#the themes of being the same at their core. the red and black. the YEARNING. (he has a tail-). the way they had to try and kill each other

[lovinggreeniehours]

ngl. sylesper cosplaying as jurdan would be the hottest thing ever. just a thought. not to mention the parallels

[sophiasoelberg]

So the symbolism with clothes is INSANE in OFMD.

By Season 2 Episode 6, they're both becoming what the other was. Ed no longer wants to be a pirate because it brought out the brutal, cold blooded part in him that he's been bored of long before he met Stede. But which was a necessity for him to survive, to protect his mother from his father.

Then he met Stede, who was a gentleman, doing and being something Ed has always wanted to be, which is softness. Like the soft, fine fabrics Ed likes, but never really allowed himself to have, only carried the piece of red silk his mother has given him when he was a boy.

Ed only let go of that red silk when him and Stede were apart, because Ed gave up on his newly discovered soft side. He became the Kraken, all hard edges and black leather.

Also, before he let go of the softness with the red silk, he wore Stede's fuchsia robe, which represented the colour entering Stede's life, and by Ed wearing it, he wore Stede's essence, what comforted him as he missed Stede very much. He missed the colour from his life.

Fast forward, in Season 2 after Stede had his first kill, after Ned literally said that if he does it, Stede will become a Real Pirate, Stede looks for comfort with Ed by making love to him. Stede as a pirate who was always scared of the brutality and coldness of masculinity that his father represented to him, I believe.

Yet being a pirate, an infamous one at that, as Stede finds himself suddenly to be, is what he had dreamed about. Which must be conflicting as heck, too. Being something you yearned for, and being accepted for it, which you're not used to, but then that very thing you wanted is also uncomfortable because of the inherent brutality it carries with itself. (Piracy)

Anyway, when Episode 7 starts, Ed throws his leathers into the sea. His things that represent Blackbeard. He gets rid of it after he became intimate with Stede, having taken off Blackbeard, (=his leathers) LITERALLY. This time he's wearing Stede's robe but it's the same dark blue colour as Stede's new "pirate shirt".

Blue is obviously one of Stede's favourite colours, which would symbolise his love for the sea— and Ed wears that. He wears Stede on himself on that Morning After. Ed is trying to find what he can become after he gives up his Blackbeard identity, and what he knows is that he likes fishing and most importantly, loves Stede. He finds comfort in Stede, like Stede does in Ed.

One more interesting thing, since I'm diving into the topic of symbolism with clothes is the fact that there was a huge emphasis on the scene in which Buttons turned into a seagull.

Buttons said: "The sea is my love. To love the sea as she must be loved, requires change."

And Ed: "Buttons, people don't change, not into birds or otherwise." (Just when Ed and Stede's theme starts to play very softly)

But Buttons changes, and Ed is AMAZED by it, and then goes on his own journey to change his ways. So that he can love Stede in a healthy way.

Buttons leaves his clothes behind, and in Episode 7, Ed wears them as he's trying to figure out who he wants to be instead of Blackbeard and instead of a pirate. For me, him wearing Buttons' clothes then means that Edward is finally truly (docked too) ready for change.

But it also means that Buttons is a character who's LITERALLY IN LOVE WITH THE SEA. And in the beginning of Season 2, Stede wore Buttons' cravat. And then Ed wears the rest of Buttons' clothes. Showing that Ed and Stede love the sea.

As of right now, by Episode 7, what they need now, Ed and Stede, is to find a middle ground where both can be who they truly are and continue to balance each other out that way. For Ed to find peace, softness and comfort, (and a fucking INN, give that man what he wants, for whoever's sake—) and for Stede to be who he aspired to be, a pirate, but to also regain his gentleness, because that's a core part of him. That's why Ed loves him.

[shemakesmusic-uk]

Alt-pop newcomer LVRA (pronounced loo-rah, real name Rachel Lu) has shared her first new track of 2021, ‘DEAD’. Following up on 2020’s debut EP LVCID, she explains: “There’s a unique power you gain when you stop caring about what people think of you. It’s an ongoing battle, though, and ‘DEAD’ is about the conflict between the fantasy of not caring and how you feel in reality. The video captures that, with a version of myself who has her shit together and another that is fighting to survive.The use of red represents fear in the human condition, but in Chinese culture it also symbolises happiness. One rarely comes without the other.” The track – a cultural mix that matches LVRA’s heritage with bleeding edge ultra HD pop – is the first taster of a second EP, which is set to follow later this summer. You can check out an Oscar McNab (Lacuna Common, Oscar Lang). directed video above. [via Dork]

Los Angeles artist Wallice follows debut single 'Punching Bag' with new coming of age anthem, '23'. Wallice finds herself caught between two places on fresh cut, '23'. “Too old to be a runaway”, but also too young to consider herself as grown up, the 22-year old yearns for a past that still has not happened yet. Working with producer David Marinelli since her return to California, Wallice has crafted a sound that is unique without taking itself too seriously. An angst-driven remonstration at the powerlessness of her age, '23' is also the clearest stamp of her musical identity to date. The expression of this purgatory is a cathartic garage-rock headbanger complemented beautifully by Wallice’s playful lyrics. “I just can't wait to be / all grown up and 23,” she admits in the song’s irresistible chorus. “Tell me what is wrong with me / I miss my Ohio fake ID”. In artfully portraying the limbo state of the age, Wallice describes the events in her life that have led to her own disaffection. “It’s hard not to compare your own professional success to that of your similarly aged peers. I dropped out of university in New York after studying Jazz Voice for a year, and my dad was VERY disappointed, to say the least, so it was hard not to feel like a loser in that sense. “The specific age 23 doesn’t have any milestones associated with it, but it’s more the idea of just looking forward to the future,” Wallice continues on the meaning of the track. "Much like how people ‘reset’ every new year, it’s comparable to be ‘older and wiser’ with each birthday, but instead of constantly looking to the future, it is important to be happy with where you are”. [via Line Of Best Fit]

