#that some people limit themselves to like three artists

[multifandomangel]

seeing people say “pop music is so back” as if it ever left us in the first place is so funny to me

[loveemagicpeace]

💕Astro notes🏹

☁️Capricorns and Taurus always set limits for themselves in the sense that when they decide something, they stick to it and that's how it is. They stick to certain things because they are determined.

✨Mars in fire sign in 12th -u do so many risky and fearful things but this is good for you. The more you do the things you fear, the better you feel. Many times I also notice that people who have mars in the 12th house can manifest pain or something about their appearance, in the sense that they go to get tattooed and they won't be in pain.

🥂You truly got to know someone who has Capricorn rising when you see them like three,four maybe five times. They are very secretive people and do not like to share many things about themselves. Intimacy it's a big thing for them they will not get intimate with people who they are not comfortable with.

🍸People who has pluto in their 3rd house are obsseded with cars. Also because pluto shows your obsession you can also have obsessive thoughts or obsessively thinking about someone.

⚡️People who has capricorn placements in particular (mercury, venus & mars) are big car lovers. They know a lot about them and talk a lot about them. They always have some business of their own, which includes some things related to cars. I don't know why but a lot of people with these signs drive or love BMWs haha.

❤️‍🔥People who have Venus in Leo or Sagittarius are very passionate people. They do everything they do with passion. They cannot imagine love without passion.

🌙Chiron Sextile Ascendant-you can easily find support in comunuty. Your tramums can be public or you share them with public.

🦋Uranus in 1st house makes people very special, different and interesting. And people always remember you even if they only see you once. Many times I notice that these people cannot be compared to anyone because their beauty is so unique. Many times I notice that people are jealous of them because of this.

💘The sign you have in the 8th house is the sign that will stalk you the most on social networks or in general. And it's also the sign that's most obsessed with you. All the planets that the person has in this sign will indicate that the person is obsessed with you or wants to have you for themselves.

🐚The most spiritual connection u will have with the sign in your 12th house. You can receive the most empathy and warm advice from this sign.

🍦Zodiac signs that love to eat are cancer, taurus, leos, sagittarius( they will really enjoy the food). They will always make time for good things. Meanwhile, I notice that people who have Virgo, Capricorn, Aries, Libra, Aquarius don't take time to eat or eat something small. They don't put much on food or things like that. Especially if they are surrounded by work.

🌌Having a north node in Scorpio means your life journey is all about learning to accept that change is constant. North node in virgo represents a point in your natal chart that signifies your soul's evolutionary path and the lessons you are meant to learn in this lifetime. These people are creative, artistic, sensitive, spiritual. North node in sagittarius means that in your lifetime you're meant to find your fate ,your believing system & your true meaning in this life and also growth.

📀The most healthy sign to hang out with is sign u have in your 9th house. Because the sign in this house represents everything you can learn, how you can grow into a better person. You will always have an honest and direct relationship with this person.

💡You would only understand people with first house placements if you also have them. Because if you don't have 1st house placements you will have hard time being with these people cuz people with first house placements have this confidence, can be little selfish or do things in a more selfish way. They are unbothered about a lot of things. And they can easily express themselves. And when you don't have 1st first placements it is harder for you to find compatibility with them.

🫧People with second house placements know their true value. Always when I'm around with these people it feels like I know that they value themselves & things around them. When I'm with them, I feel that they really appreciate me and somehow they will never invite me to some cheap place, but there will always be something beautiful and luxurious. I feel appreciated by them.

🌊🔥People with fire/water placements are very passionate, emotional, intense. Water is always getting into emotions seeing things for emotional side & they can quickly feel things through emotions. And fire is a about passion,anger and about doing. They will not be just emotional ,they will be angry emotional(crying out of anger) also they can do some really crazy things -sometimes I feel like they black out and when they are angry they are completely different person is like they got blinded by the anger. They can also be emotionally impulsive.

-Rebekah📀☁️🫧💘

[blluespirit]

okay first three episodes thoughts

good

bending is cool as fuck

sozin’s actor does an amazing job at full crazy but calculated

scenery is STUNNING

monk gyatso made me cry. idk why i just saw him and wanted him to give me a hug so bad

APPA ACTUALLY LOOKS GOOD AND NOT LIKE A LITERAL MONSTER

i wasn’t sure how id feel about them showing the air nomad massacre but i think the importsnt thing is that they showed it was a massacre - and that although they can defend themselves, they don’t have the ability to fight back like an organised army would bc they’re pacifists! they attacked a peaceful group

the abandoned fire nation ship in the southern water tribe looks so fucking cool

ARTIST ZUKO???!!! LETS GOOO

Dallas does an amazing job at getting across Zuko’s intense desperation

I actually ended up loving all the Sokka and Suki interactions sm it was so cute and wholesome

Katara is perfect i will kill and die for her

Azula’s opening scene being her manipulating those people trying kill ozai ultimately leading them to getting burned alive by him and smiling - literally so fucking good. she is the best villain in history of forever

really good move having the mechanist (Sai!) and Teo be in Omashu imo. having them destroy the northern Air Temple so carelessly always pissed me off

THE FREEDOM FIGHTERS ARE LITERALLY PERFECT I AM SCREAMINGGGG

I was wondering how they were going to introduce the Mechanist and Jet in a limited amount of episodes but I like how they combined the two stories

Also Sokka absolutely nerding out in the Mechanist’s home is so important to me

Zuko getting has ass beat by that lady for fighting Aang is literally so funny and reminiscent of the goofy aang vs zuko fights we see in season 1 (to be clear: i adore zuko. this is NOT hate on him)

Zuko losing shit about his notebook and trashing his room and then outing himself as a fire bender in Omashu is so perfect. god i love him so much. it’s very season 1 zuko. it’s giving I DONT NEED ANY CALMING TEA!!!

things i was not a fan of: (some of these are a little pedantic i’ll admit)

Exposition is a little is a little janky but i’ll forgive it i guess bc at least it isn’t egregious as The Movie That Shall Not Be Named

Aang leaving just to get fresh air/clear his head and intending to come back is a silly change to me. all i keep thinking about is the storm where we got those epic Zuko and Aang parallels which now doesn’t really work and also takes away a lot of Aang’s depth. A good change adds to the story, but personally this seems to take it away

WHY would they not make Katara the one to bring him back from the avatar state? just seems like a strange choice to me? not saying this from a shipping point at all but that moment is a big step to their bond/friendship especially since they have only just met

Still don’t understand why they made the head of the village Suki’s mum. like i don’t think it’s a terrible choice but they still could have let them have a mother/daughter bond but still let Suki be the leader without any implications of nepotism. it mostly seeems silly

tl;dr - really enjoying it so far!

[tobiasdrake]

I'm curious what Tenshinhan's fighting style is beyond general weirdness lol. I always interpreted it as a "showing off" sort of style back in the 22nd Tenkaichi Budokai, with most of his moves being visually impressive and/or intended to instill despair in his opponent, but then you have his kikōhō, a move that damages the self for greater strength...

Tenshinhan is fucking weird is what he is.

I mean that sincerely. Fitting for a man who walks in with three eyes like that's totally normal and no one ever speaks of it, Tenshinhan's style comes straight from the realm of the bizarre and esoteric. He's an outside-the-box challenger to test the limits of Goku's counter-fighting.

He is the drunken boxer. The fighting game character that plays utterly differently from all other characters, making them hard to learn but unpredictable when mastered. Ten forges his own way through martial arts with off-the-wall tricks and game-changing shenanigans.

It's just. Easy to forget how weird he is because the rest of the cast have thoroughly cannibalized his style. Kame-senryu are a bunch of fucking thieves.

This eye-searing image is the most normal thing Ten has in his repertoire.

Ten and Chiaotzu lay out that they're going to be... unlike anything we've seen before right from the get-go, when they use psychic powers to rig the matches.

Already, it's clear that we're about to see some weird shit. Both of these characters are built on the martial arts philosophy of "Okay what the hell even is that, how did you even bring laser eyes to a knife fight?"

Ten in particular is a formidable martial artist.

But as early as his first match, the oddball nature of his abilities start to settle in.

Okay, so Ten can just Nope any Kamehameha thrown at him. Sure. Guess that's a thing now. New rule, guys: No more Kamehamehas.

But you also kinda get it. Like. Tsuru-senryu is the rival school to Kame-senryu, and the Kamehameha is the signature technique of Kame-senryu. So it makes sense that they'd develop countermeasures for the Kamehameha.

Also, they can levitate.

Well, that's going to make scoring a ringout fucking hard, isn't it? One of the two ways you win in this tournament is by making your opponent fall in the grass outside the ring, and these fuckers can fly.

That's unfair, is what that is. They don't even need to use helicopter tail shenanigans or a well-aimed Kamehameha for propulsion to do it. They can just decide that they don't feel like being rung out today.

This is the first technique that doesn't seem so special today because everybody cannibalized their Bukujutsu. But at the time, it was unique. Even Taopaipai, their idol, couldn't fly. He got around by the delightfully comical method of throwing something really hard and then jumping on it and being taken for a ride.

Taopaipai was doing Breath of the Wild rock transit decades before it was cool.

As the tournament picks up, Chiaotzu foreshadows the bizarre nature of the fights ahead when he reveals his ultimate technique: Binding his opponent in place with psychic powers so they can't defend themselves.

That's. Not. Really. A martial art? Even by the incredibly loose definitions already on display in this manga. It's closer to General Blue's paralyzing glare. And there's a lot more of that to come.

