#this one's another doozy

[ssomepersonn]

campfire night

(unshaded vers under the cut :] )

[get-back-homeward]

Emotional moments, you left in a rage But if you could love me now, I wouldn't be in a cage Provisional license, I'm under arrest But if you could get me out, I'd like to take another test

Cage (aka Emotional Moments) [x] An unreleased song by Paul McCartney, 1978 [x]

[rainbow-wolf120]

The RayClone Theory: Why It Could Be Possible

(Massive Spoilers for CLH below) Tw: Ab//se, Imprisonment, D3ath, Really Bad Pacing on My Part <3

With me thinking about this way too much, I’ve come up with a thought. Have you ever wondered why the CLH Rayman is so… different from his in-game persona?

No, it’s not because it's a remix. Think deeper. Examine them under a microscope.

It could be because… they’re not the same person.

Now, this may sound like another silly cartoon theory, but hear me out. I have… proof. Aka overanalyzing, but school taught me to do that.

So, what is the RayClone Theory? Well, to put it simple, the Rayman we see in the show isn't the ‘first’ Rayman. There’s been many in the past. Many, as in 5 or so. How? That’s what this post is for. So, let's go back to the beginning. Mushing both Rayman and CLH lore alike.

To make this simpler, we’re gonna establish a rule. Referring to all the Raymen in the show as ‘Rayman’ is very, very confusing. So I will make a list:

OG Rayman - Rayman CLH Rayman - Ramon Rayplacement - Fakeman

Get it? Got it? Good. Let’s start.

According to the Rayman lore, Rayman was created with one purpose in mind: To protect the Glade (or, in this case, Dimension X). He was created for one thing only. To protect. To be the ‘hero’.

In the games, he’s never failed before. He thrives and beats the bad guy. But remember, this isn’t the games. It’s a remix. A what-if. This leads into:

What if Rayman failed? What does he do then?

And not like, fails as in Rayman 2, fail as in royally fucked up. Fail as in, the closest one to him dies by ‘his hand’. No, not Globox, he was considered alive by Adi. But you know who he didn’t confirm?

Betilla the Fairy.

You could be thinking: “Duh, of course she wasn’t mentioned. He was being broad.”, but he mentioned Razorbeard. His ass wasn’t relevant since Rayman M. So why mention him, but not Rayman’s literal mom??

Because she's not alive. 

Eden (and America) has always been a resource hungry society. It’s human nature. In this timeline, society progresses much quicker than in the real world (flying cars in 1992). Progress needs resources. Have you ever noticed that Eden is barren of all plant life? It’s because Eden (or America) used it all for industrialization.

How does this relate to Rayman? You know how the Glade of Dreams is a lush forest? Resources from massive jungles to deep oceans to towering mountains? Imagine what a power-hungry company (or companies) would do if they discovered this.

*Insert How Bad Can I Be Here*

The creation of the Super-Scope must’ve been revolutionary. The ability to travel to other dimensions with one click of a trigger. Resources galore.

Sarah Fisher mentions in ep2 that the Golder Super-Scope was stolen from Eden’s labs. So, what’s stopping Eden from creating this material? Nothing. That’s what.

Eden, still a sorta underground company, creates this gun and finds Dimension X. Filled with lush resources ripe for the picking. The critters of the Glade don’t know their ‘bad guys’. They don’t look inherently bad. So they leave them be.

Rabbids. The little bunny fellas.

The Kaiju monsters in the show. How does that become a monster? It’s easy. Toxic chemicals. Not just any toxic chemicals, but Eden’s toxic chemicals from polluting the Glade.

I’m getting distracted, back to Rayman.

Kaiju Rabbids started popping around Dimension X. They started small and inefficient until they got bigger and bigger. Rayman took care of them, yes, but one day, he got absolutely bombarded by a hoard of Rabbids.

A massive war broke out between the citizens of the Dimension and the Rabbids. No one knows how it started because Eden left after it got all it needed.

Rayman, having ‘hero-ing’ literally coded into him, fights back. Others help, yes, but it’s mostly Rayman doing the fighting. 

This leads into Betilla, and how she died.

Rayman was getting jumped by Rabbids, so she came in to save him, risking her life as a result. Yes, her sacrifice did stun the Rabbids and cause them to flee into the depths of Dimension X, but Rayman feels like he’s one to blame.

No one really fully ‘died’ in the games. Sure, they got kidnapped, possessed, you name it. But no explicit deaths besides villains.

So, imagine what that does to a guy when his first, full on death witness was with his creator, his mother.