Coach Party have shared their new single 'Everybody Hates Me'. The Isle of Wight group are gearing up to release their incoming EP, with After Party pitting their potent indie pop influences against bittersweet lyricism. Out shortly, the EP is teased by new thumper 'Everybody Hates Me', with Coach Party adding a neat gloss to their guitar pop sound. Out now, 'Everybody Hates Me' comes equipped with a neat video steered by Daniel Broadley. Vocalist Jess Eastwood comments: “‘Everybody Hates Me’ isn’t a metaphor for anything; it’s literally about those times when you convince yourself that everyone, including your best friends don’t actually like you, and your self-confidence is so low that you don’t even blame them. Disguise that sentiment in an up-beat singalong, and there you have the third single from our new record. The video is a direct extension of the song. It swings between the insecurities of feeling like you’re not good enough amongst your friends, and the sense of unity you get from those same people when you finally wake up from your rut. Everyone feels that way from time to time, but you gotta remember that sometimes your irrational self is going to take over. And when it does, try to remember that you’re awesome, and your friends really are your friends.” [via Clash]

Pussy Riot have gone hyperpop on their latest song 'Toxic'. The Dorian Electra collaboration features glitched out production by Dylan Brady of 100 gecs and tackles a relationship gone bad. Written, directed, and edited by Pussy Riot’s Nadya Tolokonnikova, the music video features jarring, bloody imagery matching Brady’s production. “Care about yourself, cherish your mental health, and stay away from relationships that poison you!” Tolokonnikova writes in the YouTube description. “Amen.” In the song’s lyrics, Tolokonnikova tells off an ex. “You are my daily poison so annoying,” she sings. “You’re even more toxic than my employer.” The hook continues the theme. “This combo is deadly — ’cause we used to be friendly,” Electra laments. “And now my heart is a weapon / You made me… toxic.” [via Consequence of Sound]

Baby Queen has dropped a brand new track, ‘These Drugs’. Bella Latham’s second new track of the year – following up on the anthemic ‘Raw Thoughts’ – she explains in an Instagram post: “This is a story I really needed to tell you and I didn’t know how to for a long time. When I first wrote this song, I honestly didn’t think I was going to be allowed to release it or that releasing it would be a particularly good idea. It just felt really important and that’s all I’ve ever wanted music to be; so I knew I had to share it with you.I was in a very bad place at the time… very depressed and convinced I wasn’t a good person and didn’t deserve good things. Life is different now. I’m happy. I’ve learnt that the antidote to my misery is gratitude and caring about myself even when I don’t want to, until it becomes a habit. It’s natural to look for escapism but there’s more freedom in working to build a life you like… and by that I literally just mean learning to love yourself. You, with all your scars and all your regrets, are home to an actual life! You’ve been through so much and you’ve come out the other side stronger because of it – it’s remarkable really. You’ve got to invite the sad parts of yourself in to have a tea party with you. Don’t ignore them and cover them up. If you don’t look at them, they’ll make themselves seen! You are so worthy of love and I hope that if you don’t see that yet, you will learn to in time. Anyways guys,” she finishes, “this is all very intense. I love you very much and I hope you can understand and relate in some way.” [via Dork]

Greentea Peng has shared her new single 'Nah It Ain’t The Same'. The UK neo-soul voice is an outstanding talent, someone who pushes herself further into that hip-hop / jazz nexus with each release. Produced by Earbuds, new single 'Nah It Ain't The Same' is out now, one that reflects the chemistry she has with her live band The Seng Seng Family. Dipping into drum 'n' bass, her vocals have a calming, beatific feel, with 'Nah It Ain't The Same' tugging at matters personal. She comments: “Deliberations of a (hu) MAN, subject to the pendulum's swing, I give you ‘Nah It Aint The Same’ off my album MAN MADE. An expression and exploration of my utter confusion and inner conflicts amidst shifting paradigms.” Greentea Peng stars in the new video, with Machine Operated sculpting the video. [via Clash]

renforshort has debuted a brand new single, ‘virtual reality’. The first taster of a forthcoming second EP, the track sees her “connect” with Kellen Pomeranz (Pom Pom), Jesse Fink and Beabadoobee collaborator Pete Robertson. “’virtual reality’ is a song that tackles many topics. But at its core, it really is about anxiety, routine, boredom, isolation, loneliness, and fear,” she explains. “I think a lot of people have a very unhealthy relationship with technology because it’s never really been restricted enough to consider mental health and overall health, and that has fucked so many people up, now more than ever. Ever since I was young, social media has played a major role in my mental wellbeing, and I became so accustomed to it, it became a part of my routine and it came before everything else. The moment I wake up, almost instinctively, I check my phone. Depending on what I see in the morning, basically determines how I’m gonna feel for the rest of the day. I hate it. But I can’t stop. And what’s most ironic about this all is you’re likely going to read this on social media or listen to the song on some sort of electronic device…” [via Dork]

