#the series still seems to be releasing songs so that's actually cool

[edanablack]

I had a dream, apparently, that the vocaloid song series Evillious Chronicles released another series of songs - but this one was humorous takes on the original storyline.

In the Servant of Evil song, the rewrite was that, for whatever reason, Len really wanted Rin's position as Princess (and her dress, more specifically). He put a long-running plan into action to take it, going on years, but once they got to be adults, Rin decided she didn't want him around anymore. Len, making an impassioned plea to stay, somehow ends up sleeping with the princess instead - and is ashamed of himself for ruining his own plan.

He decides to steal the dress anyway and run away, getting something out of this, but ends up running into a revolution of angry villagers and dies. Rin assumes he did this because he loved her, end of song.

[theetherealbloom]

AS GOOD A REASON - CH. 3 | OBERYN MARTELL

Chapter Three: There Will Be No Glory

Summary: You, who has made it her life's work to get retribution on those who mistreated and harassed you when you were a child. The scars on your body are a physical reminder of the suffering you endured at the hands of abusers, and they also provide the fuel for your years-long quest for retribution.

Paring: Oberyn Martell x Fem!Reader

Warnings: 18+ MDNI DEAD DOVE DO NOT EAT, MINORS GO AWAY, GoT is full of serious and harmful topics, mentions of SA, Rape (not the reader), Murder, Violence, Gore, War, Poison, Scars, Burns, Scratching, Su!c!de, AU, Age–Gap Romance, Angst, FLUFF, Eventual SMUT, Swearing, PTSD, Depression, Anxiety, Crying, Suggestive content, Flirting, Blood, War, Religion References, Nudity, Domestic Abuse, Incest, Prostitution, Weapons, Fire, Horror, Character Deaths, Rewrite Alternate Universe, Sex, Alcohol, Revenge, 

Word Count: 8.4k

A/N: I swear I’m cookin’ back here. I've been writing this series non-stop for days lmao. Idk what hit me?? I actually have the next chapter ready to post too lmao. Hope everyone is doing well!

Side note: I’m dyslexic and English isn’t my first language! So I apologize in advance for the spelling and/or grammatical errors. As always, reblogs, comments, and likes are always appreciated. Thank you and happy reading!

Song: hunter by Paris Paloma

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KING'S LANDING, THE SEPT OF BAELOR — EARLY MORNING

The Sept of Baelor was alive with a flurry of activity. Servants moved swiftly, preparing for the grand wedding of Joffrey Baratheon and Margaery Tyrell. Every corner of the grand sept was being scrubbed, every flower meticulously placed, every banner hung with precision. The sun had barely risen, casting a golden hue over the stained-glass windows, but already the heat of the day was making the air feel thick and heavy.

You were in the midst of it all, arranging the delicate floral garlands along the altar. The scent of the flowers was overwhelming, mingling with the incense that filled the Sept. Your hands moved mechanically, arranging the blooms with precision, though your mind was elsewhere. The headache that had been gnawing at the edges of your consciousness all morning now pulsed with a vengeance, a searing pain behind your eyes. It was getting harder to focus, and the heat didn’t help.

Voices echoed through the Sept as people hurried by, servants calling to one another in preparation, but it was all a dull hum in your ears. You pressed a hand to your temple, closing your eyes for a moment as the migraine intensified. The world seemed to blur at the edges, the weight of your own thoughts pressing down on you, mingling with the physical pain. 

Then, suddenly, a firm hand gripped your arm. You gasped, eyes snapping open as you were pulled away from your work, your feet stumbling beneath you. The world spun as you were dragged through the corridors, away from the main hall. 

Your first instinct was to fight back. You kicked, struggled, your heart pounding with panic. But the grip was unyielding, dragging you into a darkened alcove, hidden away from prying eyes. 

“What are you—? Let go of me!” you hissed, your voice strained with fear and frustration as you fought against your captor, kicking and trying to free yourself.

Then, in the dim light, you saw him. Oberyn Martell. His eyes gleamed with amusement, but there was something else in them—a hunger, a dangerous edge. He didn’t release you, instead pressing you further into the shadows, the cool stone wall biting against your back.

“You—” you began, breathless, still trying to regain control of the situation, but Oberyn leaned closer, cutting off your words with the intensity of his gaze. 

“Shh," he whispered, his voice a low rumble that sent a shiver down your spine. "I’ve been looking for you.”

His words hung between you like a dangerous secret. His body pressed against yours, firm and unyielding, his hands bracing on either side of your head, caging you in. Your heart raced as you realized there was no escaping him now. You forced yourself to meet his gaze, determined to maintain your composure despite the sudden surge of heat that flushed your skin. 

“What are you doing?” you demanded, your voice shaky but defiant. “We shouldn’t be here—”

Oberyn’s smile widened, the corner of his lips curving into a wicked smirk. “Shouldn’t we?” His tone was teasing, but his eyes were dark, intense. His face was so close, his breath warm against your skin. “You’ve been avoiding me. I’ve noticed.”

“I’m working,” you replied, trying to maintain control of your voice, trying to keep your heart from pounding so loudly in your chest. “And you should be—”

But Oberyn interrupted you, his hand brushing lightly against your arm, sending sparks shooting up your spine. "You carry yourself with grace, more like a lady of the court than a servant.” His gaze trailed over you, studying you, watching the way you tried to hide the tremor in your breath. “It makes me wonder… who are you really?”

Your throat tightened. The question cut too close to the truth. You had worked so hard to blend in, to be unnoticed, yet Oberyn’s gaze seemed to peel back the layers you had carefully built. He was too perceptive, too sharp.

“I’m no one,” you lied, your voice steadier than you felt. “Just a servant.”

Oberyn chuckled softly, but there was no humor in it. He leaned closer, his lips brushing the shell of your ear as he spoke. “A servant who speaks with such eloquence, who watches others like a hawk, as if you’re calculating their every move.” His breath was hot against your skin, his presence overwhelming as he whispered, “You’re planning something, aren’t you?”

Your pulse quickened. His words were dangerous, far too close to what you had been so careful to hide. Oberyn was watching you with an intensity that made your skin burn, and for a moment, you couldn’t breathe. He saw through you in a way no one else had. The facade you wore was slipping under his gaze, and you weren’t sure if you could hold it up any longer.

“I don’t know what you mean,” you said, your voice barely more than a whisper.

Oberyn tilted his head, his dark eyes searching yours, reading the fear and the defiance in equal measure. He smiled, but it didn’t reach his eyes. “You’re a good liar,” he murmured, his lips brushing against your skin as he spoke. “But I’ve spent my life around liars. And you... you are no ordinary servant.”

You swallowed hard, your back pressed firmly against the cold stone as Oberyn’s presence enveloped you. His fingers brushed lightly against your jaw, tracing the line of your face as he studied you. "There's something about you," he said, his voice soft but dangerous. "Something... familiar."

Your breath caught in your throat. He was getting too close, too close to the truth you had buried so deeply. You had to regain control, had to push him away before he uncovered everything.

“Let me go,” you whispered, though your voice lacked the strength you intended. 

Oberyn’s eyes glimmered with something unreadable as he held you there, trapped between him and the wall. He leaned in, his lips hovering near yours, the tension between you crackling like wildfire. “Not yet,” he whispered, his voice a promise, a warning. 

And in that moment, you realized you were caught.

Oberyn stood so close, his presence overwhelming, his eyes filled with that dangerous blend of curiosity and something more primal. You could feel the heat radiating from him, the air between you thick with tension, as if the entire world had fallen away, leaving just the two of you in this darkened corner of the Sept.

His voice, low and smooth, broke the silence, sending a shiver down your spine. “My sister used to write to me, you know,” he began, his lips curling into a small, almost bittersweet smile. “Princess Elia. We were always apart, but her letters kept me close to her.” He paused, watching you closely, as though he could see right through the facade you’d carefully built over the years. 

You stiffened at the mention of Elia, your heart clenching painfully. You hadn’t heard that name spoken so intimately in years. You were only a child then, but you remembered her well—kind, gentle, her presence like a soft light amidst the darkness that surrounded the Red Keep. Your hands trembled slightly, but you quickly clenched them into fists, trying to maintain your composure as Oberyn continued.

“There was one letter,” he mused, his voice softening as if recalling a distant memory. His fingers lightly traced the air, as if mimicking the act of writing. “She wrote about a servant. A girl, a child really, whose parents had given her away. She never mentioned the girl’s name, but she always said how kind she was. How strong, despite everything.”

Your breath caught in your throat. You knew he was talking about you. Elia had been the only one who had shown you kindness, who had given you a place to belong when the world had taken everything from you. But you couldn’t let him know that. You couldn’t let anyone know who you truly were. The weight of your past was a burden you had carried alone, and it had to stay that way.

Oberyn stepped closer, his eyes searching yours, as though he could find the truth hidden behind your carefully guarded expression. “I wonder…” he whispered, his lips hovering near your ear. “Was that girl you?”

You swallowed hard, every instinct screaming at you to run, to get away, but Oberyn’s presence held you in place. His gaze was relentless, burning into you, waiting for an answer you couldn’t give.

“I—” You struggled to find the words, your mind racing, but your throat felt tight, your heart hammering in your chest. You had spent years building this mask, this life as a mere servant, someone no one would look at twice. But now, in the span of moments, Oberyn was threatening to tear it all away.

His hand lifted, fingers grazing the side of your face, and the world seemed to narrow down to that single point of contact. “Who are you, truly?” he asked, his voice barely more than a whisper, but there was no mistaking the intensity in his tone.

The question hung in the air, suffocating. His proximity, the way his body loomed over yours, the way his eyes pinned you in place—it was all too much. The pressure, the closeness, the danger of being exposed—it all came crashing down on you, and suddenly, something snapped inside you.

Without warning, you moved.

Your knee shot up, connecting with Oberyn’s side, hard enough to knock the wind out of him, but not enough to cause real harm. He staggered back, his expression briefly shifting to one of surprise before it morphed into something almost amused. But you didn’t give him time to recover. You slipped out from under his arm, using his momentary lapse to dart past him, your body moving with an agility you hadn’t shown before. 

He chuckled, low and dangerous, clearly not expecting the sudden resistance. “I see,” he murmured, rubbing his side where you’d struck him, his eyes gleaming with something far more dangerous than before. “You’re full of surprises.”

But you didn’t stop to listen. You were already moving, slipping back into the main hall of the Sept where the other servants were still bustling about, preparing for the wedding. The light from the stained-glass windows bathed the room in a kaleidoscope of colors, but you barely noticed. Your heart was pounding in your chest, adrenaline still coursing through your veins as you forced yourself to keep walking, blending back into the crowd of workers.

No one seemed to notice your disheveled state, the faint tremor in your hands as you returned to your duties. You grabbed a bouquet of flowers, your fingers working mechanically as you set them in place, your mind racing with the encounter you had just escaped.

Oberyn had been close—too close. You had no idea how much he truly knew or how much he suspected, but it was clear he wasn’t going to let this go. You could still feel his eyes on you, the way he had studied you as if he could unravel all your secrets.

But you wouldn’t let him. You had survived this long by keeping your past hidden, and you wouldn’t let anyone—no matter how charming, how dangerous—pull you back into that life. 

As you worked, your mind kept replaying his words, the way he had looked at you with that knowing gaze. You could feel the danger closing in, but you had no choice but to press on. The game was far from over, and you would have to be even more careful from now on.

But one thing was clear—Oberyn Martell was not a man easily fooled.

KING'S LANDING, THE SEPT OF BAELOR — DAY

You lingered in the cool shadows of the Sept, hidden from view, just another servant who wasn’t meant to be seen. You weren’t supposed to be part of the grand ceremony at all. Your role, after all, was to prepare for the feast that would follow this extravagant display—a celebration meant to rival even the greatest of royal unions.

But something compelled you to stay.

The air was thick with the scent of incense, and the sound of hushed murmurs echoed off the high stone walls as nobles and lords gathered to witness the joining of Houses Tyrell and Lannister. It was all falling into place, every step of this elaborate plan leading to this moment. The tension in the room crackled like lightning before a storm.