He doesn’t take it too well.

Yes. Rayman was a hero and drove out the Rabbids, but he didn’t save everybody. He couldn’t save his mom.

He failed.

Lost and confused, Rayman runs to find… something. He runs away, something he’s never done before. He never backed down from a fight. So why is he now?

Well, because he’s scared. Scared for his life and others.

Betilla saved him with her own life. She died because of him. Heroes are supposed to be giving the sacrifice. Not receiving it.

Rayman blames himself. If he’s out of the picture, then no one else would risk their life for his.

The art book says that they destroyed the dimension, but Globox, the Teensies, and even Razorbeard are alive, so the dimension can’t be unlivable. So what if this use of ‘dimension’ was less literal?

This may sound far-off, but Rayman’s “dimension” could be talking about Betilla. She created him, so she is his ‘dimension’.

This transition into Eden! Or, America currently.

Rayman goes into America looking for a fresh start. To find his purpose. He failed his original purpose (which was to be a hero and save everybody), so he blocked out everything that happened originally to start a fresh start.

Or, every immigration story ever. Leaving behind what you loved for a better start.

He needed a new purpose. And that purpose is to be an entertainer!

His origin in America is the same as the show. He goes to college, gets outcasted, and rises with Eden.

Things are different here than with Ramon. Rayman is… less constricted here.

Back when Eden was new (most likely had good intentions), they weren’t worried about Rayman finding the truth. There was no truth to find. So Rayman was allowed to explore, make friends, talk to people and hybrids below his social class.

One day, he met a hybrid journalist. One of the lower-income hybrids, but a very strong writer. Rayman admired their work, being a news reporter and all, and the two became really good friends, even with him getting them a job at Eden.

Then, the journalist goes snooping. Eden wasn’t as terrible as it is in the present day, but it still did bad things. The hybrid craves justice (like any other journalist) and stations a revolt. It affects Eden, but nothing major except getting the journalist put in jail.

Rayman finds out and goes to give his buddy a visit and to ask what happened. Rayman (still under the influence of Eden) explains that they shouldn’t have revolted and that Eden is great. The hybrid shows him the articles and photos (which were disapproved by Eden so they weren’t published) and explains their side of the story. Since the journalist was low-income, they experienced the biases and issues of Eden first hand.

Rayman obviously seeks the truth as well, promising that he could save the journalist. He goes to the Board of the Directors with the proof and articles, demanding an explanation. Not in a violent way like Ramon, but in a diplomatic manner.

(Keep in mind, Rayman has been questioning Eden in recent weeks from folks he’s talked with in his downtime)

Sound familiar? Of course it does. It happens in the show. Clones are still clones, y’know?

The Board, unsure on how to react with their poster boy finding their fucked up ways, tells Rayman that they’ll explain tomorrow.

Rayman, still trusting of the Board, agrees and waits it out. The next day, he awakens, chained in a dingy room.

Why? Well, the Board knew that Rayman’s act wouldn’t be as efficient if he knew what he was saying was bullshit. Think Disney’s Bolt. So what do they do?

Try out their latest technology, of course. And that was a cloning device.

Now, you can’t just clone Rayman. He’s an alien. Not an organic lifeform. So, how did Eden approach it?

Lums. Take bits of Rayman, combine it with various animals, and boom. Almost perfect Rayman clone.

Clones are never perfect. Each one has an imperfection, little or big. And the Lums is what gives Rayman his main form.

So, chain him to the basement so he’s always on hand. Duh.

Rayman stays in that basement for at least 10 years. Sad, alone, and going insane. He can’t die; he’s immortal. Eden goes through at least 4 or 5 different RayClones before landing on Ramon. I’ll go into Ramon in a bit.

When a RayClone is too imperfect or steps out of line, the Board sends one of the Niji 6 to eliminate them. This is shown by this line of dialogue:

“Taking care of”? What do they imply by that? Maybe it implies that they were sent to assassinate Rayman, or in this case, Ramon. 

So, RayClone bodies can’t exactly decompose. Yes, they can die and lose consciousness, but those Lums inside them don’t allow the body to rot. So what happened to those bodies? Leave them in the depths of Eden to rot.

Back to Rayman, one day, he manages to slip his hand loose from the chains and free him. This happens when Ramon is just made. The Board orders the Niji 6 to hunt and bring back Rayman. During his escape attempt, Rayman accidentally causes an explosion ‘killing him’.

We’re gonna pause his story and shift to Ramon.