Further included in Ten's repertoire of Weird Shit (TM) is his third eye, which serves a vital function in combat until everyone starts ki sensing and it ceases to be relevant.

Ten has enhanced perception, allowing him to see things that others can't. This is notably distinct from being able to sense people by following their ki signatures. A distinction the Muten-Roshi helpfully lays out by stating he can't see Goku but can sense him just before Ten confirms he can still see him.

When Goku meets Popo, we'll have entered the realm where the limitations of human eyesight can no longer keep up with the speeds of the characters, and learning to perceive through ki sensing becomes necessary.

But right now, Ten's enhanced perception lends him a number of edges over other martial artists that have to rely on eyesight to track their foes. Advantages such as thwarting this particular invisibility technique of Goku's.

Or piercing the illusion of the Zanzoken/Afterimage speed technique.

As an aside, I love the way both of those moments draw attention to Ten's two normal eyes looking one direction while his third looks the other. It's such an eerie but effective way of conveying the idea that he can see more than a normal man.

Ten and Chiaotzu play by different rules than everyone else.

Sometimes he has four arms. That's life, man. Again, they make a point of showing us what this looks like as a speed technique:

Both to set up Goku's counter for this and also so that we understand how meaningful it is that Ten is not doing that. Chapa and later Goku perform Hasshuken, moving their arms so fast it creates the illusion of eight. Ten physically sprouted two extra arms. He can just. Like. Shapeshift, I guess. He's a flying shapeshifter who sees faster than everyone because of his three eyes and he hangs out with a telekinetic doll.

Also he can flashbang his opponents as a clincher.

This is another move that seems mundane now because everyone stole it from him. They took his Bukujutsu/Levitation and they took his Taiyoken/Solar Flare. But it's another data point on the list of ways Ten's such a weird and complicated opponent to try and fight.

Even by the standards of Tsuru-senryu, he's weird. Taopaipai didn't do half of this shit. Ten specifically refers to the Taiyoken/Solar Flare as a New Tsuru-senryu technique, which implies that he created it himself.

Which makes me wonder just how much of his moveset is actually part of the Tsuru-senryu curriculum and how much is Ten. Just. Being weird.

Notably, at the 23rd Tenkaichi Budokai, Ten shows up with something even more absolutely freakish than the Shiyoken/Four-Armed Fist.

Shishin no Ken also known in English as the Multiform Technique is another departure from your illusory speed techniques, in that Ten splits his body into four bodies. How does he do that? Fuck you, that's how. This is the evolution of both his enhanced perception and his ability to sprout extra arms - And, in being so, a demonstration of how Goku has left him behind.

It's an admittedly creative solution to the problem that Goku, following his training with Popo, can move too fast for even his three eyes to follow. But now he has twelve eyes.

TWELVE. That's as many as four Tens! And that's terrible.

The Shishin no Ken was another weird-ass technique from a weird-ass martial artist, serving a practical function in enhancing Ten's unique characteristics to compensate for Goku's now godly abilities.

But it was ultimately undone by a catastrophic vulnerability, which is the reason nobody ever tried this shit again.

Splitting into multiple copies of yourself turns you into a team of useless scrubs who can't throw a punch to save your life. It's a bad technique and was written off immediately after this fight, never to be seen again.

...except in anime filler, where everyone stole that from Tenshinhan too.

You guys were both at the tournament when Goku pointed out that this technique makes you throw punches like slow, limp noodles! Come on, guys! These characters would not even try this shit.

But I digress.

Not to be outdone, Chiaotzu invented a technique where he blows himself up and dies ineffectually.

Tenshinhan never let him fight another person again for the rest of his life. This cost him fighting privileges. Straight up left him with the non-combatants during the Android arc. You are done, Chiaotzu.

Look, just because their shit is weird doesn't mean it's all good.

Of course, we can't talk about Ten without talking about the Big Gun. His ultimate technique. The thing he's known for better than anything else, especially by people who never watched or read the material prior to Raditz.

The Kikoho/Tri-Beam is not a Tsuru-senryu technique or a Kame-senryu technique. It's not even a Tenshinhan original. It's a forbidden technique known to both schools but, at least in the Muten-Roshi's opinion, inappropriate to ever pass on. Tenshinhan's going to use it to win at recreational sports.

And people complain about Korra entering the Avatar State to win a race. If Goku broke out the Genki-Dama/Spirit Bomb to punch Krillin out of the ring, Kaio would have his ass for that....

The Kikoho is, so far as we know, the most powerful individual technique in Dragon Ball in terms of the gulf between the wielder's power and the destructive force output by their technique. It punches far above Ten's weight class. Whether that means:

Managing to fuck up Nappa pretty bad.

Holding back Semi-Perfect Cell.

Or even dissipating a shot from Super Buutenks, the Kikoho is in a league of power far beyond anything Tenshinhan would be capable of himself. This technique lends Ten the ability to show up and be occasionally useful even after the power scales leave him far behind.

At least, for a short time.

Sorry, man. You cannot fight at this level. But at least you got that killer shot in.

Tenshinhan and Chiaotzu are wild cards. Not as characters, mind you, but as martial artists. Their greatest strength is their unpredictability. You never know what they're going to pull out of their pocket next, which for a time made Ten in particular into a fun and engaging rival for the ever-analytical Son Goku.

[hjnxx]

new company silence in the studio makes way for something new.

featuring bang chan, mentions of skz & hjx in passing word count 1k ( 1099 ) notes from june ummm. petition for men to be written as yearners. may the wanting make them quietly miserable. good day.

— hello? hey… it’s me, again.

studio nights were as lonely as they were fulfilling. the boys filling out with every hour that dipped towards midnight, stifling yawns as exhaustion from a packed day began to weigh on their shoulders. one by one they get up from their seats to stretch and wish him a good night, murmured well wishes and thank yous and claps on his shoulders given as parting gifts with each soft shut of his door.

he didn’t mind it. they deserved all the rest they got away from this demanding job, and he couldn’t blame them for their human limits. silence was a known companion, anyway—much like an old friend who is the only one who knows your true self. it lingers above his shoulders. peering. curious even after so long of a routine engraved in the palms of his calloused hands.

— i missed your call… i can’t believe i missed your call again. that keeps happening. why does it keep happening?

until this. a exchange by pure chance.

his hands reach for his phone before his mind catches up to his bodily actions, scrolling through apps and pictures absentmindedly. stalling. embarrassing. he itches to hear her voice until he can’t any longer, leg jumping, fingers tapping against his desk.

— maybe it’s fate? they do say distance makes the heart fonder. i think whoever said that didn’t account for artists working themselves to the brink of collapse, though. i wish fate was kinder to artists.

he’s already heard this voicemail before. it was sent a few days ago in response to a hasty one he’d sent hidden away between sets of a performance, his voice hushed as staff rushed around in front of him. he remembers his heart thumping louder than the bass he could feel through his boots, hands cradling his phone so gently. whispering so he wouldn’t get caught.

minho’s knowing look on stage long after and the feeling of his ears turning red.

— i wish you also didn’t feel like you had to rush a response. it sounded awfully noisy out there… were you caught? i hope not. i would hate to be the cause of a petty scandal. i know much this means to you.

would he say he believed in fate? in some instances, maybe. that the reason why his chances at making it on a stage, his dream of becoming a star in his own right, was delayed because he hadn’t found the right people to surround himself with. that one would become three would become eight and then nine, all by the grace of some overhead hands pulling at taut red strings? he could subscribe to the thought in theory. it was nice to believe the universe was finally rewarding him for his years spent hustling.

his hands hover over his screen anyway, pausing to listen. a pocket of time frozen solely for the seconds ticking down.

she was similar to him in more obvious ways. the fans were quick to note that she, like him, was the oldest out of three as well as the oldest of their group, thus subject to many an age joke said tinged with affection. he’s pleasantly surprised by her love for music, burning bright through the magnitude of credits she’d quickly collected in just three short years—not that he’s counting, that’s weird—and the fierce love of family that rivals everything else. he doesn’t doubt that she’d take a bullet for her girls without question. family wasn’t always in blood, after all.

he’s curious, he can admit it.

— i hope you’ve been well. it’s good to see that everyone is getting along well. i hear there’s something along the lines of dinner in the works? courtesy of minho sunbae and yuina. maybe we’ll be able to see each other then.

so curious, in fact, that it’s not uncommon for glances to be shared when he reaches for his phone, as if he can’t see or sense them. nosy to no fault of their own, knowing smiles with questions that he can’t seem to answer beyond an embarrassing amount of silence, and just minho’s presence overall. he’s been more teasing than usual, but almost in an encouraging way? he can’t wrap his head around it.

he’s always the last to leave, lingering over his shoulder like he wants to say something. like he knows more than he lets on.

— oh, speaking of sunbae, he said something about a song? that you would like to work on together?

he’s aware that his boys are curious about them. peering at them without any shame in public while jostling each other, more for show than anything. the stares they get back in response are funny, he can’t lie, especially when the small energetic one—yuina, he recalls—has to be dragged back from storming over.

he’s not surprised they’ve already started talking amongst each other. the fans are thrilled that both groups seem to be close, from minho recruiting yuina into his own shenanigans to the weird one-upping stint seungmin and micha have. and cléo adores eunji, and it’s not hard to say the same in return.

hell, he himself, the proclaimed social butterfly he is, wants nothing more than to pick apart at what this new connection could bring. but he keeps hesitating. keeps missing her calls. it’s not like he’s scared, either? but…

fuck. the only reason why he has her number was because of minho.

