's minds. And honestly, Dan wouldn't even be surprised if they revealed that they actually had a telepathic ability.

Khun was now frowning. Dan could imagine two cat ears on his head pointing backwards. "Are you making fun of me?"

Grace quickly waved his hands in front of him. "What? No! I would never."

Boss laughed at Khun, as if daring him. "You are so obvious, it's embarrassing."

Novick coughed, trying to hide his laugh. "It somehow reminded me of that one time Grace tried to make a perfect apple pie, and we ended up having a week’s worth of pies. All because he wanted to impress Boss."

"The pie was delicious. I was impressed." Boss nodded approvingly.

Grace closed his eyes, smiling proudly. "Worth it."

Oh, the lovebirds, Dan thought to himself. Khun must've reminded Boss of himself, which was probably what he and Grace were making fun of earlier.

Princess Anaak raised her hand, palm facing Boss and Grace. "Please don't kiss again. I'm trying to eat."

Dan heard Viole whisper to Khun. "So that's what a kiss is…?" Which was just another whiplash to him.

The more he learned about Viole, the less he fit a slayer candidate's fearsome and mysterious persona. FUG's god, as they called him. He was still a kid at heart, clueless and learning.

"What's up, Blue Turtle? Did you finally find your banana?"

Khun whipped his head, and Dan noticed a light blush on his cheeks. "What does that even mean?! Stupid crocodile."

"I wonder who's actually the stupid one," Hatz shrugged.

Khun growled, took a deep breath, and sighed. "Let's just ignore them, Bam."

It seemed like Khun was used to being antagonized by his own team. But Dan thought that he might understand why.

The strong temptation to tease and nudge the lovebirds, especially when they were so obvious yet clueless. Case in point: Grace and Agni, when Dan was new to their team. He couldn't keep himself from smiling at the memory.

He enjoyed Grace's old team’s company so far. He used every opportunity to join the conversation, especially when everyone started bickering and exchanging stories. The cafeteria had never been so lively before with only the five of them.

The chaotic energy that Grace's old team brought was like adding new flavors into the mix. Only time could tell whether it was a good combination or not, but he hoped that they'd get along. Especially because it would be a lifelong regret if he were to lose the chance to have Princess Endorsi around.

Masterlist

Let me know your thoughts in the reblogs <3

☕ Buy me coffee ☕

Bonus explanation under the cut:

#Happy new year! I' have returned~ (re)starting the story with a jelly fanboy. a hint of kb. and agr team offscreen event. wheee #I hope the bonus explanation image is enough because idk how to put that into words #I used my break time to reread ToG S2 from the start up until end of workshop battle. and oh boy do I have a lot to think about #There are some details that I forget. so I need to consider some changes into the plot that I had cooked before #and that's why I have a good news and bad news for you:#good news is that we're approacing the end of S2 (6 more updates. woohoo) and soon we will finally get to the exciting season 3!#(like damn I can't wait to finally have SnS into the story. you don't understand how much I yearn for them 😭💖)#bad news is...I *might* take another hiatus after valentine 😅 to plan things and stock up some drafts (again)#Though it's still one and a half month so do enjoy the ride until then~#tower of god #tog #two sides of the same coin fic #my fic #the 25th baam #the 25th bam #jue viole grace #koon #khun a.a #khun aguero agnis #khunbam #koonbaam #bamxkhun #shibisu #ship leesoo #endorsi jahad #rak wraithraiser #edin dan #novick #gyetang

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uchiwife · 7 months ago

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𝗦𝗨𝗕𝗦𝗧𝗜𝗧𝗨𝗧𝗘.

“I'm not my brother.”

“I know.” Sakura replied, eyebrows furrowed. She was slightly confused by his words.

“I won't be a substitute for him.”

“I've never—”

“Are you sure about that? Because you were particularly obsessed with him before.”

Oh.

OH.

Anger rose in her. How dare he? Had she even given the impression that she was not sincere in her intentions? Sure, there were physical similarities, but that was it. They were very different. She knew it.

She clicked her tongue, annoyed. “I was twelve. I was just as obsessed with clothes, but I got over it. We all have a past, Itachi. Are you going to blame me for that too?”

Itachi stared at her for a long moment, an indecipherable glint in his eyes. He nodded once. “I apologize. I didn't mean to offend you. I just want to make sure you know what you want or rather who you want.”

Sakura was about to get angry, but suddenly she realized something. Itachi wasn't really trying to offend or hurt her, he was just concerned about the possibility of her using him to replace Sasuke. It would have annoyed her under normal circumstances, but she relaxed, a warmth spreading through her heart.