Flock of Dimes has shared the second single from her forthcoming album Head of Roses, out April 2 via Sub Pop. Following recent single, 'Two', 'Price of Blue' is another standout from Wasner’s second solo LP, an album that showcases her ability to embrace new levels of vulnerability, honesty and openness, combined with the self-assuredness that comes with a decade-plus career as a songwriter, producer, multi-instrumentalist and prolific collaborator. It comes accompanied by an unearthly new video filmed in black and white, co-directed by Wasner with Graham Tolbert. Wasner says: “This song is about trying, and failing, to connect. It’s about the ways in which, despite our best efforts, we misunderstand each other, and become so attached to stories that we’re unable to see the truth that’s right in front of us. And it’s about the invisible mark that another person can leave on your body, heart and mind long after their absence. It can be difficult to make sense of the memory of your experience when the reality on the surface is always shifting—when the story you’re telling, or the story you’ve been told, unravels, leaving you with a handful of pieces and no idea how they used to fit together.”

Berlin-based indie-soul five-piece, People Club, announce their new EP Take Me Home, which is due May 7 and the band are sharing the title-track and new video. The title track 'Take Me Home' is a song about the realisation of mortality in old age and the cynicism that often plights the elderly after losing their loved ones and being left alone with their regrets. It is accompanied by a music video shot by long standing collaborator, Felix Spitta. Speaking of the process the band say, “Once again we worked with our very talented friend, Felix Spitta, who also shot the video for our last single Francine.  We basically spent a day fooling around at his house with a smoke machine and an old tape TV camera with a red filter.  The result is hazy and disorientating, just like this year has been so far.”

Introducing MARY., the dreamy alter-ego of musician and songwriter Stef T. The self-produced debut track, ‘Day to Day’, interlaces elements of electro-pop and R&B with a voice that enchants, along with an official video filmed, edited and directed by David Risdon and Charlie Rose Creative. Reading like a page in a diary, ‘Day to Day’ offers a candid and emotionally raw glance at being overlooked as a woman in a man’s world. She is put together, glamorous and poised on the outside, but on the inside she is simmering like a pot ready to boil over, fed-up and on the brink of snapping. Speaking of the track, Stef T explains, “’Day to Day’ is a reflection on what it is to be a woman in a role where you are always unseen; constantly giving yet never receiving. As woman, we are often undervalued for our day to day work in all aspects - as mothers, in relationships, in our careers; having to push extra hard to get the basic recognition and thanks that we are entitled to. This song is a commentary of a large part of my life where I settled, sacrificed and worked, only to be used and taken for granted. It is about learning to survive a toxic relationship, discover your own individual worth again and reclaim the power that you gave away to someone else. Producing this song myself is the only thing that made sense in context with the intention of MARY. as a project. She is an entirely self made, independent woman, who does it all and doesn't need a man to confirm that she's doing a good job. This is something I have personally struggled with, so I created the MARY. persona to feel more empowered in my storytelling as an artist, in an industry without a large visible number of female-identifying producers.”

Los Angeles based dream pop trio Tashaki Miyaki have just released a single and video of the title song from their forthcoming second album, Castaway, which will be released on April 23 via Metropolis Records. Singer, drummer and producer Paige Stark states that the song “is about the challenges of romantic love and how we are all bad at it in one way or another. The idea of a castaway in all this is that no one understands the relationship except the people in it, so you really are stuck on an island alone together there. Maybe you make it back to the mainland, or maybe you stay on the island.” Stark also shot the Sofia Coppola-inspired video on film, adding: "I wanted to tap into all the feelings that can come up in love relationships: anger, sadness, loneliness, vulnerability, stillness, joy, romance, longing. The actress in it has a beautifully expressive face and I've known her for a long time. I knew we would be able to create those moments together. I wanted it to feel like the camera was her lover, capturing her in various private moments, moods and feelings.”

With her Vanilla Shell EP celebrating its one-year anniversary last month, Danish-Chilean composer Molina is back with another abbreviated record in the form of the new single 'Cold,' featuring vocalist Jonas Bjerre, arriving with a pair of B-sides. The brief collection of songs continues her simultaneous journey inward toward the roots of Chilean music and outward into her own unique vision of the future. The project lands with a video for the A-side, which dreams up bizarre fantasy iconography in the tradition of Grimes and Björk to complement her subdued take on these artists’ out-there recordings. Blending ambiguous electronic sounds with the familiar drone of cello and Bjerre’s backing vocals, the track’s distinct persona may have more in common with the experimental soundscapes of artists like Jenny Hval or Julia Holter. [via Flood]

Maisie Peters has debuted her brand new single, ‘John Hughes Movie’. Described as the first single from her soon to be announced debut album, it’s a song about unrequited love, inspired by the legendary film producer and his classic coming-of-age teen comedies like The Breakfast Club and Sixteen Candles. The track comes alongside a video co-written by Maisie and director Louis Bhose (Loyle Carner, Arlo Parks, Lewis Capaldi). Maisie explains: “I wrote ‘John Hughes Movie’ when I was 17 about a house party that I had gone to. It’s a really honest depiction of being a hopeless, melodramatic teenager, being awkward and drunk and getting your heart broken by people you don’t even remember anymore. John Hughes films encapsulate that foolish romantic energy of high school and everything that I, a small town English wannabe Molly Ringwald wanted to be, but was not.” [via Dork]