— i have a few ideas! nothing is really fleshed out yet, but i’d like to meet so we can discuss things in person. hopefully before the dinner?

his gaze shifts back to his screen, paused in the middle of the track they’d been working on before before the door swung shut for the last time. nothing is really fleshed out on his end, either. just samples and raw vocals and a mess of beats and frustration.

and curiosity, still. so much curiosity. it keeps him up more than he already is.

— or whenever’s good for you? i know you’re busy, so… call me back to let me know when.

his screen dims before him but he makes no move to move his mouse. he knows he’ll still be up for another two, three more hours, the stress on his shoulders weighing him down more than anything. but at least her voice is keeping him company for now.

— take care of yourself, chan. bye.

silence lingers once again as his phone dims in light as well. and before he can stop himself, his finger swipes across his screen languidly.

— hello? hey… it’s me, again.

[sugawhaaa]

Felix x reader Part. 1

"Im just doing my job."

💄Warnings::foul language used

🍦genre::fluff, non idol AU, one bed trope, slow burn

🌙pairing::security guard!Felix x famous!fem!reader

🏷A/N:: at first this idea seemed kinda cringe but now that I'm writing it I'm like, omg...also the next (estimated) 2 parts won't be as long (hopefully) because I had to introduce you to the world of this fanfic 😭

Your father is a worldwide famous actor that is constantly working. He may as well be royalty based on the way he's treated at work. Meanwhile your mother is a kpop artist that is still producing as a soloist. The three of you lived in basically a mansion of a house. All your life you've been harassed by cameras and interviewers, you willingly go to interviews but getting harassed at airports? Not so much. You understand the fact that at interviews all they're going to be asking you about is your parents but it always seems to be that as soon as anyone hears about your parents being well your parents they flip.

Comments such as "really you look nothing like them!" Or "gosh you must be so young!" Get hurtful and repetitive. 

But nothing is worse than getting bothered at your own house. You'll be eating dinner when there's people peeking through the windows or recording you getting changed at night. Your parents became aware of these creeps and stalkers and gave you, what they call, an assistant. His name? Lee Yongbok is his Korean name but he prefers being called Felix when not in business. He's very kind and generous but his speech seems to be limited when it comes to you and he's very stern and serious.

You can't help but feel bad for him. He has just as busy a schedule that you do and sometimes he does chores for you. He stays cool and calm and says it's nothing but is it really? He gets tired and often gets headaches. You offer him medicine but he refuses and uses his hands to massage his head instead. Felix often spends late nights with you and babysits you when your parents are out to simply enjoy themselves or do something for work.

Since you are now 18 years of age you've been thinking. What am I going to do with life? 

Ever since you were only a kid people asked you what your plans for your future are but they always give you two options. As an example an interviewer would ask "what are your plans for the future? Do you want to follow your mother's footsteps or your fathers?" You always try to explain in a kind way that both sound like promising futures but it might not be for you. Then they'll ask "Oh what else do you have in mind then?" 

Your honest answer? I don't know. But you have to give fans and TV more of an answer than that. You always bullshit it and come up with some random career and go with that. 

People also often ask about your school life, but ever since about 4th grade you've been home schooled. By a professional of course. Your parents wouldn't want anything less. Your teacher's name was Namjoon. He was very witty and knowledgeable about anything and everything. He was quick and knew lots about other countries, he's explored a vast amount of countries and often tells you about them. Felix isn't often around when Namjoon is but you just know that Felix would love him! Felix was born in Australia and Namjoon has been there on multiple occasions so they'd get along well. 

As of right now it's mid may, close to June and you are so done with schooling. Only about two months left and you're done. For a while. But there's also traveling, interviews for jobs and TV, hotel rooms, stalkers, busy cities, waiting around the hotel while your parents film or talk business with their staff. Felix usually doesn't come with you on these trips so it gets extra boring real quick. You're in all these different places around the world but you don't get even 5 seconds to enjoy it before getting dragged to a hotel or filming set. 

Today you woke up kind of late, around 10 am, and you instantly grabbed your phone to wake yourself up. You scrolled through some YouTube shorts when you saw a thumbnail for a short video. It mentioned your mother so you kept on reading the title and it said "M/N L/N caught cheating on husband! (She's been married to D/N for 13 years!!!)"

You rolled your eyes "it's been 14 years actually." you thought to yourself. You turned off your phone and hauled yourself out of bed and slipped on your shark slippers. You stretched and headed for the bathroom just down the hall from your room. When you opened your door you heard some cooking sounds from the kitchen downstairs and a delicious smell of bacon and eggs. Smells like moms cooking. 

You used the washroom and as you were washing your hands you looked up into the mirror to see your awful bed head. Right…you went to bed with wet hair last night. You dried off your hands and when you opened the door you heard your mother call your name. You went over to the indoor balcony in your house and looked down to see your mother "Yes?" You called out. 

"C'mere I have something important to tell you," you looked shocked and went down the nearby staircase. You rubbed your eyes as you went over to your mother in her pink house coat and cat slippers. "There's a slight change in plans. We're leaving for Australia today!" She said with a bright smile as she flipped an egg. You smiled with her.

"When do we leave!" You said basically jumping.

"1 pm!" She grinned as your jaw dropped.

"That's in four hours!" You freaked as your mom nodded. 

"I already made you an Australian breakfast," she smiled as she handed you a plate. You thanked her and gave her a kiss on the cheek before running to your room. You had nearly nothing packed! You were supposed to leave in roughly four days so you had like one outfit planned. It had a beret, long sleeve white dress, burnt pranced sweater and some basic sneakers.

Other than that you had nothing! You ate your breakfast really fast and got all the necessities. Hair brush, tooth brush, hair clips, make-up, skincare, pads, extra change of under garments, meds, bandaids everything! Time for clothes and hair accessories. You checked the time and only an hour had passed but your phone was at 18%! 

Ugh could anything else go wrong today?! 

You plugged in your phone and started putting outfits together. You finished all the clothing in about 30 minutes, not too bad considering. You then got in the shower and did your 50 step routine. At the end you relaxed a bit in the warm water but only 2 minutes into relaxation the water got cold. That doesn't happen too often but everyone's probably showering right now. You dried off and did some simple skin care before you ran into your mother in the hallway. 

"Whoa dear, relax." She giggled before taking a deep breath, she influenced you to do the same and you copied her. After a few deep breaths your mother oh'd. "I forgot to tell you," she said after hugging you. You looked at her with a confused and curious look. "Mr. Yongbok is coming with us!" She clapped and your face lit up. 

"Oh! He's gonna love that!" You said happily when your mother got a notification on her watch. She whipped out her wrist to check what it said and you quickly looked at the time on her watch. "12:13!? Damn I'm doing pretty good on time," you smirked before saying bye to your mother and going back to your room to keep packing. You packed some things that you might not need as much as you played some upbeat music. Bathing suit, housecoat, slippers, fidget toys, you know all the things that are kinda unnecessary to have a good time. You then dried your hair, styled it and did some simple but cute makeup. Then it hit you.  

"I don't have an outfit to wear today!" 

You put together a comfy yet cute outfit and finally got to sit down and relax on your phone but time goes by fast. Soon it was time to start heading for the airport. 

You and your family brought everything out to your big black car. One of your mother's staff was going to be driving you all there and helping with luggage. 

When you arrived at the airport you managed to spot Yongbok in the crowd. His long sandy hair covered his eyes as he looked down at his phone. You went over to him and he looked up before a squishy smile appeared on his face. You two chatted while sitting on a bench in a private section. The adults all discussed important matters while you and Felix talked about a video game you were playing on your phone.

"So they're all cookies…?" He questioned as he leaned in to see your phone screen.

"Yup!" You nodded as the cookies on your phone battled. 

"And they fight for their kingdom that you are in charge of?" He tilted his head as he looked at your focused eyes. You nodded again while humming. Your plane was then called to board, you and Felix got all of your things together and got on the plan. You were in first class today and this was Felix's first time up here. He embarrassingly asked a lot of questions during the whole flight. You thought it was cute but he found it embarrassing.

"Oh I've never asked you before," you started, catching Felix's attention. "How old are you?"

"Oh I'm twenty," he chuckled before putting a black mask on. 

"Really!?" You said with pure shock. "You look so much younger…" you looked at him intensely.

"How old did you think I was!?" He laughed "I am technically your security guard. I wouldn't really be in this position if I wasn't at least 18." He made a good point. But still he looked so young and handsome. You laid back in your comfy seat and closed your eyes with a sigh. "Tired?" Felix whispered in that deep, steady voice of his. He was so close to your ear and it made the butterflies in your stomach go wild. 

"Mhm" you nodded before relaxing your face again. Felix let you rest on the way to Australia. 

°○°○°○°○°○°○°○°○°○°○°○°○°○°○°○°○°○°○°○°○

You woke up to Felix calling your name and gently shaking your arm. You woke up confused as fuck. "What? What?" You groaned as you looked around the plane.

"We're almost there, I just wanted to make sure you were awake enough when we got there," he said before handing you some water. You drank it, the cold liquid going down your dry throat. Your lips popped off the lid and you took a breath. You nodded and handed it to Felix. He took it and set it away again.

"Are you excited to be back home?" You smiled at him.

"Of course." You saw his eyes smile just above his mask. "Are you?" He said as his fluffy hair turned your way. 

"I love Australia. I think it's a beautiful place, other than the spiders," you said, making Felix chuckle. "But I hardly ever get to go out and see these places we visit." You said sadly.