You stood, your heart pounding, as Margaery Tyrell, radiant in her flowing gown, walked down the aisle on the arm of her father, Mace Tyrell. Her golden hair shimmered in the light of the stained-glass windows, and her face was calm—serene even—as though she had been preparing for this her entire life. You watched closely, your gaze sharp, dissecting every movement, every flicker of emotion. The entire event was a spectacle, a symbol of power, of politics. It was all theater. 

Mace Tyrell paused at the base of the steps, his expression proud as he handed his daughter to the waiting king. Joffrey stood at the top, his grin smug, cruel even, as he accepted Margaery’s hand. For a brief moment, your eyes lingered on the boy king, revulsion curling in your stomach. His reign had been a reign of terror and madness, and yet, in this moment, he stood like a conqueror, basking in the adulation of his subjects. 

Margaery, ever poised, ascended the steps with him, her head held high as she moved beside Joffrey. The High Septon awaited them, his voice booming through the Sept as he began the sacred rites. You felt a strange sense of detachment, as if watching the scene unfold from a great distance. Yet, there was a thrill beneath your skin—a deep, quiet satisfaction. Everything was in motion now, and there was no turning back.

The High Septon’s voice echoed through the hall, reverberating off the stone walls: 

"Let it be known that Margaery of House Tyrell and Joffrey of the Houses Lannister and Baratheon are one heart, one flesh, one soul. Cursed be he who would seek to tear them asunder."

As the words filled the air, you couldn’t help but smirk slightly to yourself, hidden in the shadows. Cursed, indeed. The irony of it all, the pageantry, the vows, the promise of unity, knowing what was to come—it was almost poetic.

You watched as Joffrey, in all his arrogance, turned to Margaery, taking her hands in his. "With this kiss, I pledge my love," he declared, loud enough for all to hear. His voice carried the same venomous self-importance it always had, as if he truly believed himself a benevolent ruler.

The crowd erupted in applause as their lips met in a kiss that was supposed to symbolize the unity of two great houses. You watched with an unreadable expression as Margaery played her part flawlessly, the perfect bride, while Joffrey basked in the adulation.

From your vantage point, you caught a glimpse of Sansa Stark, her face pale as she leaned toward Tyrion Lannister. Her eyes were dark, her lips pressed into a thin line as she whispered, "We have a new queen."

Tyrion, ever the cynic, barely glanced at her as he muttered under his breath, “Better her than you.”

You felt a surge of something—was it pity?—for Sansa, trapped in this viper’s nest with no escape. But this wasn’t your concern, not today. Today, the wheels were turning, and soon, this entire charade would unravel. You could feel it in the air, the undercurrent of tension beneath the applause and celebration. It was almost time.

The ceremony concluded, and the newly crowned queen and her king descended the steps together, the picture of royal power. The applause grew louder, the lords and ladies of Westeros rising to their feet in celebration of this union. But all you could focus on was the bitter truth behind it all. 

Your migraine throbbed in your temples, the dull ache intensifying as you stood there, watching the farce unfold before you. But you smiled, knowing that by the end of this day, Joffrey would no longer be king. The poison had already been set in motion, and the pieces on the board were exactly where you needed them to be.

For now, you would watch. The storm was coming, and you would be ready to strike when the time was right.

THE WEDDING RECEPTION 

KING'S LANDING GARDEN, RED KEEP — DAY

The garden was a riot of color and sound. Banners of crimson and gold fluttered in the warm breeze, the sigils of House Lannister emblazoned on every surface. Long tables stretched across the lush greenery, laden with golden platters of roasted meats, fruit, and delicate pastries. Lords and ladies of every great house in Westeros mingled, their voices a hum of excitement, laughter, and gossip, all gathered to celebrate the union of Joffrey Baratheon and Margaery Tyrell.

Jugglers tossed brightly colored balls high into the air while fire-breathers sent plumes of flames into the sky. Their movements were smooth and practiced, as if the entire performance were just another part of the show that was the king’s wedding. Some even walked on stilts, towering over the crowd, while musicians played lively tunes in the background, the melodies weaving in and out of the general din. 

You stood back, observing from the edge of the gardens, the soft perfume of roses mingling with the smoky scent of roasted meats. The spectacle of it all, the opulence, the grandeur—it was enough to make anyone feel insignificant in its shadow. You glanced down at your own hands, trembling slightly as you worked to keep them busy, adjusting a garland of flowers, though your task had long since been finished.  

The whole scene was a display of power, the ruling elite flaunting their wealth for all to see. Each lord and lady wore their finest silks, their jewels glinting in the midday sun as they danced, laughed, and raised their goblets in celebration. But beneath the surface, there was an undercurrent of tension. It lingered in the air, a brewing tempest on the horizon.

As your eyes drifted over the crowd, you spotted Bronn, Tyrion, and Podrick making their way through the guests. Tyrion’s face was hard to read, his usual wit tempered by the weight of the moment. He and Bronn exchanged quiet words, but even from a distance, you could see the unease in Tyrion’s posture. He didn’t want to be here, that much was clear.

And then, from across the garden, your gaze landed on Oberyn Martell. He and Ellaria Sand were seated near the fountain, utterly captivated by a contortionist performing impossible bends and twists before them. Ellaria laughed softly, her eyes alight with amusement, while Oberyn watched the performance with a more measured gaze. 

For a fleeting moment, his eyes found yours.

The world seemed to slow as the intensity of his gaze sent a jolt through your body. His dark eyes, filled with a mix of curiosity and something deeper, locked onto yours, as though he could see through every wall you had carefully constructed. Your heart quickened, and an unexpected warmth spread through your chest. The moment stretched between you, silent and loaded with meaning.

But you couldn’t hold it. Your pulse raced, your palms dampening with sweat as you quickly tore your gaze away, focusing on the flowers at your feet. You forced yourself to breathe, but the weight of his attention lingered on your skin, like a touch that burned long after it was gone.

You busied yourself again, rearranging the flowers though they didn’t need rearranging, anything to distract yourself from the flutter of nerves in your stomach. What was it about him? The way he looked at you wasn’t like the others. It was as if he knew something—something about you that no one else did. 

Your hands shook as you tried to steady your breath. You weren’t supposed to stand out here, in this garden full of lords and ladies, and yet… here you were, caught in the eyes of a man who seemed to see too much.

Out of the corner of your eye, you saw Ellaria lean in closer to Oberyn, whispering something into his ear, her hand resting lightly on his arm. Her eyes flicked briefly in your direction, curiosity burning behind them. The same possessive glint you had seen before was there, but now it was tempered by a different kind of intrigue.

Your heart pounded in your chest. You weren’t sure if you were relieved or unnerved by the brief reprieve from Oberyn’s gaze. Either way, you knew one thing: nothing at this wedding was what it seemed.

The air was thick with revelry, the laughter of lords and ladies mingling with the melody of flutes and the clink of goblets. Everywhere you looked, you saw power—power flaunted by those who had it, and coveted by those who didn’t. But you played your role, dutifully present, a servant watching a play unfold.

At the head table, Olenna Tyrell moved with a deliberate grace, her hand trailing through Sansa Stark’s carefully braided hair before lingering on the stones of her necklace. The movement was subtle, her fingers deft, plucking at the polished purple gems with a kind of ease that only someone of her station could manage. It was easy to miss if one wasn’t paying attention—but you were always paying attention.

Your eyes narrowed, recognizing the faint gleam in Olenna’s fingers as she discreetly palmed something. The strangler. A crystalline form of poison, almost impossible to detect once dissolved in wine. Your heart beat faster, but outwardly, you remained composed, blending into the background of the celebration.

No one else seemed to notice. Not Sansa, lost in her sorrow, nor Tyrion, pouring himself another goblet of wine as he approached the table. Olenna’s conspiratorial smile went unnoticed by the rest, except you. You stepped closer, pretending to busy yourself with the trays of wine, ready to serve at a moment’s notice, but your ears were sharply tuned to their conversation.

You heard the last bit of Olenna’s words as she turned to Sansa, her voice low but pointed. "Perhaps if your pauper husband were to sell his mule and his last pair of shoes, he might afford to bring you to Highgarden for a visit. Now that peace has come and all is right with the world, it would do you good to see some of it." Olenna cast a glance toward Tyrion, her eyes gleaming with amusement. “You must excuse me. It's time I ate some of this food I paid for.”

Tyrion smirked, but the bitterness in his eyes was unmistakable. He raised his goblet in a mock toast, the weight of his station pressing heavily on his shoulders.

As Olenna moved away, the music changed. The musicians struck up a familiar tune, the one they always played for the Lannisters—a song of lions, of power.

"A coat of gold, or a coat of red, a lion still has claws..."

Margaery seemed to be enjoying the performance, her laughter light and genuine. But Joffrey, ever the restless king, was bored. He stood abruptly, tossing coins at the musicians as if they were little more than beggars. "Very good. Very good. Off you go," he said dismissively. The musicians scrambled to collect the coins, bowing as they backed away from the table, desperate to avoid the king’s wrath.

From where you stood, the entire spectacle felt sickening. You clenched your jaw, your hands hidden beneath your sleeves as you forced yourself to remain composed. It was all a game to them. A game of politics, of power, of lies. The poorest in King’s Landing would never see the remnants of this feast, no matter what Margaery or Joffrey decreed. You knew the truth. People like you—those without titles, lands, or coin—were little more than pawns to be sacrificed in their endless struggle for dominance.

You watched Margaery lean toward Joffrey, her hand resting on his arm as she tried to soothe his restlessness. "My love, why don't we make the announcement?" she said, her voice soft, almost coaxing. Joffrey banged his goblet against the table, the sharp clang silencing the crowd as he stood.

"Everyone!" he called out, his voice booming over the garden. "The queen would like to say a few words."

The crowd cheered, applauding the queen they had already accepted as their own. Margaery stood gracefully, her smile serene as she addressed the crowd. "We are so fortunate to enjoy this marvelous food and drink. Not all among us are so lucky. To thank the gods for bringing the recent war to a just end, King Joffrey has decreed that the leftovers from our feast be given to the poorest in his city."

More applause followed, and Joffrey beamed, soaking in the adoration of the crowd. Cersei, ever watchful, approached Margaery with a forced smile. "You're an example to us all," she said, placing a kiss on each of Margaery’s cheeks. The queen mother’s jealousy was palpable, her eyes glinting with barely concealed disdain.

You stood there, watching it all with clenched fists beneath your sleeves, your breath coming in slow, measured draws. The words, the gestures, the smiles—it was all smoke and mirrors. They paraded their generosity, their wealth, their power as if it were a gift to the realm, but you knew better. This peace was fragile, built on the bodies of the innocent, and it could shatter at any moment.

Your fingers dug into the fabric of your dress, a habit you had developed over the years. You scratched at the skin beneath, the pressure grounding you as memories flashed before your eyes—memories of pain, of cruelty, of the Mountain. The heat of the branding iron. The smell of burning flesh. Your own screams ringing in your ears until the world went dark.

You bit down hard on your lip, forcing the memories to retreat back into the dark corners of your mind. But the tension remained, a heavy knot in your chest, coiled tight like a viper ready to strike. Everything around you—the laughter, the opulence, the false smiles of lords and ladies—was part of this never-ending cycle of power. A gamble played at the expense of lives like yours.

Standing at a distance, you felt Oberyn’s eyes on you again. He lounged with casual arrogance, a wicked smile playing on his lips as Ellaria sat on his lap, delicately feeding him a grape. His gaze lingered on you, his expression one of amusement, as if he found your presence there tantalizing. His nod in your direction was slow, deliberate, and the smirk he gave you only made your pulse race. You quickly turned away, determined not to give him the satisfaction of seeing the effect he had on you.

Your focus shifted, catching Cersei out of the corner of your eye as she exchanged curt words with Brienne of Tarth. Whatever was said made Brienne visibly uncomfortable, and she soon excused herself, walking away with her usual brisk pace. You weren’t close enough to hear their exchange, but the look on Cersei’s face said it all—disdain, irritation, and a certain dangerous pleasure in making the taller woman feel out of place.