“Itachi, I promise you I'm done with your brother. You're the one I want. I love Sasuke, but not like this. He's a dear friend and I'll always cherish him because he's my family too, but I have feelings for you. Strong feelings. I want to be with you. Just you.”

#itasaku #itachi x sakura #uchiha itachi x haruno sakura #ficlet #sakura haruno #itachi uchiha #haruno sakura x uchiha itachi #light angst #naruto fandom #past sasusaku #uchiwife #haruno sakura #naruto #naruto au #please consider reblogging #not proofread #It's more of a draft than anything else so it's not really structured but I don't really care 😴

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smolstarthief · 2 months ago

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youtube

I've been thinking about these unused backstories for Kamoshida, Madarame, and Okumura and then Viktor still having some of the Hexcore/Arcane left in him.

Like the Kamoshida one is implied to be triggered by picking up Will Seeds so what if Viktor ends up using his previously thought to be gone powers on accident similar to how he was trying to help Vander/Warwick.

Like he makes accidental contact with the first Seed Joker picks up which triggers the first memory they witness and then continues the same pattern during the rest of Palace as a means of experimenting a little bit along with specific Shadows such as Mementos Targets. Of course it would have limits such as causing tiredness or even weakening him a bit until he gets a moment to rest (preferably in a Safe Room). Of course, the more frequently he uses it, the worser things get with him physically. Stuff like that!

Of course this would play a role in him and Maruki's dynamic much later since he does actually start exploring the man's Palace on his own after witnessing Sumi's first awakening along with Jayce (Jayce agrees with Joker and Mona about keeping the discovery under wraps for now but Viktor doesn't) and he starts to weaken to the point of being potentially vulnerable at a certain point...

#persona 5 #p5 #persona 5 royal #p5r #starchild rambles #p5r spoilers #viktor arcane #arcane league of legends #arcane #viktor #viktor league of legends #crossover au #au idea #but yeah that's more or less a draft idea since idk if it'll be the final product or not #viktor is kinda the toughest character to balance admittedly #he's an absolute goof and snarky/sassy and not always cold and aloof #at the same time man's got a lot of trauma and baggage so his angst was understandable #I like to imagine he's not fully healed mentally so he would probably end up falling prey to the machinations of Maruki's Palace #especially when he tries to dig deeper only to end up breaking eventually due to being forced to recall his past actions and trauma #I love Maruki but he's plenty messed up in what he considers to be ''helpful''#If I do strikers then more of the goofiness is shown more often since he's recovering better by then #new life new rebellion au #nlnr au

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honeycreammilkshake · 7 months ago

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there will be cake.

i finally finished my first fic, and it's greenflame! it takes place between possession and skybound. i spent a few days on it and i'm still not satisfied... it still feels a bit ooc and amateur to me, but please let me know what you think. here it is...

Sitting down for dinner with the other ninja, Kai had no intention of talking about anything serious, let alone marriage, and especially not how he should go about proposing to Lloyd. But picking at his bowl of chili, he looked around to his friends, watching them talk about their day with animated expressions and exaggerated hand gestures, observing Cole and Jay arguing about every detail of their training so they could trade insults while blushing whenever anyone (mostly Zane) pointed out just how closely they'd have to be watching each other to know such minor things about their routines. And when Kai glanced over to his sister she was already glancing his way with an exasperated smirk at Cole and Jay's antics.

The only absent one was Lloyd. The Green Ninja was training late, as usual, pushing himself to his limits. The perfectionism was at first a little annoying for Kai, who tended to take any show of exertion as a competition against him, but overtime he'd learned to accommodate his boyfriend, who was typically late to dinner or outings with the rest of them. The pressure Lloyd must have felt, every single day, to not only lead the rest of them but to also make his pretty much godly ancestors proud of him had been grinding on him even more as of late, and Kai didn't want to add to their young leader's troubles. Still though… after their last battle, almost losing Lloyd to possession had made him keenly aware of how fragile the normalcy of all their lives were.

At any time, they could find themselves under attack once more. Ninajo had a reputation for attracting the most dark-hearted, vengeant, and power-hungry of villains, and Kai had to wonder if there was some kind of sign posted out for all the tyrants coming to seize this particular place. Something massive and neon was advertising how siegable and conquerable this entire land was somewhere, he was sure.