"Oh? Why?" Felix seemed to misunderstand this entire trip. Maybe he thought he was going to be able to see the old parks he went to and old restaurants he went to. Hopefully he isn't too upset.

"Well…" you gestured for him to lean closer to you. "My parents don't usually let me go out. They usually leave me in the hotel while they're out and about." You whispered in his ear so your parents wouldn't hear you talking bad about their treatment towards you. Felix looked surprised and disappointed. 

"Hopefully we can go out and just hang about!" He smiled with his eyes again. You nodded before going back to looking out the window. 

"Oh we're almost there!" You said pointing your finger at the window. 

After you all landed on the safe Australian land Felix took a deep breath and took in the landscape. 

"You and your parents know English right?" Felix mumbled as he leaned over to you.

"Um the basics?" You shrugged. Felix face palmed and went to go talk to your parents, leaving your side empty. They talked a lot and worked out a plan and after an s-class car ride to your 5 star hotel you finally got to feel the comfort of a soft squishy bed. But before that…

"I think we should divide the rooms by two. You and Felix go in one and me and D/N will go in the other," your mom smiled and everyone agreed. You arrived on the 5th floor and found your room. Felix opened it and let you in first. You jumped on the bed and soaked in the soft sheets. You let out a deep sigh.

"So comfy~" you said as you cuddled up in the blankets. When Felix walked in with both of your bags he scanned the room. His eyes landed upon this little bench by the window. There was something weird about it, he bent down to look at it. He pulled off one of the cushions and found a camera. He kicked it extremely hard, shattering it and shooting the pieces all across the room. You instantly sat up and looked at the mess he had made. He started picking up the pieces of glass and plastic. You got off the bed to help him. 

"Careful." He said standing up and putting a hand in front of you. "There's glass." He said before bending back down to clean it up. 

"I'm literally wearing shoes," you laughed.

"Still don't wanna risk my princess getting hurt," 

You blushed at what he just called you. Not only princess but HIS princess. Your heart fluttered as you sat on the bed, cheeks hot. "S-sorry." He blushed as he swept up the glass with a little hand broom from the bathroom. "I used to call my little sister that and you remind me of her so it kinda slipped out…" he explained.

"Don't worry I liked it," you said with a wave of your hands. An awkward silence fell upon the room. Thankfully a knock on the door broke the silence. Felix immediately shot up and headed for the door. "I'll get it." You said putting your hand up to his chest to stop him in his tracks.

"What if it's a creep?"

"Felix. It's fine."

"There was already a camera in here."

You rolled your eyes and opened the door. It was just a staff member bringing your extra luggage. You thanked him with a bow and started taking out some of your luggage. Meanwhile Felix checked all the mirrors for cameras and made sure everything was safe. 

Your parents then messaged you saying they were going to a meeting and you were free to roam around with Felix. Your face lit up. 

"Felix, Felix, Felix!" You said jumping up off the bed and over to him, your phone in hand. He turned to you. "My mom said we can go roam around as long as we stay near the hotel!" You basically jumped with excitement and Felix's face lit up as well. "But I'm kind of tired…" you said with disappointment.

"It's okay," Felix said as he put his strong, boney hands on your bare shoulders. "There's an ice cream shop just down the street from here. It's really good and the staff are always very friendly. After that we can come back here and relax until you want to sleep." 

You nodded and started getting ready. "Also your mother deposited $400 to your account." He said after he checked his phone while you brushed your hair and put cute clips in it. 

"Okay tell her I said thank you please," you said as you topped up your makeup. With that Felix started typing on his phone while still standing in the same spot as 5 minutes ago. You grabbed a purse out of your suitcase and pulled Felix out the door with you. You grabbed onto his arm with both of your arms. He guided you to the ice cream stand and you both had a wonderful time eating your ice cream. Felix got a reeses pieces flavor and you got (flavor of choice) as you walked down the street in the dim lights finishing off your ice cream you looked at Felix. His cute freckles scattered across his face, his wavy hair so effortlessly perfect, his eyes big and pure, full of wonder, his puffy lips shaped like that of a chick, his eyebrows dark and sharp, his jawline handsome and fair. As you were admiring his every feature he looked down at you and your eyes instantly shot away. His little beak lips formed a smile before going back to his ice cream. 

When you arrived at the hotel to sleep for the night you realized, there's only one bed! 

Felix had previously set his things on the cushioned bench by the window so he started heading for that. He was adjusting the pillows when you stopped. 

"Sleep on the bed tonight, it's okay!" You said putting your hand on his back. 

"No, no, you take the bed."

"No, I insist you use it tonight."

"No, I insist." You bickered back and forth.

"How about we both just use the bed?" You said crossing your arms as you awaited his response. 

"As long as you don't mind sharing." He said as he dragged his things over to the nightstand. You went to the washroom and changed your clothes while you were in there. Meanwhile, without you knowing, Felix was also getting changed. You stepped out of the bathroom in your cute short pajamas to find Felix shirtless with his fly undone, a shirt in between his arms being prepared to be put on. You gawked at the sight before you caught his eyes on you. 

"S-sorry!" You jumped and turned around, covering your eyes. Felix just laughed.

"Sorry, I'm used to having just guys around…" he said as he continued to change without your eyes staring him down. 

"That's understandable, I almost did the same!" You said as you rolled on your heels. The sound of his belt and pants hitting the floor making your cheeks heat up.

"Perhaps it's because, I feel comfortable around you…" he muttered as he put on some shorts. 

"I feel the same." You smiled "I'm glad you feel comfortable with me and I hope you keep these feelings!" You said before turning around to see him heading for the left side of the bed. Felix smiled and you two started chatting about your experiences with each other. First impressions, embarrassing moments, close calls etc. 

Eventually you got tired and turned out the lights. Hours later you still lay awake looking out the window at all the city lights lighting up the midnight sky. 

"Can't sleep?" Felix asked in a deep voice.

"Nope." You sighed. "You should focus on sleeping instead of me,"

"But it's my job," Felix chuckled. 

"That power kick you did earlier was dope." You giggled to yourself.

"Haha, just doing my job!" He laughed. 

"Still, every time you do that I get more and more impressed." You smiled as you rolled over to look at him, his eyes already on you. 

"Do you know what the plan for tomorrow is?" He asked with pink dusting over his cheeks.

"Nope." You said with a light roll of your eyes.

"Either way we should get some sleep. Goodnight, princess," he said as he rolled back over to face the wall. Your cheeks were hot and the butterflies in your tummy were going insane at his choice of words.

[knightotoc]

"Star Wars: Architect" video game concept:

You're a celebrity architect of a long-lived alien species, so you get commissions by the upper-crust across all three trilogies

Your first mission is to design the secret lakehouse where Senator Amidala is going to have her mysterious babies. You take it because the war has hurt your business, even though you won't be able to add it to your portfolio. Big budget, medium plot size, lots of artistic freedom

But before the senator can make her final payment, she suddenly dies, and you're in debt (especially if you went way over budget) --

Branching path: You immediately get a lucrative and public but morally repugnant offer: convert the Jedi Temple into the Imperial Palace. Huge budget, huge plot size, limited artistic freedom

If you accept, you're on the Imperial path, and you're guaranteed twenty more years of wealthy patronage. These include: the Emperor's private residence (another job on beautiful Naboo), a mansion to tempt Galen Erso, and a lot of converting Separatist and Jedi property into Imperial outposts (Dooku's castle, Ossus, Ilum). There are also more secret missions which, like Padme's, cannot be put on your portfolio but offer more artistic freedom: the Inquistors' undersea base, various evil laboratories, and Tarkin's penthouse for his down low gay affairs. All of these commissions will have strict rules of expression

If you refuse, you're on the Pariah path: you're blacklisted by the government, and your name is now considered dangerous and -- much worse -- unfashionable. The only big jobs you can get are from gauche and unreliable crooks like Jabba the Hutt and Hondo Ohnaka. These are fun projects, but they will screw you over, and are pretty revolting themselves. In this path, the secret missions are by wealthy people who will only employ you if you use a pseudonym. These include jobs in Alderaan, which are totally unique and cool, though you the player know your beautiful buildings will get destroyed

Near the end of the Rebellion the fortunes of the two paths flip; so, the Imperial architect gameplay goes from easy to hard, while the Pariah goes from hard to easy. An ex-Imperial will now have a harder time getting respectable jobs, and will either have to turn to the crimelords or demonstrate their artistic and political versatility ASAP. There will be a huge demand to destroy Imperial buildings (even ones you may have built) and replace them with something new; generally these jobs will offer more artistic freedom but less pay. You can offer to help design for the rebels or Luke's new Jedi order, but they won't pay or respect you very much

For the next thirty years, most wealthy people will want their buildings to look as un-Imperial as possible ... except for the shady extremists who will grow to support the First Order. This is another branching path, but unlike the first one, you have to seek these people out if you want their money. They do have some deeply bizarre commissions, especially the highest-paying job in the game: converting Ilum into Starkiller Base. You can and should retire with this fortune, since no one will ever want to hire you again

Following the destruction of Hosnian Prime, you'll get the final mission of the game from Hamato Xiono, to rebuild his family estate on a Hosnian colony. He'll also commission a racetrack to try to get his wayward son to come home, bookending the game with an emotional, complicated parenthood theme

[cherrylng]

2001 'Origin of Symmetry' Interview - Matthew Bellamy [CROSSBEAT Muse Special Book]

"You're playing mellow songs all the time, and then suddenly you can't help but explode and play the heavier stuff, because you keep doing the same thing and you get bored of it."