Just as you were about to step away, something else caught your attention. Pycelle, with his hunched posture and greasy fingers, had cornered a young maid—Serena, you realized with a scowl. Inwardly, you cursed. Pycelle was one of those men you despised most at court, his pretense of wisdom nothing more than a shield for his lechery. You moved closer, keeping your head down, pretending to adjust your serving tray as you eavesdropped on their conversation.

Pycelle’s voice was low, his tone sickeningly paternal as he said, "No, no, come to my chambers and I will examine you personally."

Your stomach churned at his words, but before you could intervene, Cersei’s voice cut through the air like a dagger.

"She’ll do no such thing."

Pycelle jumped, his greasy face paling as he turned to see the queen standing there, her expression cold and unyielding.

"Oh, Your Grace," Pycelle stammered, his voice trembling slightly. "Yes, well, this young lady sought my advice..."

Cersei’s smile was sharp and cruel. "You should see Qyburn. He’s quite good."

The maid, eyes wide with relief, quickly dipped her head. "Your Grace," she murmured, then hurried away, escaping Pycelle’s grasp.

Pycelle’s face contorted into an expression of disgust. "Qyburn? Deplorable man. Brought shame on the Citadel with his repugnant experiments."

Cersei tilted her head, her smile never wavering. "More repugnant than your gnarled fingers on that girl’s thighs?"

Pycelle stiffened, his eyes darting around nervously. "Your Grace, I am a man of learning."

Cersei’s eyes gleamed with dangerous amusement. "My little brother had you sent to the Black Cells when you annoyed him. What do you think I could do to you if you annoyed me?"

Pycelle’s face turned ashen. "I never meant to annoy anyone," he mumbled, his voice now a pathetic whimper.

"But you are," Cersei said softly, stepping closer, her gaze boring into him. "You annoy me right now. Every breath you draw in my presence annoys me. So here’s what I want you to do: I want you to leave my presence. Leave this wedding right now. Go to the kitchens and instruct them that all the leftovers from the feast will be brought to the kennels."

Pycelle’s mouth opened in protest, but Cersei cut him off sharply. "The queen is telling you the leftovers will feed the dogs, or you will."

For a moment, the old man seemed to consider arguing, but one look at Cersei’s smile—a cruel, dangerous curve of her lips—and he thought better of it. With a shaky bow, he muttered, "Yes, Your Grace," and scuttled away like the coward he was.

Cersei smiled after him, pleased with herself.

What a bold-faced cunt, you thought bitterly, watching her bask in her small victory. Everything about her was venomous—her beauty, her power, her cruelty. She wielded them all with deadly precision, and you hated her for it.

With a steadying breath, you made your way back toward the head table, slipping seamlessly into your role. You refilled goblets, offered plates, your presence unnoticed among the nobles. But beneath your mask of calm, your mind churned. Every move, every word, every gesture at this wedding was a lie—a careful façade constructed to conceal the rot beneath.

The clamor of the wedding feast carried on, a haze of laughter, clinking goblets, and the gleam of gold and silk that shone in the late afternoon sun. The Lannisters and Tyrells reveled in their temporary triumph, their smugness saturating the air like a sickly perfume. But you knew better than most how quickly fortunes could turn in a place like King’s Landing. The city was a pit of snakes, and the shift of power could change in an instant.

From where you stood, just close enough to watch but far enough to remain unnoticed, your eyes followed King Joffrey. He sat at the head of the grand table, restless and bored, his twisted amusement turning toward the fool juggling before him. Margaery, ever the dutiful queen, smiled gracefully at his side, playing her part flawlessly. 

But Joffrey… he was never satisfied.

You saw the glint of cruelty in his eyes before he even stood. The familiar spark that made your skin crawl and your stomach twist. His voice cut through the air, sharp and mocking.

"A gold dragon to whoever knocks my fool’s hat off," Joffrey declared, his sneer stretching wide as he stood, scanning the crowd like a predator ready to pounce.

The fool, a trembling man in motley, barely had time to react before the guests joined in. Laughter echoed as food—chunks of bread, slices of fruit, and bits of meat—were hurled at him. You could see the fear in his eyes, how his smile wavered as he danced awkwardly to avoid the barrage. 

Your hands clenched into fists at your sides. The sight of it—how quickly cruelty had become sport—set your blood boiling. You knew this game, too well. You had seen it before. You had lived it.

Joffrey’s laughter rang loud, ringing in your ears like a taunt. 

You couldn’t take it anymore.

With a sharp inhale, you turned on your heel, walking briskly away from the spectacle. You could feel your heart hammering in your chest, the fury bubbling beneath the surface, the memories threatening to overtake you. The jeers, the screams, the sound of flesh meeting stone… all of it haunted you still, and this—this senseless cruelty—stirred it back to life.

The clamor of the feast swirled around you, a whirlwind of laughter, clinking goblets, and hushed conversations. Your hands moved mechanically as you helped arrange the giant feast table, replenishing trays of roasted meats and lavish platters of fruits. Yet your mind remained a storm of its own, the anger still simmering beneath the surface from what you'd just witnessed.

This court—its twisted bets, the cruelty woven into every interaction—was a festering rot, and you couldn’t allow yourself to forget that. Not for a moment. Not here, where forgetting meant losing yourself to the madness.

As you moved to refill goblets of wine, you saw Cersei and Tywin strolling past, their expressions as cold and imperious as ever. You kept your head down, but their voices reached your ears, low and murmured.

Tywin’s tone was calm, almost bemused. “You’re in rather a good mood.”

“I suppose I am,” Cersei replied, her voice holding a faint, bitter edge.

“I won’t ask why,” Tywin remarked, his gaze never faltering as they passed by.

“Small pleasures,” Cersei added, a sharpness in her words that hinted at something more, something dark beneath the surface.

You busied yourself with the table, arranging goblets when you caught movement from the corner of your eye. Oberyn and Ellaria had entered, gliding through the crowd with a grace that seemed to draw every eye. Their presence commanded attention, not unlike the very snakes that represented their house.

Oberyn's deep, silken voice cut through the air as he greeted them. "Your Grace. Lord Tywin."

Tywin turned to face them, his expression as stony as ever. "Prince Oberyn."

"I don't believe you have met Ellaria," Oberyn continued smoothly, gesturing to the woman at his side. "This is the Lord Hand Tywin Lannister and Cersei Lannister, the Queen Regent. Or, I suppose it is former Queen Regent now." The jab was subtle but unmistakable. "Lord Hand and Lady Cersei, this is Ellaria Sand."

Ellaria stepped forward, her dark eyes gleaming as she curtsied. "My lord. My lady."

Tywin offered a curt nod, the barest flicker of acknowledgement. "Charmed."

Cersei, however, let her gaze linger on Ellaria for a moment too long. “Can’t say I’ve ever met a Sand before,” she said, her words dripping with disdain.

You stole a glance at Ellaria, whose demeanor had shifted, a spark of fierceness flashing in her eyes. Her voice was like steel wrapped in silk. “We are everywhere in Dorne. I have ten thousand brothers and sisters.”

Oberyn’s lips curled into a smirk. “Bastards are born of passion, aren't they? We don’t despise them in Dorne.”

The corner of your mouth twitched, nearly betraying a smile at Oberyn’s thinly veiled jab. You bit your lip, forcing yourself to remain composed, knowing how easily any sign of amusement could draw unwanted attention.

Cersei, however, did not miss a beat. “No? How tolerant of you.”

Oberyn leaned in ever so slightly, his eyes never leaving hers. “I expect it is a relief, Lady Cersei, giving up your regal responsibilities. Wearing the crown for so many years must have left your neck a bit crooked.”

His words were a dagger, sharp and cutting. And as he spoke, his eyes flicked to you for the briefest moment, a knowing glance that sent a shiver down your spine. He knew. He had known the entire time you were standing there, silently witnessing the exchange.

Cersei’s smile faltered, if only for a heartbeat, before she recovered. “I suppose you’ll never know, Prince Oberyn. It’s a shame your older brother couldn’t attend the wedding.”

Tywin chimed in, his voice as cold as ever. “Please give him our regards. With any luck, the gout will abate with time, and he will be able to walk again.”

“They call it the rich man’s disease,” Oberyn shot back, his tone dripping with sarcasm. “A wonder you don’t have it.”

You almost choked on your own breath at the boldness of his words, gripping the tray of food tighter to maintain your composure. Every word he spoke was a calculated strike, each one landing with precision, and you admired his audacity.

Tywin’s expression remained impassive. “Noblemen in my part of the country don’t enjoy the same lifestyle as our counterparts in Dorne.”

Oberyn’s gaze darkened, the air between them thick with tension. “People everywhere have their differences. In some places, the highborn frown upon those of low birth. In other places, the rape and murder of women and children is considered distasteful. What a fortunate thing for you, former Queen Regent, that your daughter Myrcella has been sent to live in the latter sort of place.”

Your grip tightened on the tray as Oberyn’s words struck like a whip, slicing through the false pleasantries of court. You admired him for it—for his boldness, his refusal to bend to their rules, their cruelty.

But you also knew that such boldness could come at a cost.

Without another glance, you quietly moved away, slipping back into the sea of nobles and servants. You busied yourself with pouring wine and serving food, but your thoughts lingered on the dangerous dance unfolding before you. The court was a place where words were as deadly as swords, and you could only hope that Oberyn’s sharp tongue wouldn’t cut too deep.

Yet, as you glanced back at him, standing tall and unyielding, a part of you knew that he wouldn’t be so easily broken.

The air was thick with tension, festivity clashing with the cruelty lurking just beneath the surface. You stood near the head table, your place behind Sansa Stark’s chair, a silent observer in the midst of the spectacle. And Joffrey, the cruel little tyrant, loved his games.

From the center of the garden, you heard the familiar tap tap of Joffrey’s goblet. He rose from his seat, commanding attention as if the entire world existed solely for his amusement. His voice rang out, high and grating.

“Everyone, silence! Clear the floor,” Joffrey called, smirking as his gaze swept over the gathered crowd. “There’s been too much amusement here today. A royal wedding is not an amusement. A royal wedding is history.”

You could feel the unease ripple through the crowd as Cersei and Tywin returned to their seats. Their expressions remained impassive, but there was a shared sense of something darker brewing beneath the surface. You, too, felt the shift, your body tensing as you braced for what was to come.

“The time has come for all of us to contemplate our history,” Joffrey continued, his voice dripping with arrogance. “My lords... my ladies…”

A lever was pulled, and from the gaping mouth of a giant lion, a red carpet unfurled, rolling down the middle of the floor. The crowd leaned in, curious, and you felt your stomach twist.

“I give you... King Joffrey... Renly, Stannis, Robb Stark, Balon Greyjoy. The War of the Five Kings.”

From the lion’s mouth, five dwarves emerged, each dressed to mock the fallen kings of Westeros. They paraded around the floor with exaggerated movements and comic glee, drawing laughter and applause from the nobles. But you could feel the weight of it—the insult, the cruelty embedded in the display.

The dwarves pranced around, playing their parts. One, dressed as Renly Baratheon, twirled about the center with an exaggerated flourish. Another, playing Robb Stark, shouted, “I am the King in the North!” His wolf-head helmet bobbed comically as he danced. The Joffrey dwarf stood at the center of it all, reveling in the absurdity, while the real Joffrey watched, his face alight with sadistic glee.

You saw Tyrion’s face, stoic yet darkened with distaste, and you shared in his disgust. Every part of you was braced for the inevitable humiliation, the way Joffrey delighted in belittling those who had fought and died with honor. The scene continued, with the dwarves mocking and prancing, their movements a grotesque parody of real battle. 

“Let the war begin!” the Joffrey dwarf cried, and the chaos of the mock battle began. Robb Stark’s dwarf clashed with the others, while the Balon Greyjoy dwarf pretended to drown in an invisible sea, his gurgling cries echoing through the hall.

You glanced at Sansa. Her face was pale, her eyes wide with shock as she watched the dwarf dressed as her brother fall to the ground, his wolf helmet tumbling off. Joffrey laughed, his high-pitched cackle reverberating through the room. “Your head!” he cried, pointing at the fallen wolf.