Chloe x Halle have shared the music video for their song 'Ungodly Hour.' The video was debuted on Wedneday night's episode of The Tonight Show Starring Jimmy Fallon and shows the Bailey sisters going underwater for a sci-fi-style visual filled with choreography and elaborate adventures at the bottom of the ocean. Watch the Alfred Marroquín-directed video above. [via The FADER]

South London's Josie Man has returned with sentimental new single 'Cuts & Bruise', marking her first release of 2021. 'Cuts & Bruises' follows October 2020's 'Grow' single, and is accompanied by a Andrea Mae-directed video that shows couples enjoying tender moments, including Josie Man and her boyfriend. [via Line Of Best Fit]

Jessie Ware has shared a new short film for her song 'Remember Where You Are'. Her album What's Your Pleasure? arrived last year, a disco-fuelled missile that presented some much-needed good vibes amid lockdown. The songwriter returns to the record for her song 'Remember Where You Are', a soulful and uplifting slice of UK songwriting. There's now a full video for the song and it's steered by BAFTA winning director Dominic Savage. Starring British actress Gemma Arterton, it opens on Valentine's Day and finds the star wandering through deserted London streets. A glimpse of hope and renewal, it taps into the growing feeling that this time, lockdown might be coming to a permanent end. "It was a real pleasure to collaborate with Jessie and Gemma on this short film that is inspired by Jessie Ware’s beautiful music. It was also inspired by the real feeling that was felt when we filmed in the deserted streets of eerily strange lockdown London on a Saturday night/Sunday morning,” Dominic said. “The feelings and emotions in the film are a true reflection of what that felt like, and what this time invokes. Sadness, nostalgia, pain and defiance. But when we climbed Primrose Hill and the sun started to rise above the city, there was real hope and joy for a future that will surely be ours. Listening to Jessie’s music. There is no doubt of that." Jessie adds... "This song has always meant a lot to me and I was determined for other people to hear it and for it to be single. I am so touched by how many people have embraced this song, particularly when it's one of your favourite actresses and an acclaimed film director. Working with Gemma, Dominic and their team has been an absolute joy. To have them realise my song with a beautiful ode to London and the longing for human touch and interaction couldn't be more of a compliment. It's a truly cherished piece of work." [via Clash]

Jaguar Jonze has shared her new single and video 'CURLED IN' ahead of the release of her second EP ANTIHERO on April 16, both via Nettwerk Records. 'CURLED IN' presents all her best qualities at its outset. From the track’s rip-roaring, slicing guitar to her perfectly forceful, omnipresent vocals, 'CURLED IN' is a pure cathartic release. "Tear me apart, just tear me apart," she all but demands: "I've never seen wrong be done right." She's fulfilling her simplest needs, and it's freeing. "It's a bit of a twist for me to be a masochist." As a survivor of abuse, these words' unafraid power is all too apparent and an engaging statement to hear expressed.

Following the release of eclectic and impressive debut singles 'ASOS,' 'Right Time,' and 'Papercut,' rising left-of-center pop singer and songwriter Dava returns with a fresh and bold new single 'New Ceilings' available now via Sony Music's Disruptor Records. The moody anti-pop record was co-written by Dava and Mike Adubato (Del Water Gap, Grace VanderWaal) who also produced the track, and is the latest off the Los Angeles-based musician's forthcoming debut EP, Sticky, due out later this year. On the inspiration behind her new single, Dava shares, "This song was written about survival and staying true to yourself. I was having a hard time financially after moving to LA and my phone was shut off while on my way to this session. I was upset with myself for prioritizing music when I really needed the money from driving Uber to stay afloat." She continues, "The day I wrote 'New Ceilings' I was angry and I wanted a song that felt empowering and validated all the work I had put in up to that point. I ended up choosing different songs for my project but when I revisited this one year later, I felt it needed to be heard because of how authentically it embodies my struggle."

London-based Fifi Rong, a multi-talented avant-pop songstress, has shared the video for her stunning single, ‘Another Me’. Directed by Rok Pat, the video for ‘Another Me’ is stylistically simplistic, as Fifi Rong uses her own body as a medium of art, painting herself and inviting the simple imagery of waterside reeds and plants. A tranquil mysticism embraces the single as Fifi Rong acts as a gentle siren, luring the unsuspecting in yet known the inevitable outcome of the relationship. Speaking of the concept behind the single and video, Fifi Rong tells us: “In any doomed romance, timing is always mysteriously wrong. This is my first full CGI music video and it visually portrays the elusive nature of the character surrounding the key message: 'you won't find another me'. The undertone of the song displays a sense of pride and confidence in the character’s melancholy. Dressed in nothing but petals, I wanted my character to symbolise purity, nature, truthfulness, vulnerability and the divine feminine form. Acting as a rotating statue, I wanted to mark the passing of time and seasons as if a unique and lonely piece of art on display.”

[exotheticc]

Summary: Chanyeol and Kyungsoo decide to punish their bratty sub after she acts out at a Christmas (Eve) party.