2001 interview revealing the background to Origin of Symmetry. Interview by Akiko Mima

The quality and scale of the songs on 'Origin of Symmetry' have improved dramatically. Some of the songs were already performed live when you came to Japan last year, so the songwriting process seems to have gone smoothly, but what was the most difficult part? 「For this album, it was difficult to manage the equipment and decide on the recording method. There were so many options. We ended up mostly sticking to a simple three-piece band format, because we got confused with too many instruments and equipment. 'Megalomania' and 'Space Dementia' are big, heartfelt compositions, and we struggled to find a good way to reproduce them with just three people. Especially as we did most of it on piano and the harmonies were quite complex.」

Yes. This time around, you made a new attempt in terms of sound-making, actively incorporating synths, piano and strings. Is this because you wanted to broaden your sound without sticking to a three-piece rock band? 「We want to break the limits of a three-piece band. Especially when I write songs, I'm half piano, half guitar, and I want to somehow incorporate that into the album. Of course, I also love bands like Ben Folds Five, and I want to show that a three-piece doesn't necessarily have to be guitar-oriented.」

What do you think is the difference between the first album and the new one? 「Well, I think it's that we're more confident. We've become more sure of our skills as musicians. Overall, we're sounding more like a three-piece band.」

The combination of your emotional vocals with the overall intense guitar sound of "Bliss", "Space Dementia" and "Plug In Baby" is impressive, but what is it that drives you to such intense emotions? 「Maybe it's that……. Uh, what's that? (laughs)…… Ah, yes. I think that people today have a vague fear that something is wrong with humanity, compared to people in the past. They have a premonition that in another 100 or 200 years there will be fatal environmental destruction or disasters, don't they? Young people are using all kinds of things as a medium to connect with other people in this situation. I also have the feeling that I need to be more connected to the world, and I think I'm driven by that. I'm not very good at conveying messages, but one thing I can say is that using too many words can be intimidating. So I'd rather stimulate people with music than with words. I want to make people realise the connection between people through sound.」

But usually artists want to express themselves first. Is that not quite the same thing? 「I don't think I can give you a definite answer, but the name of the band "Muse" was also given with the intention of inspiring people to be creative in the world…… Maybe (laughs). For me, music is a way of expressing what I can't communicate in my everyday life.」

What is it that you wanted to achieve with this album? 「It wasn't a very difficult idea. I just wanted to make life a bit better (laughs). I just wanted to make a better album than the last one, that kind of thing. There was no big concept, just a constant expansion of our knowledge of what was going on around us. Especially making this album, I learnt a lot about music and myself. Touring and meeting new people has also been very informative. I just want to keep absorbing information.」

What does the album title 'Origin of Symmetry' mean? 「It has to do with the artwork. There are about 15 artists involved, each doing something in a different form. It could be a two-dimensional painting or a three-dimensional statue. But they are all given a common theme. That's 'bringing order to chaos'. In other words, finding symmetry in chaos. It's the same with the songs, there are different styles, but the basic idea is the same. The title also ties in with my idea of "consciousness". For me, "consciousness" is the evolution of all elements. When objects are broken into incredibly fine particles in the Big Bang, they eventually make up the nucleus. When the nucleus becomes conscious, it becomes an atom. The atoms go back and forth violently with each other and eventually build elements. This process repeats itself and eventually evolves into planets and stars. The countless stars in the night sky were originally one star that exploded a long time ago. When you think about it, you realise that in the very beginning all the planets and stars were united under one consciousness. That's why, I think, humanity is in a violent collision with each other, i.e. in a state of chaos.」

I think the vibrant and dynamic sound of the new album is the result of repeated live performances. Muse is a band that places a lot of importance on live shows - what is the stage like for you? 「It's where I can feel myself as I am. I'm also happy to be able to present myself to so many people. Especially when you live in a city surrounded by a lot of people, you tend to become closed off, don't you? So it's fun to be able to expose myself freely on stage. Especially when you have friends close to the stage, you can be more honest with yourself. I think everyone does something similar in their own way.」

Yes. I also think that Muse's music is characterised by 'strange contrasts'. Within a single song, movement and stillness, hope and despair, light and shadow, heat and cold coexist. When you write songs, are you always aware that there are two sides to things, or multiple sides? 「Maybe I am. I don't know if it's completely conscious. At least not intentionally. But I do think that life is always about how you reconcile between the poles. In any case, I'll be playing mellow songs all the time, for example, and then suddenly I explode and I can't stop playing heavy stuff. Sometimes I mix mellow and heavy in one song. If you keep doing the same thing, you get bored of it.」

I see. And one more thing. I think there is always a sense of "pain" behind the intensity of Muse's sound. 「It's not "pain", it's me in an extreme state. Otherwise, it's the result of pushing my body to the limit using my emotions. Some people might see it as "pain", but for me it's the greatest pleasure. Well, it's not so much pleasure, it's more like a great emotional experience. I can't say it well. No, I can say it, but I'm embarrassed. For example, let's say I'm having the ultimate sex (laughs). It's the greatest pleasure, but if a child who doesn't understand sex sees it, it's just pain. What you see in music is also an extreme state of enjoyment for me.」

Yeah, yeah (laughs). Even in the song structures, many of the songs start off calmly, but then change key and become hard. Are you trying to express that kind of worldview in these songs too? 「I don't know. I wonder if it's just a quirk? (laughs) It's true that it's something that's inside me. In the end I'm making a sound that I find interesting, and that sound is somewhere between calm and extreme.」

Well, you go from calm to angry quite often, don't you (laughs). I wondered if it was the same for you, by any chance. 「Yes, of course, there are times when I feel limited by my physical condition or social situation. I just don't know the specific cause. I'll have to think about it next time (laughs).」

Considering when you started out in music, how do you think you have changed as a songwriter? 「Hmmm. I think I've gradually become more open than before. I'm no longer ashamed to be honest. In the beginning, I was worried about whether what I was sending out was reaching listeners in a meaningful way, but now I'm more satisfied with myself as I am.」

With the saturation of various technologies and methodologies, the concept of 'rock' is also changing, isn't it? Radiohead are a band who have found a new way of life for rock by dismantling the conventions of rock, what do you think of their kind of methodology? 「In the end, we're all human beings in the same way. Some of them use music as a tool to communicate their thoughts. But it doesn't matter what technology, equipment or style you use to communicate. What is important is the emotion in the music. People create different styles. Not only music, but also religions are very diverse. But the reality is that the world is now integrating so many different cultures that categorisation is becoming less and less meaningful. Whether you are a Christian or a Hindu, you are looking for the same thing. It's the same with music. Even if a band's style of music suddenly changes, you have to understand that it's still the same people who are making it.」

As for Muse, are you aiming to create a sound that will be ahead of its time? 「(laughs) I'm still too afraid to talk about that. Hehehe.」

Or is it always the individual listener that you are aiming for? 「Yes. I want to value the individual. I just want to keep making good music, but I don't want to be famous for it. In any case, any band that says they want to make a sound that's ahead of its time is going to be ridiculed by their listeners.」

"I genuinely believe that there can't be a new sound, that we're just taking what's been ingrained in us for thousands of years and mixing it with what's old."

Hahaha. But artists are all about "new", aren't they? They want to keep evolving, rather than going back to tradition. 「I think the 'new' is just a mixture of the old and the modern. Tomorrow, a new pianist might emerge and people might say that his style is innovative, but in fact it's a style that's been used for hundreds of years. Of course, it's important to keep learning new things to feed yourself. But I believe that there can never be anything genuinely new. I think it's always just a mix of old stuff. You're inheriting something that's been ingrained for thousands of years somewhere. If you try to trace the origin, it will be chaos, a big mess.」

Translator's Note: I've spent 2 days scanning more magazines to be uploaded onto my hard drive. Still quite a lot to go through, really.

[ahmedmootaz]

If Ayin did distort, what kind of abilities would he have?

Dear Anonymous,

Good question! I've thought about it a lot, and I think that Ayin's Distortion would be mostly influenced by the traumas he endured, just as the Ensemble's members were all influenced by their most traumatic events;

Jae-Heon was influenced by how his son was run over by a road-roller and how his puppet was then destroyed by Roland, thus turning into a puppet-master and, subsequently, into an amalgamation of various different creatures, just like his puppets he made for Argalia.

Greta was influenced by how her fellow Eight-Chefs ate themselves and pushed themselves to the limit in the search for new tastes and flavours; her hunger and desire manifested in the form of a famished shark with many, many mouths in order to eat as much as she wanted.

And so on and so forth. If we were to follow the same formula for Ayin, I'd think that the events that marked/traumatised him the most had to be the Old Lab's raid by Garion, the Smoke War, and the loss of Carmen, so I believe his Distortion would have some form of connection to all three of these events.

Not to mention that, personally, I think Ayin was just a few wrong/right turns away in life from being the perfect Arbiter, and seeing how X manifested into a sick parody of an Arbiter himself, I'd think Ayin's Distortion would be quite similar, although with a few twists here and there.

For starters, I believe that his Arbiter gear would be more white-and-red instead of the standard and iconic gold-and-black issued to most Arbiters, mostly for the sake of artistic choices on my end, but also because I believe a Distortion would attempt to be different from the main enforcers of the City's order, as Carmen explicitly stated that, after she herself became the Voice of the Distortion, she was attempting to free the people from the City's cycle in her own, twisted way. As such, I believe she would help draw out a form that is at least visually distinct from Arbiters for her beloved Yinnie, of all people, seeing how he deserves that little pleasure the most, which is my explanation for how I'd explain this stylistic choice for Ayin while X's Distortion is a regular Arbiter outfit.