Your fingers curled into fists, nails digging into your palms. You sneered, your lip twitching as you barely restrained the anger rising within you. You wanted nothing more than to lash out, to put an end to Joffrey’s twisted plans. But you couldn’t. Not here. Not now.

The crowd cheered, applauding the spectacle as Joffrey stood, a cruel smile on his face. “Well fought! Well fought!” he exclaimed, his voice brimming with satisfaction. “Here you are—champion’s purse. Though you’re not the champion yet, are you? A true champion defeats all challengers. Surely there are others out there who still dare to challenge my reign.”

His gaze landed on Tyrion. “Uncle. How about you? I’m sure they have a spare costume.”

The crowd erupted into laughter. You clenched your jaw, biting down on the inside of your cheek so hard you tasted blood. Every fiber of your being screamed treason. Never had you wanted more to defy a king than in that moment.

Tyrion rose slowly, his expression unreadable. “One taste of combat was enough for me, Your Grace,” he said, his voice steady. “I would like to keep what remains of my face.”

You almost smiled at the subtle barb, but it was quickly followed by another.

“I think you should fight him,” Tyrion continued. “This was but a poor imitation of your own bravery on the field of battle. I speak as a firsthand witness. Climb down from the high table with your new Valyrian sword and show everyone how a true king wins his throne. Be careful, though. This one is clearly mad with lust. It would be a tragedy for the king to lose his virtue hours before his wedding night.”

The crowd went still, the tension palpable. You could feel it, the shift in the air as Joffrey’s expression twisted into anger. He marched over to Tyrion and, without warning, poured the contents of his goblet over his uncle’s head.

You bit back a gasp as wine trickled down Tyrion’s face, his hands clenched at his sides. His voice remained calm, but you could see the fury in his eyes. “A fine vintage. Shame that it spilled.”

Joffrey, ever the petulant child, sneered. “It did not spill.”

Margaery, sensing the rising tension, tried to intervene. “My love, come back to me,” she called, her voice sweet yet pleading. “It’s time for my father’s toast.”

But Joffrey was far from finished with his torment. “How does he expect me to toast without wine? Uncle, you can be my cupbearer since you’re too cowardly to fight.”

You watched in disbelief as Joffrey dropped his goblet, forcing Tyrion to kneel and retrieve it. Your own anger mirrored the look on Tyrion’s face, your nails biting deeper into your palms as he knelt to retrieve the goblet, only for Joffrey to kick it away. The humiliation was complete.

Sansa kindly retrieved the goblet for Tyrion, silently nodding in acknowledgment. He turned to hand Joffrey the cup but sneered, “What good is an empty cup? Fill it.”

Tyrion pours wine for Joffrey in front of Cersei and hands it to him.

“Kneel,” Joffrey hissed. “Kneel before your king.”

Tyrion did not move.

Joffrey’s voice rose, venomous. “I said… kneel!”

Before things could escalate further, Margaery stood. “Look—the pie!”

The crowd’s attention shifted to the giant pie being carried in. Joffrey turned his gaze toward it, temporarily distracted. He strode forward, hacking at the pie with his sword. Doves burst forth, fluttering into the air.

But you weren’t watching the birds. No. You saw Olenna, her hand quick and deft as she slipped something into Joffrey’s goblet. A stone. A strangler stone that she took from Sansa’s necklace.

Your breath hitched in your throat, but you did not react. You acted enraptured, like the rest of the crowd. You helped serve the pie, your movements mechanical, your mind racing. Sansa turned to Tyrion, her voice a whisper.

“Can we leave now?”

Tyrion’s response was measured. “Let’s find out.”

As you continued serving, your eyes flicked back to the head table, watching as Joffrey took his goblet and drank deeply. A small smile tugged at your lips as he swallowed.

The end was coming. You could feel it.

“Mm, good,” Joffrey muttered. “Needs washing down.”

He took another gulp, arrogant and unaware, until it hit him. The first sign was the subtle hitch in his breath, almost laughable at first—until it wasn't. The coughing came next, sharp and violent, ripping through him like a wild beast gnawing at his throat. His regal posture crumbled, hands clawing at his neck as if to tear the poison from his skin. His face twisted, contorted, morphing from haughty superiority into sheer terror.

The hall shifted with his agony, the murmurs turning into gasps, the gasps into cries of panic. Chaos rippled through the crowd like wildfire, nobles scrambling, eyes wide, horrified. But you did not move. Your body remained still, a statue amidst the storm of panic, unmoved by the sight of the boy-king choking on his own hubris.

Joffrey’s sputtering, retching—every grotesque, gurgling sound—echoed through the hall, yet all you could hear was the pounding of your own heartbeat. Slow. Steady. A contrast to the pandemonium erupting around you. It was a symphony of suffering, and you reveled in the silence that enveloped your mind. His pain meant nothing to you. 

Your eyes drifted across the garden, over the faces twisted in fear, horror, and confusion, and then... there was him. Oberyn. His dark, probing gaze locked onto yours from across the hall. His brows furrowed, lips parting ever so slightly. Surprise? No, curiosity, perhaps even confusion, flickered in his eyes as he searched your face for something—anything—but found nothing. No flicker of emotion, no sympathy, no shock. Just the cold, hollow indifference that had settled into your bones like an old companion. 

You didn’t flinch, didn’t waver. Why would you? This was one of the moments you had been waiting for. The reckoning. All of Joffrey's cruelty, all of his venom, had finally come back to devour him whole. His pitiful gasping, the frantic clawing at his throat, was a fitting end for the boy who thought himself untouchable.

Joffrey gurgled, his face now a deep shade of purple, eyes bulging, lips frothing. The people around him scrambled in vain, trying to save a life that was already slipping away. You remained still, cold as ice, watching it unfold with detached precision. The world could burn around you, and you would not care.

Oberyn’s eyes lingered on you longer than they should have, as if he were trying to understand the enigma standing before him. He didn’t. He couldn't. No one could. There was no more humanity left in you for him to grasp.

Joffrey’s choking grew louder, more desperate. His hands flailed, reaching for his mother, for someone to save him from the inevitable, but no one could stop what was coming. No one could stop you from witnessing the justice you had longed for.

Margaery rushed to Joffrey’s side. “He’s choking!”

Olenna, ever the actress, called out, “Help the poor boy!”

But there would be no help. No saving the king. You watched, unmoved, as Joffrey staggered, his face turning purple, vomit spilling from his lips. Jaime rushed to him, but it was futile. Joffrey was dying.

And all you could think of was how fitting it was. There would be no glory for Joffrey Baratheon. No legacy. Only pain. Only death.

“My son. He’s gone. My son!”

Around you, the world screamed and wailed. Cersei’s frantic cries cut through the air like a knife, but you barely registered them. You were detached, distant. Untouchable. 

It was strange—the numbness. The apathy was a shield you had forged long ago, layer by layer, through every injustice, every cruelty, every wound. You were unbreakable now, untouchable by Joffrey's suffering or anyone else’s. There was a quiet power in that, a dark satisfaction, as you watched the boy-king's life wither before your eyes. 

His torment did not sway you. Not a muscle in your body flinched. Your fingers, relaxed at your sides, held no tension. You didn't care. Not anymore.

“He did this. He poisoned my son, your king. Take him. Take him! Take him! Take him!”

Cersei, her screams filled the hall, but you felt nothing. The king was dead. And soon, the unraveling of this court, this rot, would begin.

TAGLIST:

@christinamadsen

[unholyverse]

waterparks // alternative press spring 2023

(full article text under the cut:)

TO THE MOON

With their new album INTELLECTUAL PROPERTY, WATERPARKS are diving deeper than ever before. The result is an exorcism of deep trauma and the sweet afterglow of catharsis.

STORY: Alessandro DeCaro • PHOTOS: Jawn Rocha • Styling: Josh Madden

Between international flights, jet lag and no days off in between, it is a miracle that Awsten Knight isn’t face down in a pile of pillows. For the past two weeks, Knight and his band Waterparks have been head down in a run of massive shows throughout the U.K. supporting British rockers You Me At Six as well as a series of intimate appearances at record stores with some of the band’s most die-hard fans. It was a landmark run for a group who have hit the road relentlessly the past year-and-a-half, with sold-out North American and European headlining tours, a top slot at the 2022 Sad Summer Festival and even a “bucket list” opening slot for My Chemical Romance. Their latest milestone? They played to 10,000 people — their largest show in the U.K. region — at London’s historic Alexandra Palace. Exhaustion should be Knight's baseline, but instead, he's as chipper as ever when he hops on Zoom back home in Los Angeles. There's only one problem. The bandleader has been on vocal rest for days leading up to this very interview.

“Dude, my voice feels so shot,” Knight confesses from his living room couch. “We did 12 performances back to back, then combined with really short cut-up sleep on the flight, 1 just feel, ugh.” Sleep deprivation aside, Knight is almost at a loss for words (not from the vocal rest) but because the experimental pop trio he formed 12 years ago have unlocked another level of fandom where new listeners are still flocking by the droves. “It turns out there are a lot of people [in this world].” Knight quips, referring to his newfound fans. But in reality, global domination doesn’t really seem too far off.

Knight barely has time to slow down. The band are set to release their fifth studio album, INTELLECTUAL PROPERTY (out April 14 via Fueled By Ramen). But the self-professed workaholic has never known any other way. “It's a really hard mentality to shake,” Knight reveals. “When we were a local band, we didn't have any family connections in the music industry, and no one cared, so you had to take on every role. Even though we are not local anymore and get to play arenas with our favorite bands, if I'm not actively doing stuff to push the music, then I don’t know if anyone else will."

In some ways, Knight fears downtime or stillness because that's when he feels like his brain will start to turn on him. He admittedly functions better when he's working on something creative, whether that’s writing a new song or simply designing streetwear for his clothing brand hii-def. “It's not necessarily the most healthy thing in the long run, but people have worse coping mechanisms,” he laughs nervously.

But Waterparks remain his main focus. The trio, which initially formed in 2011, began to truly put the pieces together the following year when Knight enlisted his now-best friends, guitarist Geoff Wigington and drummer Otto Wood, to round out the lineup. “Otto loved classic rock and bands like La Dispute and Touché Amoré, whereas Geoff was all about EDM," Knight recalls. “We all had different tastes, but at the core of it, it's guitar and drums.” Their individual musical backgrounds helped craft the genre-less sound they have now cultivated.

"THE BIGGEST REASON I didn’t want that pop-punk label is that I know exactly what we are capable of." - AWSTEN KNIGHT

It wasn't until 2016 when Waterparks finally released their debut album, Double Dare — an intentional choice. “I always felt like if no one was looking at us, why put out a large body of work? I wanted to do cool shit as opposed to oversaturating and waiting until enough people [actually] wanted to hear it.” There is a common adage that you have your entire life to write your first record and six months to write your second, to which Knight agrees, and from there, the band began making records like clockwork.

With those albums came carefully curated eras — a moment in time with a clear aesthetic, theme and overall mission statement. While always writing music from a subversive and experimental perspective, it was when the band released both FANDOM (2019) and Greatest Hits (2021) that they began to stray from the confinement of genre and inaccurate labels. Knight himself spoke out vehemently about being boxed in by the term “pop punk. “I learned [during that time that] you can’t control everybody, and you can only frame the narrative so much,” Knight explains. “Obviously, we grew up loving and still loving blink-182, Green Day, Sum 41 and Good Charlotte, so it’s in our DNA to a degree, but I just don't want that label because it’s so synonymous with the past and what cynical dickheads or mega naysayers say is just for preteens and kids. However, the biggest reason I didn’t want that label is that I know [exactly] what we are capable of and what our output is.”

Take, for example, the breakbeat madness of the FANDOM single “Turbulent” or the distorted experimentation of “Numb” from Greatest Hits. Nothing is off the table for Waterparks. The group join a cohort of other trailblazing acts like Bring Me the Horizon and Paramore, who both successfully pivoted away from the late Warped Tour circuit in favor of mainstream appeal without losing any substance. “There's a song for everybody, and I once tweeted that anyone who doesn't like Waterparks just doesn't like Waterparks yet,” Knight says confidently.

If you have yet to be on board with the band's music, you've at the very least been entertained by — or seen — Knight's fiery social media presence.