Now, I wanna talk about his reaction to Red in ep3. Clones share the same memories as the original, but they don’t experience it the same. It’s like knowing something and actually being there.

The Rabbids attack, but Ramon isn’t really stressed about them attacking. Was he that faithful in the Niji 6? Or was it something else?

Was it because he doesn’t have that trauma about them?

When Red calls Ramon an “interdimensional alien scum," Ramon bursts? Why? Because he experienced it. He experienced being belittled and talked down by his colleagues at work. He knows how it feels, so he’s pissed.

If Rayman was in his place, Rayman would be fidgety and panicky about the Rabbids and brush over Red insulting him. If anything, Rayman would be thanking Red for stopping them. Yes, Rayman was talked down in college and his early days, but the Rabbids changed his life.

You could argue that it’s because he had his cry before the cameras were running, but he shows no sign of that. No voice cracks or eye twitches. And the fight just happened, which explains the presence of Red.

Going back in time for a moment-

Ramon was the latest RayClone and the last one with the ‘death’ of Rayman. This makes Eden super protective over him and his opinion on Eden. Other RayClones in the past were either too disfigured to seamlessly become Rayman, or found / was close to the truth. They need to keep Ramon pure.

How does one keep something pure and untouched? Isolated them, of course!

(Note the use of the word ‘illusory’ here)

This also explains the ‘Eden-generated’ scripts. Rayman wrote his own scripts. Rayman said his own opinion. Now, 10+ years later, Eden writes Ramon’s scripts. Ramon says Eden’s opinion.

If he was stripped of his freedom, then how would he be infected with the truth?

If he wasn’t needed anymore.

This is where Fakeman comes in. I think Fakeman is Raymesis, due to those yellow eye highlights you can see in a split second.

The Board wasn’t as faithful in Ramon as they were previously. He might’ve had some outbursts before ep3. They needed a backup. They can’t clone him, the clone would be to fucked up. They needed another Rayman.

Remember the Rabbid invasion in ep2 / 3? While the Niji 6 was dealing with the kaijus, guess who was snooping around the Glade for a Rayplacement?

Raymesis was kidnapped and forced to work for Eden if he liked it or not. They weren’t going to clone him yet, but to keep him in line, instead of acceptance (like they did with Rayman), they used threats.

This explains Fakeman’s uneasiness in ep6 with Retribution Day. That was his first big acting event, and the one Eden decided if he’s replacing Rayman on stage or in the basement.

Look at his face when it’s canceled. Bro looks scared shitless.

But Fakeman and his lore / personality is a whole ‘nother post.

Ramon follows the same path as Rayman. Seeing something unfair (Rayman’s friend getting arrested and Ramon losing his job), and doing something about it.

It’s that Ramon is filled with vengeance and anger because his whole life was a lie.

Rayman is filled with doubt and confusion because he just refound his purpose, and that was a lie.

Rayman’s whole journey throughout this is finding his purpose. His original purpose was to ‘save everybody’, and that failed. He went to America to find a purpose and did with Eden. In his character bio in the art book mentions this purpose line.

“Even happier that Eden gave him purpose”. Why? Because he lost his original purpose! He felt he was nothing before Eden gave him everything. He’s under the mindset that Eden gave him his meaning of life again.

They quite literally saved his life.

Anyway, what does Rayman do after his ‘death’? Have an identity crisis of course! He was locked up for over 10 years, his brain is scrambled eggs at this point!

He failed his purpose for Eden, so he resorts back to his original purpose: Be a Hero.

But, what about the Rayman on TV? Is he the real one?

Rayman’s mindset is that he was created to be a hero. Heroes are brave, speak the truth, and rise up against bad. What is the Rayman on TV doing?

He’s being brave, speaking the ‘truth’, and rising up against ‘bad’.

What’s the real Rayman doing?

He’s being a coward, secret about what he knows and saw, and hiding against the bad.

Heroes don’t do that. So Rayman must be a fake. He must be the RayClone. He’s the mistake. At least, that’s what he made himself think.

Now, I won’t get into my ideas for Season 2. If people want it, sure. I will. But for now, I’ll leave it at that. This is 2200+ words, and I’m grasping at the air at this point.

If you disagree? Great! If you don’t? Great! Tell me your own thoughts / theories then!