As for abilities, I'd personally assume they would be similar to what X possesses, to some degree, with typical Arbiter powers being the 'norm' for Ayin's Distortion, but I'd also assume that seeing how his trauma extends far beyond that of most of the PM characters we got to see so far, he'd also be able to tap into powers specifically from his time in the Smoke War. For example, I assume that he would be able to concentrate his powers to summon inter-dimensional portals like those used in the War, or perhaps even utilise the Smoke itself as one of his abilities to weaken opponents at the cost of it also adversely affecting him.

But I think what would also make him even more of a force to be reckoned with would be his relation to Abnormalities. I'm sure that he would resonate with quite a few Abnormality powers which Carmen would happily draw from him to make him into a bit of a indestructible force, although I'm not exactly sure on what Abnormality powers he would have access to, but one thing I am certain of is that he would without a doubt be able to manipulate blood to some extent or perhaps even mess with one's central nervous system, as an homage to his trauma with regards to Carmen. Perhaps he causes hallucinations or causes one's own mind to start attacking itself?

I think his biggest weakness would be his willingness to fight against his Distortion, it's just that he will need a lot of outside help to even have a chance at managing to ward off the Distortion, seeing how he's so full of repressed sentiments and emotions, and all of them bursting out as he Distorts would have quite the catastrophic consequences.

This was a really fun ask, and so I thank you, Anon, for providing me with it! I don't know if I can apply them somewhere soon, but this was quite fun to think of! As always, take care, stay safe, and see ya'!

[familyabolisher]

omg I don’t remember the Van Gogh ep very well pls say more

there’s something just very unpleasant and patronising about the whole tone that the episode takes. i’m not especially fond of the tendency to narrativise real people anyway, but i think some of dw’s other episodes manage to strike a more lighthearted tone which aims to build a plot around the presence of a famous historical figure (charles dickens, agatha christie, shakespeare, regrettably churchill), sometimes exploiting biographical details (the plot of the unicorn and the wasp hinges on christie’s real-life three-day disappearance, for instance, and draws not inconsiderably from the breakdown of her marriage) but often not seeking to inhabit or interiorize the historical figure in question to an extent that supercedes the desire to like, tell a story in an episode of doctor who. the tone of the episodes doesn’t tend to veer outside of the register of like, It’s The Fun BBC Science Fiction Show.

by contrast, there’s something very … condescending, i think, about how van gogh (the real van gogh!) is treated in vincent and the doctor. it strikes this odd tone between like a platitudinous approach to the nebulous concept of ‘mental health’ of the #BeKind ilk and this almost voyeuristic desire to paint a mentally ill man as, like, at once necessarily separate from the audience such that we must Encounter him (the presumed audience is never themselves mentally ill; we are here to Learn about mental illness and to Reflect on our desire to disenfranchise the mentally ill! etc) and available to us as a source from which we can extract all sorts of Lessons about Mental Health. the tone of the episode is very self-serious; it is very clearly aware of itself as an episode with Something To Say. that being, that VVG’s suicidality couldn’t have been prevented by the doctor and amy or by idk The Power of Art (And One’s Own Legacy Within It), that the doctor is limited in what ‘monsters’ he can fight and what ‘monsters’ he cannot, that we (for whom the doctor + amy briefly become audience surrogates 1 and 2, amy in particular) are tasked with Being Kind anyway because we might make a small difference in someone’s life such that they, for example, dedicate a painting of sunflowers to us. (lmfao?)

it’s just weirdly cannibalistic; it’s taking this historical figure and extrapolating a bunch of like, sweeping moralising statements and supposedly affecting scenes (i know many people find the scene in the musée d’orsay vv affecting; i thought it was stupid, sorry), trying to say something about artistic brilliance & artistic legacy but not really landing on anything coherent or interesting beyond like, art by marginalised people is depreciated (true!) but we can fix that by appreciating it, in the musée d’orsay (fuck off!), but Even That can’t make someone not suicidal (true but collapsed by the narrative as quickly as it comes, and also not really … interesting). it wants so badly to say something about van gogh, but it doesn’t feel like an episode that cares about van gogh the man as much as it cares about using van gogh as a metonymic shorthand for all these ideas around Mental Health and Art and Madness and Legacy. which is what i meant when i said it feels cannibalistic—and intrusive at points! i felt uncomfortable watching it in ways that i didn’t with eg. the dickens, christie, shakespeare eps.

[naamah-beherit]

On fanzines and the mess their current state is

Or: musings from a writer's biased perspective.

This post has been a long time coming, but always something else caught my attention and months passed as such. Finally, the time has come.

There was a zine wank recently. The mods proved to be quite ignorant how art works, kicked the artist, the artist went public with receipts, the mods insisted it wasn't like that, and the whole affair kept derailing with possibly another explanation for the kicking until at last the mods cancelled the zine. And it's just the latest wank of many. A zine here took money and never delivered the product, another zine there has a mod who hasn't read the book but only heard about it from their friends who, coincidentally, are the other mods. And so on, and so forth. Everywhere you look, there's a fanzine. Multiple fanzines in fact, sometimes at the same time. Which is understandable, given how old a concept of a zine is and how solid their foundations in fandoms.

Or, well, technically, because when I think about the zines of today, I can't help but realise they're gradually losing the connection to their roots.

(yes, this might be another post of the "old person yells at clouds" type. I'm fully aware of that)

I won't summarise a history of zines, because that's not the point here and also Fanlore has done a much better job in this article. It does serve as a good starting point, though, if you've never ventured past "zines are a thing that exist". The most important thing to keep in mind is: the zines used to be about much more than just art. And here lies some of my beef with them.

Nowadays, most if not all zines are art books. Worse than that: art books that refuse to acknowledge the fact, own it, and market themselves accordingly. I actually own an art book that was announced and sold as such (Ages of Arda Anthology), which to this day in all my fandoms¹ remains the only publication of that kind. And if the zines of today would have acknowledged their main focus is mostly if not only art, I wouldn't be writing this.

Alas, here we are. I participated in four zines. Additionally, I was one of the editors in one of those. It was the first English Hualian zine, actually, back in 2019 - unless another one somehow slipped my mind, but I don't think so. My 2019 was bad, but TGCF is the only thing I remember well from that time. I've also been traditionally published (three times so far), which is also relevant to the rant. I admit I don't remember how many check-ins we had for that one zine I was in the staff of. We had a word/size limit for the entries. As fas as I recall, that was the entry criteria. I might be missing details, though; I was hella depressed at the time. Like I said, bad year, few memories and 99% of them is TGCF.

But anyway, the other three zines I wrote for. I applied, was accepted, went through the process, saw it to the end. You know, the "usual" zine process. The one I've got Opinions™ about.

Let's start with submissions. x samples of works of y quality. Okay, sure, we all think without stopping to realise it's a tad weird to submit a selected portfolio of works for a hobby event as if it were a job application. It gets weirder the longer you think about it, because, as I once wrote, fandom is for fun. It's a hobby. Maybe I'm old and jaded, or an idealist, or an old jaded idealist, but I believe everyone has a place in something as deeply tied to the fandom as a fanzine.

Then comes what I've got a personal vendetta against: check-ins and deadlines. Sure, I know people create projects with specific time frames in mind, but dear gods, again, it's not a job. Nothing bad will happen if dates shift around a bit when there's no money involved. Maybe it's just me being bitter about putting fun, fannish activity into strict professional frames. again, I'm old and jaded. And dear gods, check-ins. Here's when my trad pub history comes into play, because in neither case I had to let the editorial staff know I was actually working. True, it might be a case for a story that isn't done yet, doubly so if there's a deadline looming over both an author and their editor, but when you submit something finished and aren't asked to revise&resubmit, you go over the editorial input, make the changes (or not if you're feeling brave, lol), send it back, go over the proof copy, submit possible adjustments, and that's it. Or at least that's how it worked for me for two magazines and a short story anthology.

What does it matter if someone writes a story the day before the zine submissions are due? If it works for them, then it shouldn't be an issue. Again, it might be just me, but standardising and project-managising a hobby activity doesn't really sit well with me. From my very biased perspective, I don't see fun in chasing deadlines and writing on the clock, but that's just me.

Zine being a project rather than fun activity also ties to it becoming a product. That means a zine has to sell to at least cover the production cost, and with the quality the organisers and the audience expect, the labour cost is basically non-existent. That at least remained from a fun hobby activity - people working for free, lol. It also enables situations when the same few highly popular artists partake in most or all zines in a fandom (often upon invitations, whose very existence makes my blood boil), leading to a reality where zines become an endless cycle of repetition. And don't even get me started on invitations that add to the marketing strategy of selling the zines. "Here are our wonderful, carefully selected artists, and here's everyone else". That's how I see it. Where has "we're all fans of the same thing" gone? Where's "share our mutual love for the same thing"? Instead, we get invited people and those who have to submit a CV-like application for a senior position.

You ruined a perfectly good fan activity, is what you did. Look at it, it's got capitalism.

And last but not least, art books that refuse to acknowledge what they are and the subsequent treatment of writers.