It's undeniable that Waterparks’ meteoric rise has stemmed from the bandleader’s unofficial side hustle as a social media celebrity. And at times, his online presence can feel truly monolithic in scale, something Knight has attempted to analyze over the years in many songs, including the aptly titled “You'd Be Paranoid Too (If Everyone Was Out To Get You)" When asked if his status as an extremely online figure has influenced the band’s latest album, INTELLECTUAL PROPERTY, Knight isn't entirely sure but reveals that he has had to set boundaries nonetheless, as someone who's regularly met with constant praise and vicious internet trolls. “I try not to let it influence things too much [lately], and with therapy, I've learned that you can only control yourself. However, that doesn’t mean I'm not still vulnerable in the music that I write.”

He tackles the subject on INTELLECTUAL PROPERTY with closer "A NIGHT OUT ON EARTH" and parts of the song “RITUAL,” where he recalls when he felt things were “caving in" around him due to the pressures of constant attention. “There are people who listen to Waterparks who aren't on Twitter. and then there are those who view the band in this bubble where it's just them and the people who reply to the tweets,” Knight resigns.

But beyond the topic of social media, Knight gets admittedly “introspective” on the record. When asked to discuss the overall lyrical themes and concepts behind INTELLECTUAL PROPERTY, he takes a deep breath and delivers a warning: Things might get a little turbulent.

“There is a love story throughout the record that is expressive to and for other people, but the album itself has to do with overcoming, unlearning and growing past religious guilt,” Knight explains. “It's something that I've struggled with for a long time.” On “FUNERAL GREY," he delivers the punchy line “baptized in my spit,” which is a playful twist on a weighted subject. The theme of religious guilt doesn’t just apply to the overall lyrics of the record but also extends to the album's striking cover art, which at first glance appears to be an image of a blue frog over a red backdrop; in actuality, it possesses a much more poignant meaning.

“Frogs have always been one of my favorite animals,” Knight reflects. “However, when I learned that frogs were seen as dirty and unclean in a biblical context, it was interesting to me that something that I saw as so good, natural and beautiful could also be seen as a bad thing through a biblical lens.” In other words, the concept of shame plagued the charismatic bandleader for as long as he can remember, and INTELLECTUAL PROPERTY was the moment for Knight to finally face his trauma head-on and “come to terms with himself” once and for all. That explains why a majority of the new songs possess “hypersexualized” energy — a conscious rebellion against a conservative past. “Growing up in church, you're taught that everything is so wrong and bad. I always felt like shit, so [this album] is the breakaway from that specifically.”

By overcoming his religious guilt, Knight was able to tap into an evolved sense of self-worth that he’s since applied to his very own love life, which he details on the album's stripped-down ballad “CLOSER.” “My concept of love has changed throughout the years, and that song is about [looking at the past] and realizing that when I was younger, it was maybe more of an obsession. Now I'm taking it apart and learning more about love and the way I present the current version of myself to other people.” Inversely, there is the alt-radio-ready anthem “BRAINWASHED,” where Knight admits that he still wrestles with the idea of true love, constantly making sure that he’s not just wrapped up in the “honeymoon phase.” Knight jokes that this track and “FUCK ABOUT IT” which features a guest vocal spot from blackbear, are “polar opposites,” as the latter couldn't be further from the “hyperfixation” he details in “BRAINWASHED.," once again proving that he feels the most comfortable when inserting juxtaposition wherever he can.

"I've learned that you can ONLY CONTROL YOURSELF. However, that doesn’t mean I'm not still vulnerable in the music that I write." - AWSTEN KNIGHT

Beyond the emotional clarity that Knight gained during the creation of INTELLECTUAL PROPERTY, it's the album's sonic risks and exploration that he is the most fired up about. Though Knight wanted the band to return to their more guitar-driven and organic roots for certain parts of the LP, much of the record ventures into eclectic territory, with hyperpop, trap, synthwave and even subtle elements of hard rock and nu metal. “RITUAL, ‘A NIGHT OUT ON EARTH, ‘REAL SUPER DARK’ and ‘ST*RFUCKER' are the craziest instrumentals we have done ever,” Knight exclaims. “I love the idea of taking something like a guitar or my voice and making it sound entirely like something else” “A NIGHT OUT ON EARTH,” however, is what Knight describes as “the biggest production flex,” and it most definitely shows. “There's fucking elephant sounds in there and weird Batman villain-sounding horns — it's evil and heavy, and not to mention, the outro is just game over,” he says.

Beyond production, Knight pushes his voice and stretches the idea of what constitutes a strong hook on INTELLECTUAL PROPERTY. With “END OF THE WATER (FEEL),” Knight is at his most “bombastic,” in a “cartoon-like” state, weaving falsetto melodies that are meant to shock. “I always make a mental note when I hear a song that makes me go…" He pauses, imitating an explosion. “For me, that's when I hear some high-ass vocals that I'm not expecting.” Even on the first day of demoing “END OF THE WATER (FEEL)” in his home studio, Knight was already so confident in the song that he called longtime producer and collaborator Zakk Cervini and “essentially” forced him to come over to his house right then to help finish it. “I also want the record to show that I had a mustache [during this time], too,” Knight laughs.

With collaboration on the brain, Knight is the first to admit that for many years, he was precious about his art and was hesitant to work with others. However, during the COVID-19 pandemic and quarantine, Knight changed his mind, which was evident on Waterparks’ previous album, Greatest Hits. This time around, Knight, who's an outspoken fan of the U.K. boy band One Direction, finally got a chance to live out one of his dreams by working with esteemed songwriter Julian Bunetta, who co-wrote beloved One Direction classics like “Olivia,” “Infinity” and “Best Song Ever,” among others. “I flew to [Julian's] place in Nashville, and we ended up making five songs together, two of them being ‘FUNERAL GREY" and ‘BRAINWASHED,” Knight recalls. And while he still plans to keep the majority of his music close to his chest long term, he won't rule anything out. Knight would undoubtedly jump at the chance to work with everyone from Post Malone and Damon Albarn to Donald Glover and Toby Keith.

"I'd rather make the coolest f*cking thing, RATHER THAN HOLD BACK and make something that wasn't that good." -AWSTEN KNIGHT

Now, with the band's new LP incoming, there raises the question: Does Knight feel a sense of relief after both exorcising his deepest traumas and inviting listeners on his journey to self- discovery? "I still feel pressure with it," Knight concedes. “It would be a lot easier if only strangers heard this, but everyone in my whole fucking life is going to hear this album, so that's what makes it strange." But he's never let any awkwardness or controversy hinder the artistic output. "I wasn't not in trouble when I put out a song like [2018's] 'TANTRUM' where I listed a bunch of dudes I wanted to kill, calling out by name," Knight acknowledges. Though his lyrical choices have sometimes resulted in strong reactions, even within his close circle of friends, Knight can't help but accept that he is meant to be unapologetic. "At the end of the day, I'd rather make the coolest fucking thing, rather than hold back and make something that wasn't that good."

Pressures of lyrical vulnerability and transparency aside, INTELLECTUAL PROPERTY is Knight's attempt to "normalize” the catharsis he finds within songwriting, which ties into the album title itself. "Intellectual property is the mental space you give to something in your head. The 'property' may be the thing that you are struggling with. By materializing it and giving it its own world, it's actually a great way to express it and then, eventually, expel it,” he explains. "I want this album to go to the fucking moon." ALT

[jules-has-notes]

collaboration spotlight — Twenty One Pilots mashup by Kurt Hugo Schneider & VoicePlay

VoicePlay fans sometimes joke that the sounds these guys can make are so incredible as to be inhuman. This production took that assertion one step further. Kurt had them record their vocal parts as they normally would, then he sampled and remixed those voices to create something very cool. The result is more electronic than their usual sound, but there's no denying that it's an innovative twist.

This is a video I rarely watch just once, since it can be a lot of fun to pay close attention to what each guy is doing individually and how they all fit together.

Details:

title: Twenty One Pilots mashup (ft. VoicePlay)

original songs / performers: all songs by Twenty One Pilots — "Heathens", "Ride", & "Stressed Out"

written by: all songs by Tyler Joseph

arranged by: Kurt Hugo Schneider

release date: 2 November 2016

My favorite bits:

setting the scene and premise while layering in each vocal part

Layne occasionally glancing toward the others to see if they're going to try to escape the situation

Eli's smooth delivery of the "Stressed Out" intro

Geoff doing some lowkey animation moves in time with his ♫ "wub-wub-wub" ♫ bass line

those crunchy stacatto harmonies on ♫ "I know. it's hard. sometimes." ♫

the ramp up in tension created by the frequency increase on Earl's ♫ "ri-e-i-e-i-e-ide, ri-e-ide, ri-e-ide, ride ride ride ride" ♫

Layne's breathy high-hat line (and whatever cool thing Kurt did to enhance it)

Geoff being able to actually hit the deep tones for ⇓ "Watch it!" ⇓, but still having the fun post-processing distortion to match the original sound

baby's first featured subharmonic drop!

Eli's big old belts and riffs in the final "Heathens" section

Earl bounding into the stratosphere for that last ♫ ⇗ "any sudden moves" �� ♫

each of the guys "shutting down" as their parts end

Trivia:

This video racked up a million views in just three weeks!

The audio track is exclusively available through VoicePlay's Patreon.

Like so many of VoicePlay's prosthetic makeup effects, the coaxial plugs that turn the guys into input / output devices were created by Andy Wright at Makeup & Creative Arts in Orlando.

I'm not sure if they intended for there to be narrative significance to the placement of the plugs, but having Layne and Geoff's near their vocal chords, Eli's in his noggin near the parts of the brain that handle analytical tasks like reading and math, and Earl's near the Superman tattoo on his muscular arm all seem potentially symbolic.

A fan was inspired to draw fanart of the guys a couple months later, which they very much enjoyed.

VoicePlay had released their own full version of "Ride" earlier in the year as an installment in their PartWork series.

Layne and Tony had created a much sillier music video for "Heathens", featuring the Sanderson sisters from Hocus Pocus, as their Halloween offering from PattyCake Productions the month before.

The guys (including J.None) collaborated with Kurt again almost a year later for a rendition of "Waving Through A Window" from Dear Evan Hansen that was released in January 2018.

[apri-apri-no-mi]

OPLA Review: I love it but it’s different!

Some context: I started watching One Piece when I was 19 years. So the straw hats have been part of my life for over 9 years. Nevertheless, I’m anime only. I have never read the manga. But I know about the story differences between the manga and anime.

I love the live action adaption! The characters feel in line most of the time. The pacing is quite fast, which is actually good for the story. It definitely broke the curse of bad live action adaptions. I can feel the love that is put into this series at each and every moment. Yet, it still feels different to the One Piece in my heart.

I was super excited for the series to be released. After my initial hype, I still tried to keep my expectations low. Yet while watching the first episode, I felt really conflicted. I loved it for what it is. But I wished I could love it even more. Does this even makes sense? Even after finishing the first 4 episodes, I felt every loving post and meme about it. But something was missing. And this feeling didn’t change after finishing the series.

After exploring my thoughts I noticed to main reasons for this:

First and foremost, I love One Piece for its emotions. I have goosebumps, I cry, I feel excited and motivated. With OPLA the emotions where conveyed on the conversational level a lot. A lot more than in the anime. But I was missing the emotions on the emotional level. Characters where saying what they feel. But I couldn’t sense them feeling it.

The second thing which is crucial about One Piece for me is the music! Especially reoccurring background music that also conveys a lot of the emotions. Yes, we had a little bit Bink's sake here and there. And the main theme song We are was incorporated twice if I’m not wrong. But besides that I cannot recall any music except the fishmen's background music. Most of the time I didn’t even notice the background music at all. Epic moments had no epic music.

Nevertheless, I am still very much in love with it. I see so many people engaging in my most favorite fictional world. And they get lost in it! Maybe some even start to read the manga or watch the anime. Some might won’t. But knowing the straw hats - somehow as they are - will be part of other peoples lives as well, makes me unbelievably happy!