Warnings: threesome, daddy kink, brat taming, spanking, slight degrading (and humiliation), (semi?) car sex, slight overstimulation, multiple orgasms, slight cumplay, slight impregnation kink (not pulling out), rough sex, squirting, toys, borderline masochism, tbh it's a bit messy so don't read if you're a sensitive soul x

wondering if i could request for daddy chanyeol and daddy kyungsoo punishing bratty reader after she makes them jealous at a during a party since they werent minding her au? your writing is amazing!! - anon

I also got a second request saying something very similar, I assume it was the same anon, sorry for leaving you waiting literally like a year or something x Also merry Christmas, everyone, I hope you're all doing well and have a great holiday! x

"Home. Now." Chanyeol growls into your ear, hand gripping your waist so hard it may leave a bruise.

"But-"

"No but's. Get in the car. I'll be there in a second."

You pout slightly, impressed at how your own flirting skills angered him so quickly. He gets to lurk around those tall, attractive models and you're not allowed to hang around tall, handsome men?

Chanyeol motions you out of the room and you soon find yourself climbing into the nearest car. Of course, it wasn't hard to distinguish it as their car. No one else was rich enough (or pretentious enough) to own a custom made Aston Martin.

When you get inside, you're greeted by Kyungsoo, his eyes fixated on the road in front of him as he's perched at the wheel. His eyes soon meet yours in the rear view mirror, his hand coming to adjust it for the perfect view of the seats behind him.

"We're not very happy with you, princess." Kyungsoo frowns, glancing back at the road ahead. "Chanyeol already told me he's putting on the perfect show for me while I drive."

You roll your eyes, knowing the small gesture will gain you a rougher evening.

Kyungsoo's expression hardens as Chanyeol returns to the car, slamming the door shut behind him and instantly pulling you over his knee. His large hand roams over the back of your thighs, pushing back the Mrs Claus themed dress to reveal your red thong and pert ass.

"Count for me." His words are followed by a sharp slap, a hiss released from your lips.

"One." You sigh,

Another follows.

"Two."

"You've been such a bad girl tonight, Y/N." Chanyeol growls. Smack.

"Three."

"I told you to behave, and you didn't." Smack.

"Four." You can now feel a burning sensation, sure your ass is going red with the force of his hits.

"Did you enjoy acting like a little slut?" he pauses momentarily, "Answer me, Y/N."

"Yes." You smirk, "It was really fun."

Angered by your response, he drags you off his lap and onto the floor by your hair, unzipping his trousers and pulling his cock out. You watch in awe as his large hands engulf his length and he strokes himself. Small beads of precum begin to form at his tip. Yearning to touch him, you reach forwards only to have your hands smacked away. "Bad girls don't get to touch."

The heat between your legs rises to match your cheeks, slightly embarrassed by the rejection.

Chanyeol works himself in long strokes; he runs his thumb over his tip and back down along his length, spreading the precum down his shaft as lubricant. Letting out a soft groan, his eyes meet Kyungsoo's in the mirror and he thrusts his hips upwards into his hand.

You, on the other hand, are practically drooling at the sight, longing to take his member into your mouth and let him empty himself down your throat.

"We're here." Kyungsoo says quietly, the car pulling to a halt. Chanyeol pulls his trousers back up, opening the door and getting out. He leans in to grab you by the hair.

"On your knees."

You feel your eyes well at the humiliation, being forced to crawl. He practically drags you into the house, picking you up and throwing you over his shoulder when you finally get inside.

When you get to the bedroom, he dumps you on the bed, glancing at Kyungsoo before sitting behind you to pull off your dress.

Kyungsoo smirks at the weakness of your expression, "Why are you crying, baby?"

"I hardly even touched you." Chanyeol chuckles into your ear, removing your dress completely.

You frown more at the comments, definite that your face must be bright red at this point.

"Tell daddy what's wrong, princess." Kyungsoo moves towards you, gripping your jaw so you face him.

"No." You scowl at him. Chanyeol's hand wraps around your throat, pressing lightly,

"I thought we taught you to be a polite girl." Chanyeol growls,

At your lack of response, Kyungsoo let's go of your jaw, reaching down to pull off your thong and spread your legs.

"So wet already." He purrs, thumb lightly grazing your swollen clit, "Chanyeol. Tie her up."

You gulp as Chanyeol pulls your hands behind your back and wraps his tie around your wrists, knotting it so that you can't move properly. He then pulls you down onto the mattress, licking his lips as he looks down at you.

"I was going to give you this tomorrow, but I think we should open it now." Kyungsoo reaches below the bed, pulling out a medium sized black box tied with a dark red ribbon. His fingers quickly undo the bow, tossing it to the side and opening the box itself.

Your core clenches as he pulls out a new toy: a large vibrator, and places it to your entrance.

"I don't think you need any prep." He grins sadistically, pressing the toy inside of you slowly.

A pained whine falls from your lips at the uncomfortable feeling, and Chanyeol seems to sympathise - pressing his lips against yours in an attempted distraction. You cry out as Kyungsoo begins to thrust it harshly inside of you, almost biting down on Chanyeol's tongue. His fingers trace down your body, gently circling your clit to ease the previous pain.

Turning the vibrator on, Kyungsoo sits back to watch your body writhe, hips thrusting up into the air.

Your body pulses with need, now desperate to reach a climax. The warm feeling draws nearer and you know you'll be hanging on edge. Chanyeol works your clit expertly, flicking it back and forth, pulling on it and massaging it as you draw closer to your high. Letting out a high whine, you clench around the toy, your juices dripping onto the white sheets.

To your frustration Kyungsoo doesn't react, simply watching as you become overstimulated. Chanyeol smirks against your lips, watching small tears prick at the corners of your eyes. Almost expertly, he moves his mouth to between your legs, sucking your throbbing clit into his mouth.