The longer I look at zines, the lower the artists:writers ratio is becoming. Sure, people like to look at art, because it's quite often easier and always quicker than reading. Sure, ain't nobody got time for reading these days. BUT. The growing disparity between respect and reception of works of artists vs writers is, well, growing, and by not giving writers an equal treatment and exposure in something as important to fandoms as fanzines doesn't help to improve the situation. Again, my opinion, but when seeing zine promos that have got approximately 20-30+ artists and 5-10 writers at most is not cool. This is why I say most of the zines these days are art books that refuse the name. And there's nothing wrong with that name, or with including only artists in something that's only about visual art. But when it's mixed for art and writing, then the least zine organisers could do is make the numbers equal. Again, we're all fans of the same thing, and no fan activity is better than the other when its outlet is meant to be varied. Also, where are cosplayers? Where are meta writers? Both of those have got a place in a fanzine as well and should be given a treatment equal to other expression of fannish love.

Am I trying to turn back a river with a stick? Probably. But I'm fed up with zines that fail because someone embezzles funds, zines that prioritise the same group of people over and over again over a more diverse crowd, or claim they're welcoming to all forms of expressions but obviously prefer to include only fanart. I'm fed up with manufacturing zine after zine after zine just because they sell. I'm fed up with fandom becoming more and more of a structured professional endeavour instead of a hobby. I'm fed up with audience that constantly demands a faster and faster stream of, well, content. Neither of those is what fandom and fanzines should be like.

.

PS. not proofread. Sorry, I'm too dead to do that, so mistakes may get fixed within the next few days, 'cause they sure as hell are many.

__

¹ - I don't know anything about other fandoms, though. Like I said: it's all opinions from a very personal angle.

[arecomicsevengood]

Jack Cole's Plastic Man

I recently discovered that some volumes of the Plastic Man Archives, those fifty dollar hardcovers issued by DC, can be had for fairly affordable prices these days. I had always heard that Jack Cole was one of the few Golden Age cartoonists whose work held up - Some would advocate for Will Eisner's work on The Spirit, but Cole's work, being more explicitly comedic seemed like it might come closer to E.C. Segar or other strip cartoonists whose work I know to be enjoyable. I'd read a little bit of Plastic Man before - his origin story, as reprinted in Jules Feiffer's The Great Comic Book Heroes, is not that impressive, but is ingrained in my memory due to poring over that book at my grandparents' house as a kid. I also know that I read the Art Spiegelman and Chip Kidd Jack Cole And Plastic Man: Forms Stretched To Their Limits book but that was much later in life and so I don't remember the stories reprinted nearly as much as I recall the Chip Kidd of it all: The scans from newsprint, the ephemera. There are only a few complete stories in that book.

I do wish there was a single volume best-of, in an affordable softcover, rather than a series of eight hardcovers, committed to completism. There are also now four softcovers, put out by PS Artbooks, that reprint four issues of the Plastic Man series at a time - I believe there is some overlap with the archives in the first two of these volumes, but that with the third they get to reprinting material DC didn't get around to. I also believe that PS follows the "scanning from old issues" method preferred by Spiegelman to the "restored and made crisper" approach seen in the DC Archives books. I don't know, of course, if my personal taste in what I think is the strongest material would align with that of the editors of a hypothetical best-of. I'm sure there are great discrepancies between my taste, those of an editor at DC Comics, and Art Spiegelman's when it comes to contemporary work, but I would also like to think that, when evaluating work from the 1940s, our collective tastes would approximate those of the theoretical modern reader. I believe we'd all agree that The Granite Lady, from Volume Five, with its reoccurring gags of men being suicidal due to a beautiful but indifferent woman, or the same volume's Thinking Machine, with its prefiguring of AI played for laughs, constitutes top-shelf material. Volume 3 is a little more consistently high-quality than volume 5, but not by much.

But beyond selecting the stories that hold up as comedy, that are able to maintain a certain velocity, there is the cartooning itself to observe the oddity of. There is a peculiar way these panels move from panel to panel, which is abnormally solid: Often it seems like the figures are made of clay, and they and the camera are being moved around a stop-motion diorama. There's a way of foreshortening the bodies and backgrounds that gives the comics a sense that the spaces have been realized by the artist with perfect precision before he laid his pen to paper. This is most in evidence with Woozy Winks, Plastic Man's sidekick, a big fat guy wearing polka dots and a straw boater hat, but there is always a sense of solidity, of moving the reader through the space of the page by identifiable props. A big part of this is the gag of Plastic Man himself, how he disguises himself as an object then reveals himself later.

Cole shows Plastic Man stretching within the panels themselves, which are set out in a standard three-tier page. He doesn't go for wacky byzantine dynamic layouts that have Plastic Man moving throughout the page. There is something inherently deadpan or understated, which is both a big part of why these comics work and something that people trying to adapt Plastic Man to a more traditional superhero comics framework miss. Plastic Man is now owned by DC Comics, and when he shows up as a character, he is played as zany, while the sense of humor in Cole's comics is situational and occasionally dark. In a non-Golden Age context, it makes sense to play the character for what he can do visually, but playing the cartooning broader leads to different calculations as to how the timing would work.

There are other factors in play as to why later incarnations may not work as well. Over time, the idea of a humorous superhero veers into superhero parody, which then gives way to head-up-its-own-ass self-referentiality. This is a trap even very funny people can fall into. Jack Cole is simply telling stories, that require very little from the reader in terms of background knowledge they need going in, and he elaborates on his basic premise, time and time again, becoming reliably entertaining. I don't think I need many more of these collections beyond the two that I have, but two volumes of classic comics is generally my limit: That's all I have of Carl Barks, Floyd Gottfredson, E.C. Segar, and Cliff Sterrett. Cole easily ranks among those guys, a great entertainer for a broad audience.

[sinceileftyoublog]

Black Belt Eagle Scout Interview: Expanding My Vulnerability

BY JORDAN MAINZER

Katherine Paul began the Black Belt Eagle Scout set at Pitchfork with whispered singing. As “My Blood Runs Through This Land” progressed, the song a standout from their third album The Land, The Water, The Sky (Saddle Creek), Paul’s singing transformed into a wail, albeit muted by her own guitar distortion and Camas Logue’s mighty drums. Fittingly, Paul’s voice never seemed like it was at the center. It was there, telling her stories, but always equal in sonic and emotional importance to her surroundings. Sometimes, the neighboring elements were symbolic, like the guitar solo of “My Blood Runs Through This Land”, “emulating [her] ancestors running,” as she told me at Pitchfork. (Paul is Coast Salish/Swinomish, raised in the Swinomish Indian Tribal Community in LaConner, Washington.) Other times, they were perhaps coincidental, as when she sang about being “engulfed by beauty” on “Don’t Give Up”, right as her singing was overwhelmed by the swirling of Logue’s drums, Nay Wilkins’ bass, and Claire Puckett’s guitars. No matter what, the set was a masterclass in tension and ultimate expressiveness, the songs exponentially louder than their studio versions. With every repetition of “Need you, want you” on Mother of My Children’s “Soft Stud”, the guitars bellowed with mammoth force, the crowd whooping in approval. It was breathtaking.

The Land, The Water, The Sky is inspired by Paul moving back to the Swinomish Reservation on which she was raised, as well as her metaphoric personal journeys. The record contains love songs of varying recipients: her surroundings (“Nobody”), her immediate family (“Spaces”), her local queer community (“Sčičudz (a narrow place)”). This time around, she worked with some notable collaborators on the record, like multi-instrumentalist Takiaya Reed of excellent Melbourne doom duo Divide and Dissolve, who co-produced the album, and Mount Eerie’s Phil Elverum, who sings on “Salmon Stinta”. Though Paul played many of the instruments on the record and certainly led its expanded instrumental palate, its instrumentation and production was not a one-person affair like her previous two albums. Many artists find working by themselves intimidating; in contrast, for Paul, opening herself up to other musicians in this way was a key part of her growth in confidence. Ditto for playing live. “I have a really amazing band,” Paul said. “We’ve grown so much...for most of the year, we’ve been on the road non-stop, so we’ve learned how to work through certain sounds and passages together.”

Paul and I sat outside the festival press tent (as JPEGMAFIA boomed in the distance) to discuss The Land, The Water, The Sky, playing live, her writing process, and Divide and Dissolve. Read our conversation below, edited for length and clarity.

Since I Left You: You have three albums already and a somewhat limited set time. How do you decide what songs to play at a festival?

Katherine Paul: I really wanted to play a lot of the new album, but also bring in some of what I felt are the heavy hitters from my previous album. [Songs] that make the set flow. I tried to put some of the new singles in the set, and some that are the favorites in the previous albums. Since you’re playing to a lot of new people, too, something that keeps the energy up.

SILY: I definitely felt that with what you chose to play. I had never seen you live and wanted to come in green, so I didn’t watch any videos, and your set was definitely louder than I expected, in a great way. There was a lot of play with dynamics and catharsis and release. Are you feeling those emotions on stage?

KP: Yeah, I mean I feel like we kick it up a notch, and I like to rock out. For this show, I played on an amp I don’t normally play out of, and I loved it. I kind of want to get one. I love playing loud guitars. [laughs]

SILY: When you play live, do you find yourself in a similar headspace to when you wrote the songs? Are you trying to channel on stage what inspired you to write them in the first place?

KP: I think about what they mean to me, which is maybe a similar thing. I think about why I play certain parts. When I play “My Blood Runs Through This Land”, the guitar solo is supposed to emulate my ancestors running. It’s raw and beautiful. I think about that and put my feeling and playing into those thoughts. I like to make a connection to what the song means to me when I play it.

SILY: On the record, you did a lot of the instrumentation yourself. Do you find adapting the songs to the stage, with a full band, just as rewarding as writing and recording them in the first place?