And for everyone interested, here are some other random impressions and thoughts:

Almost all story changes where made with love and payed tribute to the original. Like having Chouchou in Orange Town or a girl offering Zoro onigiri. But making the Grand Line map the main story plot device leading to Arlong being kind of the end boss of season 1 felt off to me. It fits somehow into the story. But since Arlong is from the Grand Line, I feel like he wouldn’t be that much in need of the map anyway?!

Koby had sooo much screen time! It was an interesting choice. But I’ve admit, I liked it a lot! Yet I’m not sure if I like how Garp is portrayed. He seems a bit out of character to me personally.

I loooved how they integrated the wanted posters for each character! That was a really unique and cool idea!

We had a panda in the show!!! At this point I knew it’s just a big success haha!

There had been a lot of queer moments! So many more than in the anime at that time of the story. There will be so many fanfics lol

I loved Namis and Luffys first interaction. Even though it was different from the original , it was so cute and gave them some funny moments together. In contrast, Sanjis and Luffys first interaction felt really lame. I love how in the anime the first thing Luffy sees Sanji doing is offering someone starving food for free. This way he knows immediately Sanji is a good one. He asks him to join his crew without having tried his meals. In OPLA Luffy first sees Sanji as waiter resolving some fight. Luffy goes from "he's a good fighter" over "he's a good cook" to "he’s a good guy". And to me Sanji is a good guy first and everything else comes after!

The only time I felt emotions like in the anime, was the scene were Luffy gave his hat to Nami. I think it was almost a 1:1 adaption of the original scene and the dialogue. But somehow this scene felt also off in the live action, because it was so much heavier in emotions than the rest of the series. I’m sorry I’m really picky about the emotional stuff lol

Thanks for reading my rumbling about my favorite fictional universe! I’m really excited what OPLA can do in the future! For anyone starting to watch the anime, I have some last words for you: I’ll wait in Wano Kuni for you!!!

[nevergonnasimpyoumikey]

What did you think of that GTA trailer???

I loved it! Looks amazing, obviously, the color and the different sceneries... So gorgeous! I already love Lucia and Jason (hot hot hot hot), can't wait to see how their story goes but the trailer song is giving me some ideas:

There was a girl I knew / She said she cared about me / She tried to make my world / The way she thought it should be / Yeah, we were desperate then / To have each other to hold / But love / Is a long, long road

Kinda hoping for some "Lucia corrupting Jason" arc??? 👁👄👁 Since she seems more dominant based on the "Trust?" "Trust." scene which had me !!!!!! btw. I know I'm easy but I don't care, I loveeeee strong character relationships and if they can just bring that enough in the actual game too, it'll be so good. I'm a sucker for difficult love stories and I'm so excited, I hope it's a really strong part of the game with maybe multiple choices on how it's gonna end.

Also Lucia going to prison in the middle of the story instead of starting from there, which is kinda traditional for GTA, would be so cool! I'd love a few prison missions.

I'm a bit sad that the rumor about it being set in the 80s wasn't true because my nostalgic ass would have loved that, but then again, there's so many current day phenomena for R* to parody that I'm okay with this :D Just as it's fun to rewatch V laughing at 2010 things like hipsters and hating hipsters, in 2030 I will watch back at VI making fun of something that won't be relevant at all anymorr. :D There’s a charm to that, the games being portrayals of their time. Even small things like playing IV and taking Niko to an internet café is so stupidly amazing to me. :"DD

Going a bit off-topic here but all this being said, I'm seeing a lot of negativity about a new game being released and "V being forgotten" which makes me a bit sad :D I guess the difference is if you're a fan of the series or just one of the games, and I'm very much a fan of the whole series — the style, the way there are nods to the other games, sometimes the stories woven together so perfectly (for example Catalina, or IV/TLAD/TBOGT diamond story line). I'd say give all the other games a chance too and don't just get stuck on one of them, there's amazing stories and characters in all of the games!

But I get it, change is scary, and yeah, the older games don't get as much attention as the newer ones, so I guess some fans are panicking about their favorite now being treated like the other games? But like... fandoms don't die as long as there's fans, so just keep doing what makes you happy and there'll be others who do the same. IV fandom is going strong after 15 years despite there being a newer game just because the love for the story and the characters is so strong, why would it not be the case for V?

I know the heartbreak of V will stay with me forever, the themes of the game will affect my writing forever, and if I just can, I would like to keep creating for the characters for years more. I rarely forget a fandom anyway but V is still so strong in me even though my writing and "online presence" has slowed down because of life being shit sometimes. But I'm also really very excited for VI and more iconic characters and the fics and the art and new people loving the series and THE ZINES (we gotta do a zine or two!!!) and everything, and I just wish I can have other people excited around me, so... please come fangirl with me 🥹🥹🥹

[arogai88]

3/23/23: Post #1

Brittany Robinson: An Underrated Gem

Brittany Robinson is an indie animator on YouTube.

I discovered her channel when I was 15 years old, I am 19 now and still watch her to this day.

I had even made my own playlist with her content.

Check it out! >> Favorites from Brittany Robinson

I really like how she takes a game that she really, really likes and turns it into a series.

Here's are some of the things she created:

The Pink Corruption — A Just Shapes and Beats Fanseries

A blue quadrilateral named Cube is chosen to be the fourth caretaker of the Tree of Life to raise a new hero. But things go wrong when a pink monster breaks free from being sealed and is spreading its virus throughout Paradise. Now, it's up to Cube, his hero Cyan, and the other caretakers and heroes to stop Dub and save Paradise.

This is where it all started and I loved every minute of it!

I watched this when the first two episodes came out. At the time, my brother had introduced me to the game from Merg, a gaming youtuber, and I liked it. I kept seeing the videos pop up in my recommended list, eventually, I finally watched them and that leads up to now.

There is a season 2 on the way and I am so excited to see what happens next! (EDIT 11/16/24: Season 2 is released with 3 episodes as of now.) If you are a JSaB fan, I highly recommend you watch this. You won't regret it.

Forbidden Song — A Wandersong Fanseries

Four years after the events from the game, Kiwi, Miriam and Aubrey go through many scenarios while trying to stop a mysterious being from summoning monsters around the world with a forbidden song.

This was series was pretty cool as well. But after I played the game for myself, I had a much better view on what this series was about. It's a pretty underrated game as well, so why not give it a play. It's really good!

Cookie World — A Cookie Run: Kingdom Fanseries

This series takes place as an AU(Alternate Universe). Gingerbrave, his friends and the ancients defeated Dark Enchantress Cookie and revived White Lilly Cookie. However, a mysterious threat is now lurking around Earthbread and its up to them to stop it.

This was absolutely incredible! I had seen videos of CRK and thought of Brittany Robinson, because it seemed like something she would play. I had actually posted a comment a while back, she already got word of it from a friend.

The shorts were awesome as well. My favorite was The Curse of Silhouette Cookie.

I can't play Cookie Run: Kingdom, unfortunately. My tablet was not built to run it. :(

She has more projects in the works currently:

Bunnie: Crystals of Light — Original Series

The Hue Six (title in progress) — Original Series (EDIT 11/16/24: This series has been finalized as The Heroic Six and has now been released.)

Zirtix — Original Series

Patapon: The Rise of Tengaiata — A Patapon Fanseries

The Blind Knight — A Shovel Knight Fanseries

The Great Ascendence — A Legend of Zelda: Majora's Mask Fanseries

I recommend you go check her out! She deserves more support, because she's unlike any other animator I've seen.

[randomvarious]

Today's mix:

Wetmusik Mix-Up Volume 2 - Live @ Storey Hall by Simon Digby & Will E Tell 2000 Techno / Tribal Techno

Seems to me that one of the coolest things about the Melbourne, Australian duo of Simon Digby & Will E Tell is that they made a lot of tracks exclusively for their own DJ sets and then never officially released those tunes to the public. And that might mean that we never then got to hear the full-length versions of those very songs, but if you ever went and saw Simon & Will perform live, you were clearly gonna be in for a pretty unique experience.

So here's a live set from the two of them that was performed on the campus of the Royal Melbourne Institute of Technology (RMIT) sometime in 2000. Some months prior to this performance, they had dazzled this same venue with a wild, high-powered, and thumping mix that'd been comprised of their own exclusive material, stuff from the Wetmusik label that they were also running at the time, and some other tracks from elsewhere as well; and with this mix, they were primed to return with that same exact formula again.

But the thing about this set is that I don't think it's actually nearly as dynamic as the first one in this Mix-Up series. Like, sure, there are certain points in Volume 1 where it feels like you're being forcefully jostled around on an ancient and rickety wooden rollercoaster that's been long overdue for an inspection, but a lot of that unease is pacified by some of the very novel and intriguing approaches that were taken in the constructions of a bunch of the songs' tightly packed and thick-slabbed rhythms. In contrast, this mix feels a little bit safer, and by that same token, a bit more conventional too, meaning that I don't think it really stands out as much as Volume 1 does as a whole.

That said, though, we've still got some heaters here, and I think the best moment happens to come at the end, when Simon & Will drop a pair of back-to-back bangers that both let a little bit of trancy melody leak into their thooming techno. Will's own "Time to Boogie"—which was not an exclusive and was released on UK label Bush Records—unleashes its tranciness midway through; and then that tune's followed up with Swedish duo Devilfish's "Man Alive," which blends the past and present by looping up some opening chords from all-time late 80s house classic, "Big Fun" by Inner City, and lays them over a contemporary y2k techno beat, the break of which was also lifted from a 1991 tune by Italo-house duo Double Dee. And the way that that Inner City melody is orientated here definitely gives the song some trancy character; and also released on Bush too, by the way.

So a decent turn-of-the-millennium techno set here from the Aussie Wetmusik mates, but, overall, I don't think it's really as strong as their first visit to RMIT was. However, if you bought this on CD, you could also insert it into a CD-ROM drive and then watch live footage of this set itself, which I think is a pretty cool feature that wasn't offered up in the first volume 😎.

Listen to the full mix here.

Highlights:

Box Blaze & Deetron - "Pocket Rocker" Will E Tell - "Konstant Battle" Alpharisc - "Metallic Meltdown" Mumps - "Mechanisms EP" Will E Tell - "Time to Boogie" Devilfish - "Man Alive"

[vimbry]

the highest votes went to gudetama. but was it correct? here are the full titles and albums.

❌ "put your hand inside the puppet head" - they might be giants

the opening verse makes reference to leaving one's job and how "it's sad to say, you will romanticise all the things you've known before. it was not, not, not so great". according to flansburgh, "the lyric revolves around the idea that looking back on anything colors it in sentimentality".

❌ "I'll sink manhattan" - they'll need a crane (ep)/miscellaneous T

this is a flansburgh song, but linnell explained its meaning in a 1989 interview with NME as "a song about a guy who somehow figures out how to sink the island of manhattan just to kill his ex-lover, so it's his apology to the other people he's gonna kill in between. he's just gotta do it!"

❌ "meet james ensor" - john henry

it's about james ensor (belgium's famous painter).

❌ "wicked little critta" - mink car

from the tmbg unlimited collection: "forged in the crucible of an eastern massachusetts junior high, this song expresses the dreams, fears and hopes of a new england young adult" the lyrics seem to suggest said young adult fantasising about being a sports star alongside bobby orr and john havlicek while goofing off outside.

❌ "working undercover for the man" - mink car

from flansburgh: "it's more a meditation on the "mod squad" [a 1968 crime series about cool undercover detectives] than anything else. the idea of the narc just seems... like, those episodes of "dragnet" where they have the young undercover dress in a hippie suit."

✔️ "talent is an asset" - kimono my house

the lyrics illustrate an overly-cautious family shielding their very gifted child from others, to keep him studious and soak in all the glory, and is heavily implied to be little albert einstein through puns on relatives and relativity. it's not by them, tho. it's by the band sparks. it came 2nd, so I think many of you recognised it (or really wanted to see the results!)

❌ "bee of the bird of the moth" - the else

"this is a song about a creature called a hummingbird moth, which imitates another creature, which imitates yet another creature. it's completely fucked up, and can only be explained in song!" so they did.