But as a ninja, bound and entangled with all the rest of his team (a fate he would never want reversed or changed in any way), he knew he would lay down his life for any one of his friends if it ever came down to it. And, naturally, he knew in his heart that no matter how much he teased or gave Lloyd trouble, he would stand behind that completely unhinged god-in-training no matter what. Wherever Lloyd led him, he would follow. And it was because of this that he knew he had to make their relationship even more official, even more sacred, so that when villains like Morro or Chen or the rest came knocking again, Kai would know there was still a chance at a normal life, even a small part of it, in their own lives. That he could say that Lloyd was his in more way than one and come back home to that small piece of stability.

Now, watching his friends continue to taunt and push each other, a warm feeling suddenly overtook Kai, not unlike the sensation he got whenever he drank a nice cup of Wu's tea. He felt it blossom inside of him, a hot and protective surge that came whenever he thought of the others, especially Lloyd. He knew he could trust them completely, he could ask anything of them and they wouldn't treat him any differently for it.

So it was without any filter that he found himself asking, "Guys, if I were to hypothetically propose to someone… someone who's very uhm… career-driven and practically all-powerful, how would I go about asking them to do something absolutely ordinary like marriage?"

A small silence briefly overtook the table as the others, except for Cole who was still digging into his plate without interest in anything else, glanced around towards each other. Nya, on Kai's left side, was completely still all of a sudden and opposite him Zane and Jay exchanged looks.

Just as the stillness was starting to become unnerving, Zane, always practical, broke in, "Logically the best way would be to—"

"Oh my gosh, you guys," Jay all but shrieked. "Kai and Lloyd are going to get married!"

"Wait what????" Kai burst out, feeling his cheeks start to heat up. "I didn't say anything about—"

"Oh please," Jay scoffed, rolling his eyes. "You're the fire ninja, Kai, so whatever you're trying to cover up, you still burn holes right through it." He was picking at his bowl of chili delicately, like most of its contents offended him, and by the way he had complained about every other dish Cole had prepared for them, you would think it was genuine. But Kai knew the Blue Ninja would sneak lots of extra helpings of Cole's meals whenever he thought they weren't looking. And seeing as how most of Cole's food was… to put it plainly… bad, Kai knew it was because Jay was simply (and not so secretly) completely crazy for the Earth Master.

"You guys thought it was such a secret, but we could all tell what you were up to," Jay continued, matter of fact, then smirked. "The walls here are really thin, you know."

Kai groaned and buried his face in hands. "Okay," he sighed out. "So what if it is Lloyd?"

"I knew it!" Zane exclaimed from Cole's side, face lighting up. When the others looked to him, he explained, "Pixal told me they have a 95% compatibility rate. Lloyd's sensitivity and high emotional intelligence counterbalances Kai's hotheadedness and temper—"

"Yeah yeah we get it," Kai huffed, feeling called out.

"My vitals monitors indicate that your heart-rate speeds up whenever Lloyd appears," Zane added helpfully. "My data also suggests that Lloyd's libido increases whenever he watches you training."

Beside him, Nya made a choking sound. "Oh my god," she gasped, wiping away dribbles of water from her lips. "Please never say libido again, Zane."

Despite the embarrassment at having his secret relationship exposed so quickly, Kai couldn't help the way that information stroked his ego. All the time that little brat had been claiming to watch so closely to point out errors in Kai's form (as he always did) he was secretly checking Kai out shamelessly. It made him flush with more than a little contentment, but he got a hold of himself quickly, and managed to grit out, "Okay guys, that's enough."

"Where would they even get married though?" Jay pushed on, ignoring Kai entirely.

"Somewhere big enough for all of us," Zane pointed out. "I can compile a list of popular wedding locations and analyze them for suitability."

"No no," Jay dismissed, whipping his spoon around passionately so that a bit of chili hit Kai in the face. He wiped it off with a grimace as Jay continued to lecture Zane. "It should be somewhere perfect for the both of them..." Jay bit down on the handle of his spoon and then grinned widely at Kai. "I know just the place—my parent's junkyard!"

Kai blinked, caught off-guard. "Jay, I'm not marrying Lloyd in a junkyard—"

Across the table, Cole's face finally unfused from his plate long enough for him to shout, "Will there be cake? I'll definitely come if there's cake!"

"Always thinking with your stomach, right Cole?" Jay snarked. But the Earth Master chose to ignore him, much to Jay's disappointment.

As the others continued to conspire Lloyd and Kai's wedding, loudly describing each lavish detail — "Lloyd should wear all red so Kai can wear all green... and there should be dragons!!!" Jay contributed while Zane added, "Kai should put Lloyd in his lap and ride in on one to the ceremony" and Cole piped in, "And there should be triple stacked cake afterwards!" — Kai's ears picked up shuffled movement in the hallway. He sat up straight. Wu and Misako were out getting "vital" supplies like flavored tea and herbal medicines — old people errands — and they weren't expecting anyone else to come calling. It could only be Lloyd.