Your sanity is almost gone, head clouded with pleasure and frustration, eyes rolling back as you get lost in the blissful feeling. A serious of incoherent sounds leave your lips while Chanyeol's tongue plays with your sore bud.

The familiar feeling of warmth builds up in your core, your hands grasping frantically at the sheets below you. Kyungsoo is also lost in the moment, murmuring, "Go on, baby, cum all over the sheets."

At his words, your back arches and you almost black at at the intense feeling - Chanyeol thrusting the vibrator in and out of you as you throw your head back.

Only once you open your eyes do you realise you had squirted, the bedding dampened with liquid cum. Chanyeol looks up at you from between your legs, "Holy shit."

"We're not done yet, princess." Kyungsoo appears from opposite you, turning the vibrator off and pulling it out of you. "On your stomach. Now."

You slowly turn yourself over, tired from the intense orgasms that make your pussy ache more with unbelievable need.

"Open your mouth for daddy," Chanyeol hums, positioning himself at the opposite end of the bed from Kyungsoo. You do as he says, letting him sink his cock into your warm mouth.

Kyungsoo presses his tip against your entrance, pushing inside your velvety walls at a torturous pace.

"Good girl." Kyungsoo praises, admiring how you take Chanyeol's thick length. Saliva beads at the edge of your lips, only to drop down and onto the sheets. Chanyeol's cock pulsates in your mouth, slowly going further down into your throat. He begins to thrust, gripping your hair with his hands as you lie there and take it.

Kyungsoo also begins to thrust, content at how soaking wet your cum-filled pussy is. "Fuck, you take me so well."

You moan at his words, Chanyeol grunting as the vibrations travel along his cock.

You loved having Chanyeol in your mouth, he was a little larger than Kyungsoo and his load was large. Kyungsoo on the other hand was so good at hitting your sweet spot, he really had it mastered.

"You like it rough don't you, baby?" Chanyeol pulls at your hair, watching in satisfaction as a mixture of your drool and tears cover his length. He was really hitting the back of your throat, your own nose pressed into his skin as he pushed you down further. "Fuck, I'm gonna cum."

You whine loudly around his thick member as Kyungsoo rams straight into your G-spot. Lost in the bliss, you swallow Chanyeol's load as his hot cum spurts down your throat. Your own release draws closer, your mouth now empty and instead moaning loudly.

"Oh shit, I'm close." Kyungsoo groans, holding your hips to him as he thrusts harder. His length slides in and out of you with such ease yet you can still feel each ridge of his cock, "Want me to fill you up with my cum?"

"No-o, p-pull out." You beg, desperate for him not to cum inside you. Hit with your own high, your walls spasm around his cock, sending him to his release.

"F-fuck, I can't." Kyungsoo let's out a load groan as your pussy milks his cock, thick streams of white pumped inside of you. You let out a feeble whine in defeat.

Chanyeol watches as Kyungsoo pulls out, his hand reaching over to gently thrust Kyungsoo's cum back inside of you.

Whimpering, you're eyes begin to close at the soft, warm sensation, and before you know it you've fallen asleep - leaving the two to clean you up.

[kitsoa]

Lyric Comic Q&A

So it turns out when you work on a project for half a year, you get a lot of Thoughts and want to express them whether people are actually curious or not. Without further ado, your un-requested Birdmen Lyric Comic Q&A

(Warning: I’m long winded)

*Why a Lyric Comic?

Dude, lyric comics are cool. I’ve always been fascinated by the beautiful, multifaceted artistic experience they provide, because of my love for music and art. Furthermore, I am often plagued by cinematic trapped in my head, spurred by the movement and lyrics of my favorite songs. Since I have no means or experience in the animation category (which would free these phantoms from my head) the lyric comic was a godsend of a medium for this inspired idea of mine. Kiki-kit of the Gravity Falls fandom and Tides-miraculous’ lyric comic in the Miraculous Ladybug are my main inspirations, I’ve adored their sense of motion and emotional savviness. It’s quite the powerful medium.

It’s also a good medium for me personally. I am a ‘looper’ with my music, allowing me to listen to something over and over without tiring. This is useful in the drafting stages! I loved the challenge (though I definitely didn’t anticipate it’d take this long).

*Why this song?

“Out of Mind” was one of those songs that spoke to me, in an overly cathartic, heart-yearning-- almost funnily sardonic ways. Birdmen being on the brain, I started to easily see how much the singers voice reflected that bombastic frustration our Eishi is so known for. The Pre-Chorus “Are you kidding me?” speaks to me the most, reminding me of his cry of frustration during his first blackout, screaming against his fate as he fell from the sky (this exact image did not make the final cut in the end, but I certainly vied for it until other themes overtook it-- let’s face it, there are many screaming Eishi’s to choose from).

This period of time between Takayama’s disappearance and the inevitable reunion is super intriguing to me. Eishi’s in the role of the heartbroken singer, hopelessly betrayed and unable to get over the good thing they had.

*Breakdown the story:

The progression goes like this:

Eishi’s loneliness consumes the first verse, Takayama’s empty seat, Eishi standing alone… all the while peppered with Takayama’s broken promise, which culminates with Eishi’s defiant Death Tweet. The Refrain then serves as these hallmark moments that define them. This is what they had. Every rescue, every proclamation or venomous defying of fate-- it’s what made them. And you’d have to be out of your mind to think that these moments could be forgotten.