❌ "2082" - join us

thewrap's review of the album describes this song as, "a science-fiction short story (...) a protagonist who travels into the future, finds himself hobbled but still unhappily alive all the way into the next millennium, and travels back to the title year to smother himself with a pillow in a mercy killing". fun!

❌ "call you mom" - nanobots

referred to by linnell as an "oedipus pan" song, the lyrics follow an unfortunate young man beginning a relationship with a woman, getting dumped due to his behaviour of treating her like a mother figure, then infantilising a possibly younger woman in a different relationship and in turn leaving her, who goes on to experience the same issues. fun! (altho, the final chorus actually still refers to her Mom leaving, not her dad, I got the details wrong there in the poll).

❌ "gudetama's busy days" - dial-a-song / my murdered remains

yes, that's a real song. quote flansburgh: "(...) it is really just about feeling isolated from the world, even if you are in a crowded place and manically trying to keep up with your life. the character of gudetama appealed to me because he is such a mopey sad sack."

❌ "marty beller mask" - album raises new and troubling questions

this is real, too! it's just about how marty beller was actually an alter ego of whitney houston the whole time. he's not, but wouldn't that be interesting. the song name-checks multiple of her own in the lyrics. it was temporarily retired out of respect following houston's death (4 months after its release), returning to live performances ten years later in 2022.

*if you've heard a couple songs but don't really know much about them, or haven't listened in a long while, you can play!

[badstepsmoving]

charlie's statistics.

statistics.

nickname/alias. char, charles age. 48 date of birth. july 4th gender. trans-man. to note: charlie is not publicly out, the only people who know are mac and dee. if you write either of those muses, you do not need to go along with this part of my canon (charlie will still be trans, but your mac or dee does not need to know). whatever you're comfortable with. pronouns. he/him/his orientation. biromantic, demisexual. race/ethnicity. white height. 5'5 hair. dark brown, graying at the sides right above his ears. often messy and unkept (and greasy) eyes. green piercings. n/a tattoos. "badnew" tattooes on his left forearm parents. shelley kelly (deceased), bonnie kelly siblings. bunny and candy kelly pets. n/a occupation. janitor and occasional bartender at paddy's irish pub hometown. philadelphia pennsylvania current residence. philadelphia, pennsylvania likes. slimy and slippery things, ghouls, adventures, cats, cheap beer dislikes. loud sudden noises, crowded spaces, being told what to do. hobbies. exploring, dressing in costumes, writing music, singing, hanging out under bridges, wandering the sewers. positive traits. kind, empathetic neutral traits. restless, concerned negative traits. emotionally reactive, quick to anger, reckless alignment. chaotic neutral neurodivergencies & disorders. anxiety, cptsd, depression, autism. personality. very kind and loving, has a big heart. can come across as a bit odd or silly but always means well.

biography.

charlie kelly was born on february 9th, 1976. charlie was raised by his mother, bonnie kelly. his father, however, was never in the picture. he often felt of himself as an outcast, having a hard time connecting with other children. he struggled in school with reading and writing. the only other kid he seemed to connect with was ronald mcdonald, who would end up dubbing the nickname “mac”. during high school charlie continued to be picked on by other students. he was often chastised and called “dirtgrub”. he didn’t fully understand that other kids were making fun of him. he stuck with his friends, spending most of his time skipping class with mac and spending it under the bleachers. when he looks back on his high school experience, he is convinced that he was a cool kid, blocking out a lot of the negative memories. charlie found his love for music in high school, finding it a good way to release his emotions. music always came easy to him. he was always able to listen to a song and play the melody on the piano, eventually he learned how to add harmonies and other musical elements. through out high school he also worked a series of odd jobs to get extra money, helping support his mother by pitching in money for bills. he didn’t spend much of it, he ended up putting most of it away in a savings account. in 1998 he began working as a manager at south philly skate, a local roller rink. mac also got a job at the roller rink. charlie was very passionate about his job, and once he heard word that the owner of the rink, smokey, was going to shut the rink down due to financial troubles, he knew he needed to save the business. so him, mac, and his friend dennis came up with an idea to buy the rink. when they approached smokey with the idea, he informed them that it wasn’t actually the roller rink that he was going to have to shut down, but a dive bar down the street. once “the gang” purchased paddy’s pub, charlie began working at the bar as a janitor.

verses.

one - set post season 16. charlie currently works at paddy's irish pub and lives in a small apartment with frank reynolds. two - charlie has just graduated from high school. he does odd jobs for people in his neighborhood, usually maintenance or plumbing work as well as pest control. (charlie can be anywhere from 18 - 22 in this verse). three - this verse is set right after charlie, mac, and dennis purchas paddy's pub from smoky. charlie is 25 in this verse, and just getting started as a janitor at paddy's. he lives in his own apartment. four - this verse is set after "the gang gets a new member". after charlie is kicked out of the gang, he ends up staying away. he kicks frank out of his apartment, and keeps his job as a high school janitor. he has moved on from the gang, gotten sober, and spends most of his free time creating and writing music. 

[captainhongjoong]

thoughts on sweet home season 2 (spoilers!!)

this is gonna sound whiney but that's just because i love this show a lot and my expectations were really high

the pacing this season was so bad imo like the first two or three episodes were so intense, everything was important and there was no time to get over the last thing that happened, but when it got to the episodes that were mostly about the camp/bunker/whatever it got so boring. i didn't care about any of those people because they were either completely flat or they just didn't really have room in the story to make sense or be interesting. except junil my boy who was done SO wrong

hyunsu just fucked off for most of the season? the main character of the series? the best guy? i don't know if this was because of a schedule conflict w song kang or whatever and i don't care

i actually completely forgot about ms. im (?) until i was just looking at the cast to check something. ??? what ever happened to her after she just appeared naked and slimy. there are so many things like that that they just threw in and then never spoke of again

the very end of the season seemed like it was trying to throw two big plot twists at us but it was stuff we already knew? like it was pretty obvious? but they were still like :o the slime monster that takes people's bodies was sangwon the whole time!!! and the lava ceiling monster was eunhyuk!!!!! like yeah. lol. idk it just seemed anticlimactic i mean it was cool to actually see eunhyuk but it wasn't a surprise like it seemed like it was meant to be

speaking of eunhyuk though i am excited because tbh i didn't like him in s1 and i didn't like eunyu either but eunyu was a lot more interesting in s2, so hopefully he'll be better in s3

i also really like mushroom girl but i'm pretty sure that's not how mushrooms work. i mean i could be wrong i don't have any experience + tbf i've never seen a kdrama that knew what drugs did

not to be a sungcheol stan but i miss sungcheol so bad. i don't wanna complain about sangwook as sangwon, because i do think he's cool and his actor has done a really good job, i just wish sungcheol could have stayed longer. bc i love him but also bc there's something cunty about sangwon that sangwook just doesn't have as much

also where is the baby monster??

also i kinda feel dumb like maybe i'm missing something about yikyung? i don't understand why she's sticking to the all monsters have to die thing so hard that it's literally fundamental to her as a person. i feel like she should've been the first to understand that not all monsters are bad. like everybody else is on board with this by now. but her as a monster is so cool i can't be that mad about it

also where is that lady's dog?

anyway i guess s3 will be like... monster squad (hyunsu, eunhyuk, yikyung, yikyung's daughter + eunyu for some reason) vs. sangwon and the military i guess. i still don't really care about the military stuff but yikyung vs. sangwon? yes

eta i forgot to complain about netflix. i am fully a hypocrite bc i really love this bundle of shows that are kind of connected - squid game, alice in borderland, sweet home, all of us are dead, maybe hellbound too - but something i like about kdramas is that the story is almost always intended to be told in one season, and that often requires good storytelling. netflix doesn't care about this, it feels like they're just throwing stuff at the wall and whatever sticks makes it to s2 or s3 or whatever until they get bored and cancel it. it's bad writing and it's disrespectful to the people who actually enjoy the story. it's kind of like, idk, releasing video games that aren't finished but sure are expensive. i don't think it's too much to ask for them to have a plan before they start a series

it's way past my bedtime so i can't be held to any of the opinions expressed here. except i miss sungcheol i always miss sungcheol

[ppulverse]

this is a bit random but i remembered you saying in your tags that your will to live dropped after ptd did and like... the real lasting legacy for ptd for me personally is that now i have trust issues every time a kpop group i like is about to release a song. like the preview for back for more sounds good and that makes me a bit optimistic but part of me is also cautious bc a preview is just a small snippet, what if the whole track turns out to be a song that i dislike and that i feel doesn't fit txt at all? maybe a few years ago i would've been purely excited but now there's always that part of me that's like "please don't be another ptd" so i feel cautious before every release

anyway this is just a vent and this is my own personal problem, like i said i think the preview sounds good and it's cool that other people are excited! this is just more of a "what if" nagging thought for me and sometimes i wonder if other fans feel the same or if i'm just being pessimistic

ok i talked too much so i'm adding a read more break here

JDKAJDJA i feel u 😔 personally i don't have a problem if i don't like a song one of my fav groups releases, so i won't be TOO disappointed if i don't like it. plus as someone from brazil i am REALLY excited to see them releasing a feature with a brazilian artist tbh 😭 my problem with ptd was the series of unfortunate events that lead us to that moment yk? like they were supposed to promote mots7 (which to me was a wonderful album) and go on tour, but then covid happened so the tour was cancelled, then they released dynamite... which was a BOP ngl i loved it i was just as obsessed as anyone else. but bighit saw how well the song performed internationally, especially in the usa, and seemed to become obsessed with trying to make bts appeal to the american media. so we got butter (and i was FUMING at the time bc txt had a cb with 0x1 shortly after a fcking bts comeback and i felt like they wouldn't stand a chance against bts on mysic shows and stuff 😭) and later on we got ptd which to me is honestly the weakest and most generic song bts has ever released. bts went from a group that co-wrote and co-produced most of their songs to a group that was being forced to only sing other people's generic stuff. (and i won't even mention BE bc that felt like a fever dream tbh it was literally released just as damage control and also at a specific time of the year so bts could win album of the year in 2021 without actually releasing an album in 2021.) and now that bts is on a hiatus i fear that they try to put them txt through a btsification process or smth idk???? but at least for now it doesn't seem to be the case. i don't mind them appealing to the american public and releasing songs that are meant to be a radio hit over there or whatever, as long as they don't lose their essence in the long run... and considering this album concept seems to be following that txt formula we know and love (since it's a continuation of the previous one, apparently), i think everything's still ok for now.

plus around the time do it like that was released they mentioned it on a welive that korean fans were getting kinda frustrated at how much promotion they were doing in the usa and not in korea and they were like don't worry we still have smth BIG coming up for us in korea, and i'm p sure they were talking about the album!! so i think we will survive. i hope. particularly i'm super excited to find out what the album is gonna sound like!! it's the first full album since freeze so hopefully we'll get many great tracks to jam to

[theeverlastingshade]

Everyone’s Crushed- Water From Your Eyes

Pop music never stays stagnant. That's part and parcel of its charm; it globs on to whatever stylistic parameters are currently shifting the zeitgeist and leaves its imprint. The best pop music isn't any exception to this, it just tends to be the most success at imbuing the music with a real sense of personality and purpose without sacrificing the immediacy of the form. The album from this year that best demonstrates the power of pop's mutability (thus far) is Everyone's Crushed, the excellent 6th album from the Brooklyn art pop duo, Water From Your Eyes. WFYE consists of Rachel Brown and Nate Amos, who have been making playfully chaotic, unabashedly flippant, genre-agnostic music together for the better part of the last decade. Their earliest work was considerably more straightforward and serviceable, but showed great promise all the same. With their next few releases their music became bolder and more multifaceted without losing focus, and we got faithful covers of cultural touchstones like "Lose Yourself" and "Call Me Maybe" that almost seemed like they were designed to dare you to write them off despite their deft execution. On EC, the wide swath of influences guiding WFYE has been distilled to a fine point that they've used to create some of the most striking pop music of the last several years.