Getting that sensation he got whenever he was about to be cornered, he felt himself start to panic. "Guys, if you don't shut up now, I swear I'll send every single one of you to the Cursed Realm," Kai hissed out. "I don't even care if we're on the same team — you will all be banished for your crimes. This conversation is over."

But, of course, cause everything and everyone hated Kai, this was the exact conversation Lloyd chose just that moment to walk in on.

With a short glance around to the other ninja, he came into the room and a crushing silence followed as they all tracked him with their eyes. He walked casually, carrying a bowl laden with an excessive amount of Cole's chili (which wasn't that bad but it also wasn't that good either, so Kai felt Lloyd had filled it to the brim subconsciously) and settled down in his usual spot to the right of Kai, slowly lifting his spoon to his lips…. Lips that were twisted up in an unmistakable smirk, the one Kai knew and adored so well, that he loved to bite on — but right now, seeing the way it melted away the usual prim and proper princely beauty of Lloyd's face into the wild rawness of the conceded brat he really was, all Kai could think was Lloyd knows…. He's been listening in on the whole thing!

"What's all this about cake?" Lloyd asked, oh so innocently, as if he didn't know already, and Kai kind of wanted to manhandle him right then and there for being such an unyielding brat.

But before Kai could say or do anything to grab at any sort of control over the conversation, Jay leaned in closer to Lloyd, conspiratorially settling his chin into his cupped hand like he was about to tell the world's greatest secret. With a hauntingly straight face he said, "Only that Kai can't keep his eyes off yours."

… And then everything kind of blew up in Kai's face.

Nya and Zane burst out laughing and Cole let out a bellowing huff before slapping Jay across the back so hard the Blue Ninja's face almost landed in his uneaten bowl of chili (Kai wished with his whole heart that it really had). Jay glared briefly at Cole but then the Master of Earth said, "I guess that's why they call you the Master of Shocks! That was a good one, Jay."

Pure pride swelled the Master of Shocks' chest, making him look just like a puffed up little blue jay — which he technically was… though Kai could barely register the humor of it as sticky hot embarrassment exploded inside of him.

"Oh wow you guys," Nya finally managed to gasp as she held her sides, like she could fall apart from the delicious humiliation of it all. She wiped at her eyes, choking out, "Look at Lloyd's cheeks — they look like cherries!"

Lloyd's mouth was pressed together tightly, and his cheeks were definitely a deep scarlet that Kai took some satisfaction in seeing, but he knew his own cheeks were probably just as red and burning twice as hot.

And of course Jay would point that out. "Guys, check out Kai's face — he's burning up!"

"Oh the irony," Nya giggled.

"Red ninja indeed!" Zane chimed in with a grin that practically spilled off his face. And in that moment, Kai had never been more certain in his life that he was surrounded by traitors. Enemies.

Kai ground his teeth together and finally managed to squeeze out some sort of response. "You're all banished."

The other ninja, minus a cherry-colored Lloyd, started laughing again as Kai sat there, gripping the edge of the table and plotting revenge. Only Cole made any kind of move towards redemption, leaning closer to both Lloyd and Kai to say, "You know we're just teasing you two… We're really happy to see you making things more official. And just so you know, I would love to be there for you, even if there no's cake for me."

"You do know the whole point is so that Kai gets to keep the cake just for himself, don't you?" Jay smirked.

Before Kai could set fire to either himself or Jay, Cole turned to the Blue Ninja and smiled. "Don't worry, sparky, I'll make sure to claim a cake for myself too," he said, and proceeded to reach over so he could grope Jay's ass as the smaller ninja let out a high-pitched squeak.

"Who's the Master of Shock now?" Zane grinned as Jay started choking.

Nya pursed her lips and said, "Really? Right in front of my chili?"

Kai moaned and buried his face in his hands as the entire table descended into chaos. But it died out quickly as Lloyd stood up, his face unreadable, that silken smirk of his erased from his lips. As Kai peeked up at him, he couldn't help but feel… reverent. Lloyd was strong, and fierce, and brave. And more than that… he was the magnet that kept them gravitating to him, to their destiny. Their fates were inexplicably tied to his for the rest of their lives. They all shared a bond deeper than mere friends: they were each other's counterparts and focal points and homes.

And nobody was more at home with Lloyd than Kai.

"Kai," Lloyd began, and Kai felt the air rush out him as soon as Lloyd turned those ember-bright eyes right on his face. "Do… do you really want to marry me?"