Verse 2 is all about that shift in Eishi to follow him. Wistful memories drive Eishi as he chooses to leave and depart from everything he knows, just to get him back. Meanwhile, that opinion of Takayama is still weighed down by that grating irritation (like hell he’s in touch reality, how could he do this?) culminating to his call for him in the Himalayas. The Refrain fires again with the same point as the last but this time I tried to go for a more fervent angle, some of the scenes actually focus on Takayama’s feelings for Eishi and ultimately the pull they have towards each other.

The Bridge is where things get desperate. The moments in the manga where Eishi is in physical pain because of the Whiteout shake me so much. It reminds me of a straight up panic attack. I let this crescendo with the music, making the black void swallow the chaos in a quick snap. Building to the final chorus.

The whiteout is special because Eishi both yearns after this figment emotionally (his friendship with Takayama) and intellectually (what the hell is it and what does it mean?). It represents his unique position in the realm of the story being able to see it, but it ultimately captures the almost divine force behind the relationship of Eishi and Takayama. The outro then brings us back to Eishi failed call at the Himalaya’s, the whiteout ripping him up and forcing Takayama to save him. All the while calling back to that first interaction between them. A mysterious moment that obviously held more weight than any world shaking rescue. And I cap it off with a warmer depiction of their reunion.

*Are you shipping in this comic?

Despite the romantic song, my affections for the pairing, and any other subtext I’ve provided, I went in with the project with a platonic angle. Like I’m not lying. I’m on the ace spectrum or whatever so I kind of interpret every strong bond in the same realm. So that means, if you think it’s a romantic interpretation-- then you’re right. If you think it’s not, you’re also right. Love comes in many forms. Have fun kids.

*What was your process?

Storyboarding

Listen over and over and figure out where to phrase the panels. I then divided the lyrics up accordingly in a draft and reviewed the pacing over and over again. Does it flow? How many words would comfortably fit with each panel?

Determined the thematic arc. At this point I already had a few anchoring moments so I wrote a description of the panel in the draft. I went with the formula of Verses= move the ideas, Refrain= emotional accents, and the Bridge is like… the climax with an epilogue of an outro. This was tricky step. I debated a lot of ideas and some lyrics didn’t feel like a good fit until I really sat on it for a while.

Fill in the draft. This is where I sketch the general shape of panels. This is also where I look at the gestalt of the thing and make sure the composition is easy on the eyes. I tried to make it dynamic and zig-zaggy so as not to be boring. This is the step where one gets really excited about the project. Cause it’s no longer trapped in your head.

Sketching

Gathered references. Surfed the web, made some myself.

Made time to sketch, I did a lot of them at my summer job, made sure to draw about 2 or 3 a day. I had the time then because it was before I took on my day job. I was very surprised to find that I rarely went back to edit a picture or dispose of a draft. I went through with the mantra that I was going to finish the picture no matter what.

Stayed disciplined with said time. I would not let myself take a break from drawing because half the success came from the fact that I was on a roll.

When I finished them I then went through the process of scanning them (my scanner broke between the first 20 panels so RIP)

Coloring Stage

...Good lord. This is where I probably went the most wrong. Make sure you have a good process in place before starting out this stage.  I was not one to digital art much as of late so my familiarity with my program was lackluster (and it also is literally the worst program  in the world), and my laptop couldn’t handle more than 10 panels. So hurray for a very desperate fix. I did everything from my brothers computer, in his room. Sometimes at terrible hours because that's the only time I’m home.

Color planning. I rushed this process but I pulled up the textures and color pallets and reference images from internet searches and stock piled them. While planning I approximated the overall ‘tone’ of each pane; (is it a dark shade, a light shade, blue, or red in hue…) and then I adjusted that so the colors didn’t repeat or blend unless the panels where connected in the same scene. There was a lot of problem solving in the actual coloring so some of this was not as smooth and I paid for it later.

Sketch Editing. I was able to go back in, move around things and edit certain aspects of the sketch without compromising the entire work. This was a life saver.

Actually coloring. Because I color sketches it’s actually a painstaking process where I can’t use a wand or a fill. I’m not familiar with certain masking and coloring methods that would have sped the process up and I wanted to be consistent. This would take 3 to 5 hours a panel which I would do in small bursts.

Type-setting

Deciding font. I was hunting around for a good font for ages until I just decided… to use my own handwriting. This meant that I had to makes sure my tablet pressure specs were up to date and I had to practice my style. It’s not perfect but its cool.

Apply font to panel. There were moments when I literally said ‘screw it’ and left my handwriting a little more sloppy than standard.

Consultation. I worked with my graphic designer friend on improving the placement of text and the color choices. This was an interesting step she is a saint.

Finalize

Every single panel is extremely large. I had to resize each one. Before this I had many tests in the drafts to see how certain sizes would load or format.

*Will you make another?

Probably. Like, there is nothing more satisfying than getting something stuck in your head out of it. I have a lot of tunes I am fond of but barely any qualify for lyric comics (need to have a good pace, easy to latch on musical phrases, thematic content that works etc.) The fandom is important too. Now that I think about it I have storyboards for an old DCMK ‘lyric comic’ idea to Imogen Heap’s “A-ha” (it was like some hidden dark side!au shit I still come back to it). I can’t let my interest wan or it straight up dies. Birdmen is a really unique series for me because its held on for a remarkable amount of time and strongly at that.