[brittlebutch]

"You're a good girl, Tula," Mama comments indulgently, as if Tula was still a kit rather than something fully grown, settling back in to poke and prod Tula into place enough to continue combing through the dust and knots matting up her fur. Bitterly, Tula wishes she didn't have to be. But whatever world exists where Tula had the option of that freedom, it isn't this one. She had gotten tantalizingly close, near enough to taste it for a little while, but the path took a hard turn a the last second, and now Tula is left to salvage what little she can from the wreckage of what could have been.

words: 3,241

[id0what1want]

I love planning my own writing shaking my head violently, mouthing for help, tapping morse code for sos onto the camera lens

[mirchloe]

the next b-movie chapter is gonna go up tomorrow when i'm not nursing a bump on the head (THUMBS UP)

[our-inspire-verse]

Relax guys, i gotta shift into Past Life Trauma™️ mode in order to write like 500-2k more words on my fic

[ifyougoillfollow]

a song for a song

|Gen. | Mic & Midnight | 1650 words | Fantasy AU|

"Can you sing, senpai?"

Hizashi winces. He hadn't meant to cut Kayama off, even if he hasn't been entirely listening to a word she's said for the past hour or so.

Kayama straightens from her crouch, hands him yet another fistful of dirt-clodded roots to stuff into his increasingly soiled satchel. At this point, he's going to have to wash it. And his robes. And his hair, too, while he's at it. He should have braided it; it's getting kind of long. Now there's probably bugs in it.

Hizashi refuses to cry about it. Plenty of other things to cry about nowadays, and he's yet to cry about any of those, so bugs? Not gonna do it. Not today.

Kayama eyes him a little like she was eyeing those roots on the forest floor a second ago, but in the end she only snorts and says, "You're the bard here, not me."

"And you're the witch, yet here I am with dirty, smelly herbs in my robes."

"No one asked you to come, snotbrain."

Hizashi takes a moment to remind himself that he is not crying today, then says, "Well, fortunately for you, senpai, Aizawa has gotten much better at evading me with his stealthy ninja skills, so looks like you're stuck with my lovely, charmingly clingy self for the foreseeable future."

"Lucky me, indeed," Kayama mutters, even as she's foisting more assorted foliage onto Hizashi's wary arms. She waits until he deems each twig adequately bug-free before setting off again into whatever new direction through the trees her witchy senses are leading her towards.

"Yeah, I can sing," she answers at length, "I guess. Probably not as well as you can, though, if we're being honest. Not exactly my specialty, is it?"

There was a time, not two moons ago, when Hizashi would have preened at his senpai's first-ever admission that she likes his singing. Now, it just serves as a reminder of all the songs he's had caught in his throat since Oboro died.

Kayama is not looking at him, too busy charming her way through previously virgin forest brush in order to allow them easier passage. Hizashi feels her scrutiny regardless. The air is clear and sweet and open. Inviting. Hushed like a sated dinner crowd awaiting the first song of the evening. The absence where Hizashi's song would be if he weren't choking on it rings louder than his voice ever could.

Kayama slows, her shoulders rising gently in what could be a breath or a sigh. Hizashi nearly hightails it out of the forest right then and there – bugs and blushing virgin underbrush be damned – but when Kayama speaks it's only to tell him to keep an eye out for a flower that 'kind of looks like two monkeys fornicating,' and then she's off again about herbs and roots and spices and their many medicinal and decidedly non-medicinal applications.

She has a lovely voice, even when just speaking. Full and rich and with a little too much heat, like smoke from a spitting hearth fire. Hizashi's always wondered what it'd sound like in song, can't stop wondering even as she goes on and on about dirt and leaves and bark, until she finally stops to contemplate a vine unfurling from what might very well be the heavens for all the attention Hizashi's paying to it.

"Sing for me," he says, unable to choke the words down.

Kayama snorts, keeps contemplating her vine. "What, right now?"

Because that wasn't a 'no' and because she's not looking at him and because the clear forest air remains bereft of song, Hizashi asks, "Why not?"

"I don't know many songs, for one."

"Choose whatever. Anything at all."

"What if I choose a terrible song?" she asks, affecting a pout.

"No such thing, senpai!"

She rolls her eyes and bats the vine at him, but it's only a few beats before she caves. "Honestly, I only know lullabies," she says. "You know – for fussy little babies."

Hizashi laughs. "Lullabies are good! Sing me a lullaby, senpai!"

Kayama's answering grin is more teeth than anything, and it's also the first sign that Hizashi has walked into a trap. "All right," she says, voice too-innocent, "if you insist. Follow me." She flashes another snaketooth grin at him and disappears behind a curtain of vines.