Kai's heart was pounding far too fast. It felt like the adrenaline spark right before a battle. "Of course," he managed.

The other ninja were finally fully silent, their eyes wide and watchful. Feeling bold, Kai pushed away from the table and stood right in front of his boyfriend. Then he sank to his knees, his eyes never leaving Lloyd's, and swallowed. "You know that all of us are bound to you, and all of us would protect you with our lives, just as you would do for us. But the bond I share with you runs even deeper. I promised you that I would protect you, and that I would follow where you lead me, that you could always rely on me, so I would like to ask you now… Will you let me follow you forever? Lloyd Montgomery Garmadon, will you marry me?"

In all that time, Lloyd and Kai didn't look away from each other. The others remained blissfully quiet, but there was a current of anticipation coursing through the room.

It felt like an age before Lloyd cleared his throat and said, "Of course I will.... Someone has to keep my cake away from Cole, after all."

Kai groaned but found himself grinning anyways. "You're insufferable," he told Lloyd and pushed up from the floor.

"That only means you're even more perfect a match," Nya pointed out from Kai's side, but she hugged her brother tightly, patting him on the back. They both knew how much this meant to him...

Lloyd and Kai returned to their places at the table and tried to resume eating normally, but they kept glancing over to each other until Jay scoffed and said, "You two, honestly, go get a room."

"Quiet, sparky, you'll get yours soon," Cole winked and Jay started to protest.

"If you think I have any interest at all in a dusty piece of rock like you—"

"Yeah yeah," Cole waved him off. "Keep pretending, bluey."

Lloyd laughed and reached over to offer his hand for Kai to hold. Kai took it gently, and didn't miss the way everyone stared at their joined hands, their fingers twining together.

"No matter what comes in the future, we'll face it together," Lloyd promised Kai, and they felt each other's pulses jump at his words.

Kai nodded, soaking up the way the light hit the pale gold of Lloyd's hair, making it look just like a glowing halo. This boy would be the death of him, he just knew it. He couldn't help the smile spreading across his face. He raised a spoonful of chili towards Zane, Cole, and Jay and gave his best unhinged grin. "The future looks bright for you and me both, but right now I say we take these three down for being so obnoxious," he suggested and Lloyd grinned too, wild and full of fire, just like Kai.

"What?" Zane sputtered. "I didn't do anything!"

"Wait!" Jay cried out. "But we helped you propose to him, Kai!"

Lloyd snorted while Kai rolled his eyes. "Sure you did," the Master of Fire said, then launched the first spoonful at Jay's surprised face.

"Food fight!!!" Nya cried, pounding her fist on the table before she upended her entire plate on Kai's head.

Kai gasped, shaking sticky shrimp out of his hair. Reaching up, he felt the clingy, pasty sauce of the dish matting his once-immaculate spikes, and he shrieked, "GET HER, LLOYD!"

With a roar, the table fell into chaos again. As the ninja threw handfuls of food at each other — except for Cole who sat there lamenting the waste of it all — Lloyd and Kai looked at each other and smiled. Everything that they had ever done, all that they had ever faced and clawed their way through, had been worth it for moments just like this. With a laugh, Kai leaned in and kissed Lloyd in front of everyone, not even caring to keep anything concealed anymore.

He didn't even care when Nya shouted, "Gross!" and splashed the rest of her water on them. With a smirk, he pulled Lloyd closer and set a palm to the boy's back to dry out his clothes.

"You know," Zane said afterwards, as everyone settled down. "Someone has to clean all this up before Master Wu returns."

"Not me!" Jay was the first shout.

"We will," Lloyd said calmly, volunteering an unwilling Kai before he could protest. "We started this after all."

"They had it coming," Kai argued but stopped when Lloyd cast him a sharp look.

"You said you'd follow wherever I lead," Lloyd reminded Kai, then smirked his signature smirk when Kai let out yet another groan.

"Alright then," Kai sighed. "Lead me to the dishes."

"Get used to this," Jay said smugly. "This is going to be married life for you from now on."

Cole stood up from his seat and brought the rest of his plate down, shrimp-first, on Jay's head. "And this is going to be married life with me," he promised the Master of Lightning and walked away smiling.

"Welcome to the family," Nya said to Lloyd before standing up from the table.

"Can't be crazier than my family," Lloyd called after her, then turned to Lloyd. "Well, let's get cleaning."

Kai sighed melodramatically but didn't complain. He had promised to follow Lloyd wherever he lead him, even if it was just to another mess to clean up. So he smiled as he knelt down to pick up pieces of dinner from the floor with Lloyd. He wouldn't have traded it for anything else.