The most immediate, undeniable draw of EC is the band's versatile command of sonics. EC flows with impeccable sequencing throughout the course of its 9 songs in 31 minute framework, and it packs some of the boldest, and most inspired sonic shifts on any 2023 album that I've heard thus far. Opener "Structure" is a string-laden series of loops imbued with mesmerizing vocal manipulation that was actually repurposed from their song "16:17". Despite its status as a brief, callback outlier "Structure" nonetheless bleeds perfectly into career highlight "Barely". "Barley" is the record's real showstopping tour de force; with the exception of a slightly more verbose verse the lyrics consist of nothing more than "One, two, three, four/I count mountains/One, two, three, counter/You're a cool thing, count mountains" but an entire universe of sound erupts around them. Synths, keys, horns, guitars, and drums seamlessly swirl around in what might scan as delightful discordance if it wasn't for the band's masterful command of melody and mixing. Nothing else on EC reaches the height of "Barely", but everything impresses in its own right. "14" brings back the strings for a baroque pop dirge laced with electronic flourishes while "More" is more or less a full-blown noise segue imbued with strings and richly-rendered found sounds. Throughout EC WFYE imbue the music with jarring juxtapositions and logic defying arrangement so acutely that it quickly becomes evident that, despite having a few comparable peers, there's still no one making music who's quite on their wavelength.

EC is imbued with irreverence at every turn. WFYE utilize weed humor and absurdity to combat a growing restless despair brought on by late stage capitalism with pitch perfect precision. The disquieting synth soundscapes of the centerpiece title track speak volumes before serrated guitar riffs, a squealing saxophone, and cowbells enter the fold like the most natural pairing of elements imaginable as Brown touches on how increasingly common substance abuse has become "Cracks a picture on the screen, yeah everyone's crushed/And with everyone around, everyone drinks". "True Life" utilizes rollicking noise pop to underscore comments about colonialism and the re-writing of history to suit the victors' narrative "Deep down, understand/Bodies talk with shaking hands/Dirt bones, stolen land/Spell a story, so hellbent" while the art-pop oddity "Out There" finds its character trapped in suburban limbo struggling to stay afloat in a life that's eating her alive "She plays the piano/She stole it from the mall/All of my best friends lost out here in the sprawl". The most obvious example arrives on the post-punk closing cut, "Buy My Product", a song about the relentless march of consumption that finds Brown softly murmuring lines like "There are no happy endings/There are only things that happen/Buy my product" over an infectious baseline and over-caffeinated drum programming. It's far from a happy ending, but it is, nonetheless, the perfect ending to an album so fixated on finding humor within the mundane hellscape that we've built for ourselves.

[stonewallsposts]

Music I Love: 1976

Continuing the Music I Love: the 70's series, here are some songs from 1976. 

Breakdown- Tom Petty and the Heartbreakers   Smoooooth and cool, with one of the great guitar riffs.  

Still the One- Orleans   First time I heard this song was when it had been appropriated by the ABCTV as a jingle. I loved the song and when I found out it was an actual pop song, even better. But I've loved this song ever since. 4 part harmonies don't hurt at all. 

Fernando- Abba    I actually like this song better than their more famous Dancing Queen that was released the same year. It has a sweet, melancholy vibe for the verses and converts to a more bouncy tune in the chorus. Not a lot of songs I like that feature the flute.... 

Somebody to Love- Queen  My all-time favorite Queen song. This song contains one of those moments that sends chills up my spine; it's where the song climaxes to- "Can anybody find meeeeeee... (pause) somebody to.... Lo-o-o-ove." The drums kick in and the backing vocals start back in with "oooh, find me... somebody tooooo love." The chord progression, the backing vocals... oooh. Sweet. I've heard this done by flash mobs, and in movies... it's always that same chill up the spine when I hear it. 

Hotel California- The Eagles  This was a BIG hit when it came out. It's probably my least favorite of the Eagles' songs that I have on the list, but it's still a great song 

Don't Fear the Reaper- Blue Oyster Cult So the songwriters swear this isn't a song advocating for suicide, but it certainly seems like it is. Despite that, it's a pretty catchy tune, so it's being added to the list. Probably most famous for the Saturday Night Live skit with Will Farrell and Jimmy Fallon, who can barely keep from laughing, with the line: More Cowbell!

PS: I was gonna include Dancing Queen... but on second thought... who needs it? 

[yukiakaren]

Kpop title track ranking: SHINee

For many reasons this ended up being quite different than the other posts in this series. But oh well, now it’s like this and that’s it.

Sherlock - SO CATCHY! I’ve got nothing else to add here.

Dream Girl - This was the younger me’s favorite. Still great tho, as the placement in the list should tell.

Tell Me What To Do - TMWTD is one of those songs that I don’t listen to that often as it has the power to hit the feels. But it’s absolutely gorgeous and the others are above it just because I can actually listen to them without having to worry where I am at the time of listening if it is the feels kinda moment.

Ring Ding Dong - One of the three SHINee songs that I know to be the first kpop songs I ever heard. I didn’t get I at first but definitely after getting to kpop I fell for it. And it’s still so so catchy and I can’t get over it.

Replay - This is one of the situations when the word iconic is used correctly. This is iconic. As a debut. As a song. And that aside it’s just really great song. So so soothing to listen to and so easy to come back to anytime. It’s just great.

Don’t Call Me - This was such a cool comeback! 

Amigo - I’m an Amigo-trash for sure xD It’s so catchy, how can I not be?? SHINee just has so many great songs that the ranking doesn’t necessarily show it but I’ll let you know I’ll be one to defend this one xD

Married To The Music - It is such I nice retro sound having song. What’s not to like?

Lucifer - Second one of the first three. Maybe younger me would have put this above Ring Ding Dong but apparently my taste has changed drastically over the years on this one xD Yes, it’s still great but I fell like it hasn’t aged quite as well as the others above with me.

View - I haven’t been the biggest fan of View. However, going from Why So Serious? and Everybody to this, I just found newly developed respect for it. It’s not noisy and it’s pleasant to listen to. Who would have thought xD

1 of 1 - The second retro song. Not quite as nice as Married To The Music but nice nevertheless.

Atlantis - For some reason I pretty much ignored this one. Now I’m realizing it’s pretty good and I shouldn’t have ignored it.

I Want You - The 2018 releases are all ones that can also be tear-jerkers and I guess that’s why I haven’t really listened to these a lot. I Want You is great tho.

Good Evening - Comment from I Want You + It’s really catchy tho.

Countless - Comment from I Want You + It’s very pretty.

Love Like Oxygen - Oh this was a title track. Somehow I thought it just had music video for no reason xD Anyway. It’s very nice, like basically all of them but not my personal favorite.

Juliette - Juliette has never been my cup of tea, but I still find it pleasant to listen to.

Everybody - Luckily SHINee and dupstep didn’t become a reacquiring combo. It’s fine song for what it is but the noisiness is not something I crave from my SHINee songs.

Why So Serious? - I find it surprisingly noisy now Ö_Ö Still SHINee tho, so it’s fine but in comparison to the others it’s falling pretty low in the list.

Hello - Third of my first three. Well the younger me and the current me are agreeing on this one. Definitely my least favorite of the three and on the bottom overall as well it seems.

Our Page - It feels wrong to rank this, so I won’t. I’ll just say it’s gorgeous.

Also, inspired by this video, I decided to do my top 25 b-sides as well.

Picasso (Japanese version) - I love Picasso! And it needs to be the Japanese version.

Obsession - Obsession is my obsession, but I couldn’t dethrone Picasso for it. 

Spoiler - How is this so catchy??

Dynamite - How is this so catchy? part 2 xD

Woof Woof - Woof Woof is such a mood-booster! It’s so foolish, I love it!

Evil - Interestingly, I really thought that Evil would be in my top 3 but I couldn’t bring myself to put it before any of those that are before it. I love it still, tho!

JoJo - Last one to get comments. JoJo is just so pretty!

Dangerous

Forever or Never

Y Si Fuera Ella

Ready or Not

Code

Runaway

One Minute Back

Nightmare

Destination

Punch Drunk Love

A-Yo

Body Rhythm

Honestly

Prism

SHIFT

Who Waits For Love

Hitchhiking

The SHINee World

[hamofjustice]

whoever wrote this is my friend at game freak. about 2500 new lines of dialogue celebrating these characters in the way you'd expect the plot drivers and supporting roles of the story to be celebrated (albeit i wish more the former and less the latter), if the game that the writer(s) were stuck writing for actually got to be about those characters and hanging out with them the whole way through. it's a - pardon me for saying so - real treasure.

that being said...

i don't think pokemon, my former chief interest, is a series for me anymore, unless we get a permanent traveling party in the next one. i'm looking for games that are less... lonely all the time? that don't set up expectations they'll never meet because they don't have time? whose fans and leadership don't both openly hate story and companionship (and also women) unless those companions can't talk? i've changed, pokemon's not changing with me. and this console generation in particular has been egregious about not caring about making customers happy as long as they buy shit because of the brand on it.

but stuff like this league club or the epilogue is at least good enough closure for me on my unusual investment into this also unusually heartfelt generation. i'm no longer so pissed off that i'd just stop posting about these characters altogether. in the end, they weren't completely forgotten about... but why were they forgotten about at all? they were the main characters of the story, not us. forcing our character into making bad decisions isn't going to change that.

man, what could've been.

between this and the aforementioned epilogue (that has no reason to not be available day one tbh) i can see a ton of evidence that stuff got changed or cut against their wishes, or at least compared to the original plan. and that's gonna keep happening as long as pokemon keeps up this sloppy, rushed, "who cares if it's good, they'll buy it because it's pokemon" business model with far too many places, characters, and monsters and far too little time spent lovingly with each one, that keeps them feeling stuck generations behind other $60-95 games... and hollower and lonelier than the rich warm hearts of $5 indie games.

what i linked above, however, is the kind of thing i wanted from the DLC - just getting to sit back and enjoy being nemona penny and arven's friend like we did in area zero and watch them grow together - and it's an afterthought in a game that otherwise threw its characters and messages about friendship into the garbage and aggressively pretended they never existed (including the love story they just released a music video and book about!), that refused the most obvious slam dunk story climaxes (no 4v1 tera raid boss fight ever happens with other characters? given two different opportunities? that were both remixes of the raid music? really? really?) and cool returning features we saw coming a year ago and never actually got (seriously, you're getting outdone by sword and shield here), in favor of... a massive amount of grinding over four versions of the same song that makes doing things without paying for both your online subscription and pokemon home subscription unbearable. how playable is the endgame going to be when those things are gone?

they really don't think people are going to be upset that the main characters still have basically no new lines or mentions until the epilogue (that they don't even know exists) releases? that they're not going to be upset that kieran and carmine just despawned again with no clear way to bring them back after kieran asked if you could be friends again? (same thing, epilogue)

kinda seems like this DLC was made to piss off people who were emotionally invested and reward people who hated nemona as anything but a hentai model. it didn't even execute its own story properly! the beautiful mess of a base game just turned into the usual pokemon dumpster fire with the absolute bare minimum done for the trailer to not technically be lying about anything, and nobody's gonna notice because it has starters and legendaries and the synchro machine. even the new credits theme sounds like a cry for help.

i'm taking the love i had for these kids and channeling it into something that no corporation has control over.

my biggest wish for the next game is to let our friend NPCs use the union circle as one of its headline features. with this much effort put into its dialogue for just those few characters. like the area zero trip but all the time (players who hate dialogue would probably also appreciate it not interrupting their actions like that segment didn't! win-win!). i want the characters from the 50 hour story to still be in our lives for the 500 hours of postgame, not say we'll live happily ever after and then turn into statues for a year. if next gen hurts as much as this one did, i'm not getting invested.

also, where the hell are the multi battles. i'm not that surprised they didn't bother with a battle tower again, but 2 on 2 with friends just like sword and shield seems so, so obvious and fun, but apparently not to this company

not even saying the game is bad, just not what i wanted.

i (somewhat) formatted the text dump of the blueberry league clubhouse dialogue in the indigo disk if anybody just wants to read it now without the lil animations and skip the big grind

(and the irl wait for the epilogue quest with all of our friends to become available. spoilers for that, but i will not hold off on telling people it exists because they deserve to know before they get too upset that the DLC story completely shafted the basegame's characters yet again, for even less good reason than last time, to the point that it feels almost spiteful)