At the sight of the lone finger she sticks back through to beckon him forward, Hizashi once again considers taking his chances on a solo sprint back out of the woods. In the end, his curiosity wins out over his meager self-preservation instincts. He follows.

The two-step trek through the vines is harrowing, but what he finds on the other side might be even more so. It's a perfectly picturesque clearing. Suspiciously picturesque. The clearing is warm and bright and cozy, with lush cloud-cover trees surrounding a bed of down-soft grass and wildflowers. There's even a brook babbling quietly to itself off to the side. A far cry from the barely tamed woods two steps behind him.

Kayama, perched on the grass below a swaying willow, laughs at whatever expression is on Hizashi's face. "Welcome to my den of decadence," she all but purrs, "where I bring all my... conquests."

Hizashi tries not to balk. Tries.

Kayama cackles. "Oh, don't flatter yourself. You wanted me to sing you a lullaby, so I'm going to sing you a lullaby. Properly." She pats a spot on the ground right next to her. "Come here."

Hizashi, forever hapless in the face of his senpai's schemes, does as he's told. Once he's seated, Kayama roots around in her bag for some incense to light ("For the bugs," she informs him with a roll of her eyes) and a stoppered vial filled with an unidentified lavender-colored liquid.

"For you," she says expectantly.

Hizashi downs the contents of the vial without question. It tastes like too-sweet perfume, but he's had worse tonics from Chiyo-sensei, so he doesn't complain.

"It's a new sleep potion I'm working on," Kayama explains, even though he hadn't asked. "I've been meaning to test it, but I haven't had any willing volunteers due to what happened last time – which wasn't even my fault, if anyone's asking – and Chiyo-sensei says slipping potions into other people's food is unethical because she's no fun, so here we are."

For his own peace of mind, Hizashi elects not to ask what happened last time. "How long will it take to work," he asks instead, "and how long will I stay asleep?"

"No idea, that's why we're testing it. Now lay back, unless you want to crack your skull if it takes effect suddenly."

Hizashi eyes the grassy ground warily. "How effective is this fancy incense of yours at keeping bugs away again?"

"Oh, come here, you big baby." She tugs at him until he's laying down with his head pillowed on her lap. Hizashi does his level best to not perish on the spot. She flicks him on the forehead. "Relax, already. I won't bite unless you ask me to."

"Not helping," Hizashi grumbles, willfully ignoring his fever-hot face.

Kayama's thigh is warm under his cheek, and she smells like twigs and earth and wildflowers, and Hizashi is not crushing on his senpai – he is not – but suddenly he understands all too clearly why Oboro had once badgered him for weeks to serenade Kayama on his behalf, until Hizashi had agreed on the condition that Oboro write the lyrics himself (and make that fact clear to all present witnesses), which he did, happily, and the lyrics had been terrible and mortifying and damned near impossible to put to melody, but Hizashi had put his bardly reputation on the line and done it, and Kayama had, of course, laughed like he's never heard her laugh before or since, but had also been so obviously charmed by it that Oboro didn't stop smiling for the rest of the week. If all of Hizashi's songs hadn't died with Oboro, he'd be singing that one right now.

"Sing for me, senpai," he says, because his eyes are starting to burn and because she promised and because this moment calls for song. Every moment calls for song.

"You're the bard here," says Kayama, fingers tugging knots from his hair, "not me."

"Please..."

"A song for a song, then."

"Sleepy..." he mumbles, and it's an excuse, but it's also the truth, his limbs heavy as sun-warmed sand.

"When you wake up."

He shakes his head.

"Why not?"

"Can't," he whispers, too tired to scream.

"Sure you can. You're a bard."

Is that what he is? Kayama-senpai sure seems to think so. She keeps saying it. Why does she have to keep saying it?

"I'm not singing until you say it."

No. That's not fair. She promised.

"Yamada." She smacks his sleep-numb cheek until he looks up at her blearily. "You're a bard. Aren't you?"

"I'm a bard," says Hizashi, because if there's one thing he's good at, it's telling people what they need to hear.

"Good boy," says his senpai, and she's not smiling any kind of smile, but she does finally – finally – start to sing.

Her voice is as lovely and Hizashi knew it would be, and the song – well, the song is lovely, too, in the way that all songs are lovely, even though this particular song is about a busy baby bee winding down for bedtime. Hizashi lets the lyrics wash over and through him, but the melody – the melody he soaks up along with Kayama's voice, lets it seep into the very core of him, into the sun-spooled place nestled deep behind his rib-cage from where his songs and his soul and his spells flow and flourish, and he knows without a doubt that he will never be without song again, because if nothing else, he'll always have this one simple melody, soft and whole and true.