Fun Facts:

I colored a total 77 panels, 11 of which were scraped versions of the core 66 because perfectionist tendencies.

It took me 3 months to sketch all the panels out, sometimes drawing 3 a day. I would often cradle my sleeping kitten while I drew.

Panel 54-- the final chorus, whiteout splash page-- took three days to draw. At first it was two pages taped together, then it was three. I had my friend mend the images together into a massive pic for me to color, then break it apart for blog distribution. The full version is used in her video edit of the lyric comic.

I didn’t use pressure sensitivity on my tablet until I got to the last chunk. RIP

It usually took me over a day to do one picture.

I do not have a computer in my room that utilizes the art program I need. I literally did every panel after #10 in my brothers room. Sometimes hella late at night too. Props to my generous brother, he tells me he likes the company.

I took a few notable breaks. All of Inktober was used on the art challenge. The weeks leading up to Birdmen Week. And at least half of the Christmas season was spent on coloring hiatus.

I like adding a ring around the pupils of the seraph eyes. This is not canon, but an error that I really liked. You can see it as a sort of glow.

I am having my friend edit the panels into a video for your convenience. I have no idea how long it will take but I’m tired.

[glopratchet]

origin-of-astrly-wylde

in the land of the dead Still, he didn't, until now Since the very first vehicle, they have hunted one another Now sharing a flat in a earth city Slowly deteriorating it into a new hell world ened ash plastic and signs the contract On page of pure darkness he is written The strange symbols and patterns consume his vision His hands seem to move toward themselves over and over again he screams louder and louder and louder Parking his car a mile away and stumbling endlessly into the jaws of his wooden home he mutters to himself over and over Only having three channels on the television Always watching the same three channels on the television " he mutters to himself over and over he begs of himself "Please Just Turn it off One station is nothing but static "What is that? " he hears from another room He turns the channel to mass genocide but it is cut short by the ruthless demon on channel four and he cant even mutter a curse His life has been reduced to just channel seven and rabies Static Painful, hateful static in his eternal slumber Instead he is plagued by a fierce demon of static that pushes and shoves the boundaries of space and time and reality is being forcefully rewritten He racks his brain over and over again for a solution to the demon Wandering the earth forevermore, driven by demonic muse him that it somehow manage to hurt more than his head He is being dragged kicking and screaming into the endless void Not New Jersey! he cannot get rid of Somewhere, somehow, he feels a loss Loss was always so painful, and this is no different heeeeeee's looking at his messy desktop right now "He believes himself worthy of creating but not cleaning Each statement is correct "What in the name of Santa Claus is this THING! " he yells for money continues Unlike U $0 a month payment until payback? A blue screen fills his vision ancient being continues The screen changes to an old saint bernard dog Acording to AST it is dead totalitarian regime continues His text to speech program starts up again A giant demon face with red an yellow eyes shows up regime continues BLARGLE CLAP TURD SOUP! embalmed corpses continues The harsh letters start to mix in profanity Bad profanity He sees weird red screens when he closes his eyes hateful poison continues He sees flashing rainbow letters when he opens them contaminated continues He barely comprehends that the "computer" he once thought himself the master over has resorted to random typos and bad grammar empty continues brimming continues Piece crippled continues Ah yes Jesus died today He went triumphantly smiling up towards his father after being broken and battered on the cross master continues art continues His computer is malicious playing a piano piece He does not recognize it Rather, he may have heard it many times before grand continues A raven sits on his window sill He looks out the window It stares at him, unblinking Slowly opening its beak secret continues His computer is vicious It against slams the keys on the keyboard Not even in a pattern, just at random argument continues Warning All of your secrets have been weaponized and aimed at you grand intelligence continues It's been a long time, hasn't it? mastermind continues The flowers? Oh yes they do look much better like this Does it hurt? peacefulness continues "Holy water ! they burn! Astley is in there and he continues like the devil to torment me! core essence continues The priest holds up the cross, and you back off Flames engulf your body, but you do not burn One Two ideal continues What did they pour over you? Three Holy water spills out on you, and immediately your flesh begins to bubble Four hobby continues Clowns Why did it have to be clowns? Five Six will of steel continues The theme is everywhere, isn't it? Not a single place to hide If they want your soul, they will get it zealousness continues You start laughing This is too much Is the whole world crazy, or am I just stupid? gladness continues You hear the riflewoman cursing as you fly away through the second storey window Was it really that simple? soul continues 100 meters That's really not much It took you five seconds to achieve it How is this possible? ideology continues justice continues You see him, just for a second, smiling as the car explodes He planned this, didn't he? yearning continues Fire fills your lungs despite the fact that you didn't dive into the flames It hurts It was Satan, wasn't it? sanctity continues (He is silent) Astryl light-emitting glowing richness continues God? melody continues An empty black room Your children A red-haired woman screaming in a chair He sends you pictures and memories Ropes He surrounds you with darkness Morning comes, and you awake to a new day You know he will always be there Watching you Your children are crying It hurts your head Where is your wife? The red haired lady is hurting Curing her will make them happy But the darkness It is so nice here You close your eyes You are not good with words, but that's the best I could do, I'm sorry It worked better for me that way Depending on your choices, it may or may not be different for you Let's keep this between us, alright? My "Mary I don't want anybody else stealing my ideas finds a tape, presumably from the reporters deceased wife