KP: I’m still learning. That’s what I’m realizing. Sometimes, my natural instinct is to play them how they sound on the recording, but lately, I feel like I want to put a jam in there. [laughs]

SILY: You played “Don’t Give Up” right before playing “Indians Never Die”. In interviews around the release of Mother of My Children, you were talking about “Indians Never Die” and the idea of always taking care of the land. When you sing on "Don’t Give Up”, “I was only seventeen, I was only seventy,” is that a similar sentiment?

KP: “Don’t Give Up” has a lot of writing about my mental health and taking care of myself, having that knowledge that we’re still growing as people and trying to figure things out, whether we’re seventeen or seventy. That’s what those specific lyrics mean, but I think that could tie into, by taking care of myself, I’m taking care of the connection to where I’m from.

SILY: I also like the phrase on the song, “engulfed by beauty.” It suggests being almost overwhelmed by nature, and it works with the heavy reverb of the music.

KP: Yeah. Being swallowed by it.

SILY: Have you gotten to see anyone else at the festival?

KP: I got to see snippets here and there: Vagabon’s one and a half songs, Weyes Blood, Big Thief, yaya bey. I wanted to see Julia [Jacklin], but I couldn’t. Her set was so short. There was a lot of running around, getting food, getting situated.

SILY: Do you like the new Divide and Dissolve record?

KP: I haven’t heard it yet. I’m waiting for the right time to listen to it. I know it’s out, and I want to listen to it when I’m at home on a walk. When I heard the previous record, I was just gutted. So I want to listen to this one walking around in the woods or something.

SILY: Apart from the specific stories and changes in your life that inspired The Land, The Water, The Sky, is there anything else unique about it as compared to your first two records? And how is it a continuation of them?

KP: There are still those glittery sounds within the pop genre that pop up. The uniqueness comes with expanding my vulnerability as a songwriter, having different people play on it. It shifted my perspective of what my songwriting can be. Before, I was more afraid to take risks and do different things, but now, I feel better about it--almost encouraged.

SILY: Are you the type of songwriter always writing, or do you have to set periods of time for you to sit down and do it?

KP: I definitely have to set time aside to do it. I have so much going on in my life. [laughs] It’s hard to always be writing.

SILY: Is there anything else upcoming for you?

KP: I’m working on a mini tour documentary with Evan Atwood, who did the photo [on the front cover of] the album. We’ll have some live recorded versions and filmed versions on the songs. This coming winter, I’m just going to write music and figure out what’s next.

[the-void-writes]

OC Interview Tag

Thank you @tryingtimi for the tag! I’ll leave this one open for whoever wants to use the questions.

I feel like I haven’t written them consistently in this, but I wanted an excuse to develop one of Vesely’s employees. So here’s Ridley, a biologist who is less invested in spreading Freak genes and more interested in unlocking immortality via reanimation.

1. Are you named after anyone?

My name is my own. It gets the job done, and that’s all that matters.

2. When was the last time you cried?

I don’t cry. Crying gets you kicked. I work.

3. Do you have kids?

It depends on what you count as children. Did I create them? Yes. But I am not their parent. They answer to no one but themselves.

4. Do you use sarcasm?

Only for those who deserve it.

5. What’s the first thing you notice about people?

I listen to them talk. People with three-word vocabularies are worthless to my work. The patients that yield the best results are the confident ones who like to show off, who use fancy words at parties because they think you’re easily impressed. They have high brain capacity, but their egos cloud their judgment. Those are the people that will sign up for any experiment, as long as you make it seem like they’re important.

6. What’s your eye color?

Have you ever seen a piece of dry moss? It’s peeling off the tree, all shriveled up and bleached from the light, practically falling apart in your hand. I’m told it’s like that, only the moss is more pleasant to look at.

7. Scary movies or happy endings?

Horror films help me think better. I don’t care about ghost stories, or idiot slashers running around and wasting precious life. My mind has always been drawn to stories of the undead. Life persevering after death. Souls that refuse to die, even when time eats away at their shells. We have the potential to live forever, but no one is willing to explore what it takes to survive. No one but Master, of course.

8. Any special talents?

Some people out there would call it “necromancy.” I am not a sorcerer. There is no magic involved. I’m simply pushing biology to its limits, searching for the key to our survival.

9. Where were you born?

You would have to ask my parents, but no one knows who they are. They threw me away the minute they saw my face.

10. What are your hobbies?

Aside from my work, I try to read.

11. Do you have any pets?

Our lab rat, Dorian. He was the only one to survive the trials. He is my proof that we are meant to persevere, to laugh in the face of death.

12. What sports do you play/have played?

I do yoga, just to keep myself refreshed. There’s too much that needs to be done, I can’t waste that time on recreational sports.

13. How tall are you?

Five-foot-six, last I checked. I’m sure I’m not the shortest employee, but I don’t go around measuring people.

14. Favorite subject in school?

Health and fitness, of course. In this line of work, you need to know everything that the human body is capable of. An artist has nothing if their canvas is ill-prepared.

15. Dream job?

This is my dream, researching and testing under the safety of Our Master. With his guidance, I will find the key to our future.

[bijoupreciieux]

the ruby slippers in various verses / au’s. i headcanon that unlike in the 1939 film, the ruby slippers aren’t covered in sequins but rather actual real rubies as shown here on a pair beautifully crafted by an artist on e/tsy ( X )

main / disney: in the end of baum’s original story, glinda, the good witch of the south, tells dorothy how the magic charm of the silver shoes ruby slippers work. she also reveals to dorothy that they hold several mysterious powers inside them, this indicates that the shoes are able to do much more than carry people places. but what these other specific powers can do is left a mystery.

powers include — (1) transportation to any place in the world in just three seconds regardless of distance, (2) protection for the wearer including negating dark magical energy or physical attack, (3) some degree of wish granting, (4) ability to change their size and style depending on wearer ( example: they became large boots for the gnome king as opposed to small high heels ), (5) limited teleportation to different realms & even different times (6) healing ability for illness and injury (7) energy manipulation.

in this verse, dorothy is unaware of the shoes powers aside from the teleportation and some degree of protection. at least not until she officially moves to oz and is elected the ruler later on.

harry potter / wizarding world: in this au the slippers are a magical and lost relic, featured in history textbooks and quite famous. originally forged by famed sorceress glinda the good. when they are eventually found there’s a note with them written by glinda centuries prior that simply read a single name: dorothy. the slippers are dull in color, as if covered in raw ruby stones instead of sparkling gemstones.

dusty and time-worn. there is no historical evidence of glinda being associated with anyone named dorothy. but many with the name come to try and claim the shoes. but it’s dorothy gale, a sweet and “simple” farm girl for whom the shoes suddenly return to their original appearance & transfer themselves ( as if they are sentient ) to her feet, fitting perfectly as if made for her. in this au, dorothy is an unknown descendant of glinda.

the latter looking far far far into the future could see dorothy with her big heart and her goodness, her kindness and bravery even when she was afraid, her devotion to her family and her desire to make the world a better place. glinda hadn’t taken long to decide the slippers would remain dormant and dull until dorothy stumbled onto them someway or another.

the slippers are not at all as powerful as they had been but still have traces of magic in them, dorothy is able to use them to some degree to travel anywhere in mere seconds and the journey though short is quite pleasant & doesn’t hold the same risks as apparating or cause nausea / discomfort like a portkey does. but the shoes lacking their original level of power means this doesn’t always work. their protective charm as well once was able to protect the wearer from powerful or advanced dark magic but now can only protect against milder or beginner forms of dark magic.

[gaymormonmike]

INHERIT THE WIND

I recently saw the play with music, Inherit The Wind, at the Asolo/ U of South Fl theatre.  It was fantastic. I want to share why I think  it is still relevant. First some background. It is a play written by Jerome Lawrence and Robert E. Lee that opened on Broadway in 1955.It was based on the Scopes monkey trial in Tennessee in 1925. Tenn. had passed a law preventing the teaching of evolution to high school students. The ACLU wanted to challenge the law in court and arranged for a teacher to confess to teaching evolution.  The trial lawyers were 2 of the most famous attorneys in the nation. William Jennings Bryant, who ran for and lost the Presidency three times and Clarence Darrow. Lawrence and Lee had something more in mind than Biblical creation versus Darwin’s theories of evolution. They were responding to the McCarthy attacks on artists because of their alleged communists’ views. The play attacks the idea of disavowing critical thinking. The authors wanted us to question why children or anyone could not be exposed to many, diverse ideas and then use their own minds and power to think to determine the truth for them. They also wanted us to consider that rural America with its’ rigid views was passing away with the increase of urban living. They expressed that more open views were a healthier way of life.  The play has caught the imagination of so many as it has been made into motion pictures four times and the starring roles have been played by every important actor of the 20th century.

Now, in 2023, it is being staged in Florida. In my opinion, its’ relevance is even more important, especially in FL. Laws passed in Florida prevent the teaching of sexual and other topics to students in state schools. An even more restrictive law is being considered that would limit social media to people over the age of 18. Like the people in Tenn. in 1925, the legislature in Florida does not believe students can think for themselves. They want to prevent them from receiving information about various topics, including LBGTQA related topics in a school. And they also want to keep them from using social media. The censorship is scary. The magnificent play Inherit the Wind shows the stark contrast between forcing people to accept what some group wants them to accept versus allowing children and all people to hear and read various points of view and using critical thinking to come to their own decisions. I applaud Asolo Rep for their production and doing it at a time when Floridians need a reminder of what a fascist state really looks like.