[lunapwrites]

No one can take horrible pictures of you like someone who loves you.

[chronicswitch]

me after shitting my -- I ripped my butthole again

[coquelicoq]

just got to the halfway mark in my french dictionary!!!

[flockrest]

Where other peoples may have stone inscriptions, carved tablets, and tomes to keep track of their histories, Rito culture places heavy — practically total — emphasis on oral rites, records, and commemorations to inform theirs. Their history is intensely narratively rich for it; cultural heritage is a very alive process in how events, legends, figures, traditional knowledge, and so on are contextualised, told, and interpreted.

While some may think to call the reliability of these accounts into question because of the potentially fluctuating nature of oral records, they've actually undergone negligible distortion throughout the generations! This is in part thanks to exactly how the Rito practice oral history, which is through what they refer to as "Songs". A little watered down compared to the original, more formal word for it — which more literally translates to something like "(y)our stories and songs in the Windlines".

Songs are both...yeah, songs, and the accompanying precursor tales and recounts that capture the event or information in question — essentially defining how those songs are created. The lyrics are what's predominantly shared and passed down between generations, hence the simplification of the traditional word for this concept into "Songs". It's a crucial aspect of Rito life throughout one's entire span, but is especially chief and present in the hatchling-fledgling years! They are raised on Songs, the way they are raised in the Windlines.

Establishing Songs is a collaborative effort, one primarily shared between Rito Elders, Songkeepers, and Scriptweavers.

It's the concurrent Elder who deduces who or what new happening is worthy of Songs and what should only be left for the Windlines to remember. While they will seek additional counsel to formulate and confirm their reasoning ( and whoever they might consult depends on each Elder ), the final decision is ultimately theirs — this is one way the Rito can measure the breadth and quality of one's leadership.

In saying that, Songkeepers and Scriptweavers play an important role in deciding what does and doesn't make it into Rito history as well. Songkeepers are bards and skalds who have undergone dedicated apprenticeships for this role specifically — one half of the Rito historian, so to speak — as such, in this context, they make the heaviest contributions in creating a Song musically. Without Songkeepers, there wouldn't be any Songs to celebrate and memorialise.

Scriptweavers take on the more concrete, sometimes tangible side of this process. Their apprenticeships are often less strict than a Songkeeper's, but that doesn't make them any less of the other half of the Rito historian! These are the ones that ascertain how to properly represent the knowledge of interest, the ones who provide Songkeepers with the foundation for their lyrics and melodies. They're also the ones responsible for keeping a physical record of a Song, should the Elder think there be a need for it ( which often isn't the case, though Elders who have deemed rather niche information important or are aware that their years are a turning point in Rito history may request this ).

Successfully woven Songs are celebrated with great ceremony! A traditional event of feast, dance, song, and overall cultural rejoice that can begin from one sunrise to the next. Usually a Rito-only thing, though they have been known to allow guests of honour ( i.e. people that may have played an actual part in their Songs, like Link with his triumphs alongside champions of their own making ) to join in, too!

Note that while it is ideal for all three Elders, Songkeepers, and Scriptweavers to be involved in the making process, sometimes Songs will be created even when a Songkeeper or Scriptweaver is absent. This can happen when momentous, life-altering, history-making events occur and need to be Sung more for the celebration than anything. These Songs will still definitely require the touch of Songkeepers or Scriptweavers to be deemed officially finished, but Songs have always, beyond anything, been carried by the flock ( as they are the last piece in establishing Songs at all ) — this becomes especially apparent during instances like these.

tl;dr: Songs are encapsulated bits of Rito history and traditional knowledge, come in the form of stories and songs, shared pretty solely through oral communication! Very important to Rito culture, heritage, and identity! Thanks for coming to my TED Talk!

[freakingpeepseverywhere]

For @jurassicliz

Little Blue Snack

[the-crow-binary]

Christopher: I thought you dead !! Dracula: It was just a prank, bro. Christopher: It isn't funny. Dracula: That's because you have no sense of humor.

[ndrayton]

This state couldn’t be called an ‘ending’ at all.

Chapter 11 of my ongoing ghosts & paranormal investigators ORV AU is up! Let's finally get some of these damn questions answered, though one core piece remains out of reach. Read from the beginning here.

[pearl-kite]

Today I learned that I have evolved from pissy customers making me cry to pissy customers making me want to cuss them out